A Guide to Nunavut Archaeology and Artifacts for Northern Heritage Workers Acknowledgments

Writing by: Brendan Griebel Design by: Brendan Griebel Project management by: Torsten Diesel, Inuit Heritage Trust

The Inuit Heritage Trust would like to extend its thanks to the following individuals and organizations for their contributions to the Nunavut Archaeology and Artifacts booklet series: • Curriculum and School Services, Nunavut Department of Education • Government of Nunavut Department of Culture and Heritage • Tourism and Cultural Industries, Nunavut Department of Economic Development and Transportation. • Nunavut Tourism • Parks Canada, Nunavut Field Unit • Krista Zawadski • Luke Suluk • Kevin Kelly • Nick Amautinuar • Joanasie Qappiq • David Aglukkaq • William Beveridge • Ralph Kownak • Sharon Thomson • Ken Beardsale • Sue Ball • Sylvie LeBlanc • Max Friesen

© 2014 Inuit Heritage Trust A Guide to Nunavut Archaeology and Artifacts for Northern Heritage Workers

Explaining this Guidebook 2-5 Inuit in the Canadian Arctic: An Overview 6-9 Archaeology: Uncovering the Past 10-13 Archaeological Artifacts and Nunavummiut 14-18 Archaeological Sites and Nunavummiut 19-23 Heritage Centres in Nunavut 24-27 Artifacts and Heritage Centres 28-33 Sample Heritage Centre Loan Agreement Form 34 Sample Heritage Centre Deed of Gift Form 35 Creating the Right Environment 36-39 Caring for Collections: Archaeological Artifacts 40-53 Archives and Archive Materials 54-60 Sample Archive Deed of Gift Form 61 Sample Archive Loan Agreement Form 62 Creating Exhibits from Artifact 63-71 Notes and Comments 72-73 References and Resources 74-75 Explaining this Guidebook

Why was this booklet artifacts should be respected written? and preserved.

In Nunavut, guidelines and Nunavut is a territory deep with regulations have been put in tradition and history. For the place to help keep artifacts last five thousand years, the safe and accessible to future Canadian Arctic has been home generations. Many of these to different cultural groups regulations were created by who have not just survived Inuit during the process of from the land, but developed Nunavut’s land claim settlement rich lifestyles to celebrate their and its formation of a new worlds through art, religion and Canadian territory. They have storytelling. Traces of these past specifically been written for lives can still be seen in the form Nunavummiut so that they of old tools and sites scattered can help preserve Nunavut’s across the landscape. These old history. These regulations make materials, often called ‘artifacts,’ sure that artifacts from the past can also be found in homes and are respectfully documented museums, where Nunavummiut and studied by the field of use them to help remember and archaeology. They also apply learn about the past. to a special line of work called heritage management, which Artifacts have a special ability to exists to make sure that artifacts communicate stories about the and the stories they tell are lives of people who once made protected and made accessible them. As tools previously used to the public. by Inuit ancestors, and tools used by modern populations to learn about these ancestors,

2 Explaining this Guidebook

This booklet was designed • Someone who works in a to outline best practices for museum, cultural centre or managing material artifacts heritage centre; in Nunavut heritage centres. • Someone who works in It will help Nunavut heritage a tourist centre, or gives workers become aware of their guided tours to visitors; own roles and responsibilities • Someone who takes part in in caring for Nunavut’s artifacts archaeology projects; and history. Heritage workers • Someone who works in an throughout the territory have archive; a special obligation to protect • Someone who organizes and preserve historical artifacts cultural or historical on behalf of their communities programs for their and culture. As people who community. work with artifacts on a daily basis, heritage workers also The information in these have a responsibility to educate booklets is designed to provide the public about the history of heritage workers with a broad artifacts and their own role in overview of best practices for caring for these materials. working with archaeological and ethnographic artifacts. It is hoped heritage workers will Who is this booklet apply this information in their written for? workplaces and use it to educate others. This booklet was written specifically for heritage workers in Nunavut. A heritage worker can include:

3 Explaning this Guidebook

What will this booklet This booklet will address the talk about? following topics and questions:

This booklet will attempt to 1. Archaeological artifacts provide answers for some of and sites the more commonly asked questions about archaeological • What are archaeological artifacts and heritage centres artifacts and sites? in Nunavut. Heritage • What is the history of Inuit management is a job that people in Nunavut? often requires professional • How does archaeology equipment and highly trained uncover old artifacts? staff, and these resources • Are Nunavummiut allowed are not always available to to pick up and own old Nunavut heritage centres. This artifacts? booklet will attempt to explain how Nunavut’s guidelines for 2. Nunavut heritage centres heritage centres and artifacts can be followed in a way that • What are heritage centres, is realistic, given the training and what role do they play and resources available to most in Nunavut? heritage workers in Nunavut. • What heritage programs exist in Nunavut? • What equipment and supplies should heritage centres have?

4 Explaning this Guidebook

3. Artifacts and heritage How can this booklet be centres used?

• How are artifacts brought This booklet should be used into heritage centre only as a basic reference collections? guide. It often requires • Do heritage centres own both professional training artifacts? and practical experience to • How does a heritage centre’s understand how artifacts are environment affect its to be cared for. The material in artifacts? this booklet is provided only • How should artifacts be as a broad overview of rules handled and stored in a and best practice guidelines heritage centre? to help heritage workers make • How are exhibits built from informed decisions about artifacts? artifacts and heritage. There will be many questions that this 4. Archives in Nunavut booklet is not able to answer. In case you do not find the • What is an archive? information you are looking • How should the information for, other resources are listed in in archives be shared with the back of the book. A section the public? titled ‘Notes and Comments’ • What environmental has been included at the back conditions are harmful to of this booklet for you to write archival materials? in additional helpful questions, resources and information for the benefit of future readers.

5 Inuit in the Canadian Arctic: An Overview

Have Inuit always lived “In the very first times in the Canadian Arctic? there was no light on earth. Everything was The origins of the Inuit people, in darkness, the lands as told through their legends, could not be seen, the belong to a time long ago when animals could not be animals, people and the Arctic seen. And still, both landscape were one. The first people and animals lived material evidence for Inuit on earth, but there was living in the Canadian Arctic no difference between has been dated by archaeologists them...They may have to around 1250 AD. These had different habits, early ancestors of the Inuit but all spoke the same are known as ‘Sivulliit,’ or ‘the tongue, lived in the same first ones.’ Archaeologists have named this group the ‘Thule,’ or kind of house, and spoke ‘Neo-Eskimo,’ people. Before and hunted in the same the arrival of the Thule, the way. That is the way they Canadian Arctic was inhabited lived here on earth in by various different cultural the very earliest times, groups who came and went times that no one can from the region starting around understand now.” 3000 B.C. While archaeologists call these early populations -From a story told to Knud ‘Paleo-Eskimo’ people, they Rasmussen in 1931 by also name and group them Naalungiaq, a Netsilingmiut according to the different ways man. in which they lived and the types of tools they used.

6 Inuit in the Canadian Arctic: An Overview

When Inuit entered the • The Thule were searching for Canadian Arctic, they likely new sources of metal, which overlapped with another was one of the most valuable cultural group known to Inuit as resources at that time; the ‘Tuniit’ and to archaeologists • The Thule were escaping as the ‘Dorset’ people. Inuit from negative social stories describe them as a race conditions in Alaska, which of very strong, yet shy, people included overpopulation and who hunted with massive warfare; strength and simple tools, and • The Thule were following made their buildings with large bowhead whale migrations boulders. What happened to that moved increasingly the Tuniit when the first Inuit eastward as the climate arrived is still not fully known. became warmer. Inuit have many stories about how the two groups interacted, Regardless of their reasons for but archaeologists have never moving, Thule people soon found any material evidence found themselves in a land very of the two groups meeting or different from the driftwood living together. It is still not and whale-rich coasts of Alaska. known why the Thule people migrated into the Canadian Arctic from their previous home in northern Alaska. Various theories have been suggested as to why the Thule would leave a familiar place for a new and relatively unknown land. These theories include:

7 Inuit in the Canadian Arctic: An Overview

How have Inuit people began adjusting their adjusted to the Arctic lifestyle. The High Arctic was abandoned, with populations environment? moving to less ice-locked locations. During winters, When the first Thule pioneers groups began to construct and arrived in the Canadian Arctic, live in snow houses on the sea they tried living in a similar way ice, which allowed them to to their Alaskan ancestors. They focus their diet around seal built large and elaborate winter hunting. In the summers, houses, the earliest of which had inland caribou hunting became kitchens as separate rooms so more popular. Settlement that food could be cooked over sizes became smaller and less an open fire. As in Alaska, their permanent than before so main food source continued groups could re-locate to be bowhead whales, which more often to harvest a wider they hunted in teams from a variety of animals. Life began to type of large boat known as change even more dramatically the ‘umiak.’ The skill, danger after 1500 A.D., and especially and large rewards in hunting after 1800 A.D. when explorers these animals gave them great and whalers from Europe began symbolism in Thule society and arriving in great numbers. rituals. By the late 1600s, Inuit had Around 1400 A.D., the climate abandoned many of their early began to cool again and the Thule ancestors’ ways of life. sea ice increased, resulting The practice of bowhead whale in fewer whales and creating and large sea mammal hunting more dangerous whale hunting decreased in most areas. Kayaks conditions. The Thule

8 Inuit in the Canadian Arctic: An Overview and umiaks became used more Learn more about for travel, fishing and hunting past cultures in the caribou in rivers. Technology also changed during this period. Arctic! Early Thule people had created Click on this icon at the ornate tools that were very task Arctic Peoples and specific. Over time, these Archaeology website. toolkits became less decorated, Connect to the site at and contained more broadly usable tools. As groups of Inuit www.ihti.ca adapted to different areas and environments across the Arctic, they became more diverse. Regional variations began appearing in tools, housing, language and clothing. These variations have been passed along through generations, and can still be seen among regional Inuit groups such as the Netsilingmiut, the Umingmaktuurmiut, and the Utkuhiksalingmiut.

9 Archaeology: Uncovering the Past

What is archaeology? archaeologists are able to better picture the lives of past people Archaeology is the study of and cultures. the human past. Archaeology often involves the collection Why is context and analysis of material objects, important? known as ‘artifacts,’ that people throughout history have left Context is one of the most behind. Artifacts can be as small important ideas to the practice as a single tool or as big as an of archaeology. Context refers entire house. Artifacts can also to the relationship that artifacts be materials such as animal have to each other and to the bones or landscapes that have environment in which they become altered by humans. are found. When doing an Sometimes these artifacts are excavation, archaeologists found on top of the ground, and carefully record the exact place other times archaeologists have where every artifact is found. to dig into, or ‘excavate,’ the This helps them understand ground to locate them. what was being done with an artifact before it fell to the A good way to understand ground. Finding a specific archaeology is through a tool in a pile of butchered comparison to puzzle solving. bones, for example, allows Archaeologists see the human archaeologists to see that the past as a big unfinished jigsaw tool might have been used as puzzle. Each artifact an part of the butchering process. archaeologist finds helps them Context allows archaeologists to fill in another piece of the to understand the relationships puzzle. As the puzzle fills in, between artifacts on the same

10 Archaeology: Uncovering the Past site, as well as how different archaeological sites are related to each other. When people Step 1: Forming Questions remove artifacts from the land without recording their precise The first step in archaeology is locations, artifacts lose all of to think up specific questions their contextual information about the past that can possibly and have less value for be answered by researching reconstructing what happened archaeological sites. Examples might include: in the past.

• How did people hunt How do archaeologists caribou 600 years ago? research the past? • How have people’s diets changed over the last one Archaeological projects can thousand years? • Why did people stop living draw on many different kinds of in a certain area? knowledge. Some archaeologists specialize in animal bones or Archaeological sites are rare old tools, while others examine and valuable resources that are DNA evidence, or compare old often only investigated once. It sites with written documents. is therefore important to have Some archaeologists only work a strong research question to under water. Regardless of what make sure that they are dug up type of artifact, time period, or for a good reason. culture archaeology focuses on, it usually employs a very similar research process:

11 Archaeology: Uncovering the Past

Step 2: Site Survey Step 3: Excavation When archaeologists have Excavation is the act of decided why they are going to digging up old sites to collect dig, they have to conduct a site information. This is done by survey to decide where they will carefully removing the dirt that be digging. A survey is usually covers the site and recording done by walking or flying over all of the artifacts, building a landscape to look for sites of a materials and leftovers from past particular place, time period or uses of that area. The position of culture relating to the research each artifact is carefully mapped question. In Nunavut, old sites to create context. Sometimes, like houses are often very visible different activities occurred at on top of the ground. Other the same place over time and types of sites remain buried, have left numerous layers of and must be searched for more remains. These layers, called carefully. ‘strata,’ often vary in their color and content, and also have to be recorded in maps. The position of layers and artifacts is often related to age: a tool found in a layer located deeper in the ground is likely older than a tool found on the surface.

12 Archaeology: Uncovering the Past

Step 4: Data Collection Step 6: Interpretation The word ‘data’ refers to When all the evidence from a information about any detail site is collected, organized and of an archaeological site catalogued, an archaeologist that helps archaeologists to will begin to develop a story better understand the past. about the past using these Archaeologists must collect as remains. As some data much of this information as will always be missing, it is possible during their excavations impossible to know if that to make sure their interpretation story actually represents what of the site is as well-informed really happened. The more as possible. The collection information and sources of archaeological data takes (such as oral history, written place through photographs, documents, and artifacts measurements, hand drawing from neighboring sites) an maps, and the analysis of archaeologist uses to develop artifacts, animal bones, soil the story, the more detailed and samples, and any other materials complete that story will be. found at the site.

Step 5: Analysis and Step 7: Publication Conservation The final step of an archaeology When an excavation is finished, project is to publish research all the collected artifacts results in a book, journal or and data are returned to the plain-language document workplace of the archaeologist for communities. This helps to be cleaned, studied and other people learn about the pieced back together. Many archaeology that took place and old artifacts are broken or fall the artifacts that were found. It apart easily because of their age. also gives other people a chance Conservation is the process of to add to, or disagree with, the repairing and stabilizing these story that the archaeologist is artifacts. putting forward about the past. Archaeological Artifacts and Nunavummiut

What is an the past; archaeological artifact? • Nunavut’s archaeological artifacts are properly recorded, so that An archaeological artifact information exists about is a human-made or altered what kind of artifacts have material object from the past. been discovered, and where Archaeological artifacts in those objects are stored; Nunavut can be found in • Archaeological artifacts do museums, on the land, and in not become the property personal and family collections. of individual people. While many Nunavummiut Archaeological artifacts can recognize archaeological in Nunavut are part of the artifacts as being old, few people Inuit cultural heritage and know what responsibilities should be made accessible they have to making sure that as learning tools to Inuit and these materials are protected non-Inuit alike. and properly cared for. The Government of Nunavut has created important guidelines What is considered to for how Nunavummiut should be an archaeological interact with archaeological artifact in Nunavut? artifacts to make sure that: Despite its name, an • The context of archaeological artifact does not archaeological artifacts is belong to archaeologists. The well preserved, so that both Government of Nunavut defines archaeologists and non- an archaeological artifact as: archaeologists can use them to build a better picture of

14 Archaeological Artifacts and Nunavummiut

“any tangible evidence Who owns and looks of human activity that after archaeological is more than 50 years old, in respect of which artifacts? an unbroken chain of possession or regular Inuit, as a collective group, own pattern of usage cannot the artifacts of their ancestors. be demonstrated” The Government of Nunavut and the Inuit Heritage Trust This means that an archaeological are responsible for managing artifact is: most of these artifacts on behalf of the Inuit people. • Any form of material object These organizations oversee the that has been used by collection, research and storage humans, not just old tools of all archaeological artifacts and old tent rings. Examples except for: of archaeological artifacts include clothing, inuksuit, • Public records; animal bones, and old • Artifacts in an area managed garbage dumps. by the Parks Canada Agency • An object that was made • Artifacts collected and more than 50 years ago. owned by museums or • An object that has not been individuals prior to 1993. inherited, or handed down through families or from Artifacts are often loaned to person to person. institutions outside of Nunavut • An object that is no longer such as universities and muse- being regularly used by ums because Nunavut has few Nunavummiut. facilities to store and look after its own artifacts.

15 Archaeological Artifacts and Nunavummiut

Archaeologists can not keep Archaeological collections and do not own the artifacts are usually stored in either they find during excavations, the Prince of Wales Northern but are allowed to borrow them Heritage Centre in Yellowknife, from Nunavut in order to study or the Canadian Museum of them. A loan agreement for History in Gatineau, Quebec. archaeological artifacts must If an archaeological collection be signed if they are borrowed comes from Inuit Owned longer than a year after they are Lands, the Inuit Heritage Trust collected. If the Government decides where it will be sent. of Nunavut and Inuit Heritage If an archaeological collection Trust both agree, an artifact comes from lands other than can be loaned to a museum or Inuit Owned Lands, then another institution for a long the Government of Nunavut period of time. decides where it will go.

Where do artifacts Artifacts collected from collected during archaeological investigations in Parks Canada protected excavations get sent? areas are stored in a specialized building in Winnipeg, Until Nunavut constructs Manitoba. The temperature and its own storage centre for humidity in this building is set archaeological collections from at levels which help to preserve the territory, archaeological very fragile artifacts. artifacts must be stored in museums and storage centres outside Nunavut.

16 Archaeological Artifacts and Nunavummiut

In some cases, an archaeologist Can found artifacts be will need some or all of the artifacts, animal remains sold? and original documentation from their project for It is illegal for anybody to sell an continued research or to write archaeological artifact that was publications. In such a case, an removed from an archaeological archaeologist has to arrange an site on or after June 15, 2001. agreement to loan these artifacts While it is legal to sell artifacts from the storage facility that has found before this date, it is been chosen by either the Inuit illegal to take artifacts from an Heritage Trust or Government archaeological site. of Nunavut. If someone wants to send an

Can found artifacts be artifact outside Canada for any kept? reason, including its sale, a special permit must be obtained Archaeological artifacts should under the terms of Canada’s always be left undisturbed Cultural Property Export and when they are found. When Import Act. More information an artifact is moved it loses its on the Act and on the steps to context, or relationship with the apply for a permit can be found place where it was left by past by going to the Department of generations. Lack of context Canadian Heritage website at makes an artifact’s history more www.pch.gc.ca, and searching difficult to understand. The on Movable Cultural Property rules in Nunavut do not allow Program. for a found artifact to be taken home by Inuit or non-Inuit.

17 Archaeological Artifacts and Nunavummiut

What should I do if I find an archaeological artifact, or have artifacts at home?

Old artifacts should always be left undisturbed if they are found on the land. Sometimes artifacts were collected by people who did not know they should leave them on the ground. Often these are handed down through friends and families. The best thing to do with these objects is to keep them in a way that makes sure that they are both respected and safe. What the rules in Nunavut try to prevent is the continued removal of artifacts from the land. If you have questions about any artifact at your house, you can ask about it at a local heritage center or museum, or see if local elders know more information about it.

18 Archaeological Sites and Nunavummiut

What is an Nunavummiut and other people without permits should not: archaeological site? • Dig up old antler and bone An archaeological site is any site from archaeological sites; where an archaeological artifact • Remove artifacts they find at is found. A site can be as big as archaeological sites; a whole ancient campground, • Remove stones from old tent or as small as a scattering of old rings, inuksuit and other antler flakes from somebody structures. making a tool hundreds of years ago. Archaeological sites Many modern camping spots, in Nunavut are not only areas cabins and outpost camps formerly used by Inuit people, are near archaeological sites, but can include areas with non- and these sites can become Inuit artifacts such as explorers’ threatened by modern camp cairns and trading post goods. activities. It is recommended that camp residents take Who is allowed to extra consideration of not excavate or alter an accidentally disturbing or archaeological site? damaging their archaeological heritage. If you go to a camp No one is allowed to or cabin and you come across excavate, alter or disturb an archaeological evidence nearby, archaeological site unless they please contact IHT for advice have a permit issued by the on how to manage your camp Nunavut Government or Parks activities without threatening Canada that allows them to do any old structures or artifacts. so. This means that

19 Archaeological Sites and Nunavummiut

What permits are present at the site. A Class needed to document and 1 permit does not allow artifacts to be collected or excavate archaeological sites to be dug, altered or sites? disturbed any way. This type of permit is also required by Before anyone is allowed to cruise ship operators who alter or remove items from an want to have tourists visit archaeological site in Nunavut archaeological sites. they must get permission from • A Class 2 permit can only be Nunavut authorities in the form applied for by professional of a permit. In most cases, the archaeologists. This permit permit process is overseen by allows archaeologists to the Department of Culture and document artifacts and Heritage, the Inuit Heritage archaeological sites, as well Trust and Parks Canada. There as excavate and remove are two different types of permit artifacts and other materials that can be applied for: for research purposes.

• A Class 1 permit allows Archaeologists who want to someone to document do surveys, inventories or an archaeological site excavation in areas managed for research purposes. by Parks Canada must obtain Documentation might a Parks Canada permit, include preparing a map instead of the permit from the of a site, recording a site’s Government of Nunavut. The geographic location, or archaeologist must submit an writing down the number application through the Parks and type of different features Canada on-line Research and

20 Archaeological Sites and Nunavummiut

Collection Permit System. been fully excavated and Parks Canada permits do not restored, it is still considered an distinguish between different archaeological site, and a Class 2 classes of archaeological work, permit is needed by anyone who but allow for the same kinds of wishes to dig there again. research activities as permits from the Government of What happens Nunavut. They are also very if development and similar to Nunavut permits in their requirements for the construction projects analysis and care of collected take place near artifacts after the archaeology archaeological sites? project is completed. There are many forms of What happens to an development that can endanger archaeological site when archaeological sites. These an excavation is finished? include: • Projects that cut lines When an archaeologist through the landscape, such is finished excavating an as the building of roads, archaeological site, they have winter roads, and pipelines. to restore it as close as possible • Projects that take things to its original state. As part of from the ground, such as Class 2 permit applications, an mining, gravel removal, and archaeologist must specifically the creation of landfills. describe what measures will be taken to restore an excavated site. Even if a site has already

21 Archaeological Sites and Nunavummiut

• Projects that create heavy 2. A list is made of all the sites traffic on certain parts of the that might be changed or landscape, such as damaged if development recreational areas, takes place. It is the residential areas, and the use obligation of the developer of heritage sites in tourism. to hire and pay for a • Projects that establish qualified archaeologist to large scale camps and obtain a Class 1 permit infrastructure on the and perform this survey. landscape, such as oil, The developer will use mineral and gas exploration. the results of the survey to figure out costs and the Before a development project best way to proceed with even begins, there are several the development project. steps that a developer has to The number and type of follow in relation to the area’s recorded archaeology sites archaeological sites: are used to come up with an archaeological value that 1. Developers must have an decides what measures will initial heritage study done be taken to avoid and fully on the land where work is protect the sites, or lessen going to take place. This the amount of harm that study identifies the number development does to the of archaeological sites in sites. the area and the likelihood of it being an important archaeological area.

22 Archaeological Sites and Nunavummiut

3. A mitigation plan has to be Are Nunavummiut built between developers and the Department of allowed to harvest Culture and Heritage to bones and ivory from continue development in the archaeological sites to area. Options might include make carvings or protecting the area’s sites and relocating development, or artwork? excavating and recording the In Nunavut, digging up old sites and continuing with sites to remove items without development as planned. a permit is not allowed. Even if the whalebone and ivory 4. Over the course of found in old sites has not been construction, development carved or is not visibly altered, areas often have to be they are still considered to be monitored to make sure that archaeological artifacts. no new sites appear, and that known sites are being managed according to the mitigation plan.

23 Heritage Centres in Nunavut

What is a heritage Does Nunavut have a centre? territorial heritage centre? A heritage centre is a building or facility where community Nunavut does not currently members, tourists and students have a territorial museum or can come to get information heritage centre. The Nunavut about the culture and history Land Claims Agreement says of a certain place or group of that a special heritage facility people. Nunavut has a number should be built to conserve of heritage organizations that and manage archaeological are included until the title of collections from across heritage centres. These are: Nunavut. Such a heritage centre would be a permanent home • Community museums for these artifacts. Until such • Visitor centers a storage centre can be built, • National and territorial archaeological artifacts are kept parks visitor centers in facilities outside the territory. • Regional tourist facilities Nunavut does not currently • School museums have anywhere large enough, • Community and regional or with properly controlled archives environmental conditions, to store such a big collection of artifacts. The construction of a new territorial museum will happen when enough money can be raised to build a centre that meets professional museum standards.

24 Heritage Centres in Nunavut

What are some better understand how to do challenges facing their jobs. • A lack of core funding for heritage work in heritage organizations across Nunavut? the territory.

The field of heritage In 2005, the Inuit Heritage management has many Trust formally recognized challenges within the the above challenges in its territory of Nunavut. Despite Nunavut Heritage Sector Needs Nunavummiut being very Assessment report and has since interested in and knowledgeable been working on ways that these about Inuit history and culture, issues can be resolved. Nunavut still relies on trained professionals from outside the What is the Nunavut territory to manage much of its heritage needs. This is largely Heritage Network? due to: The Nunavut Heritage Network (NHN) is a project managed • A lack of professionally by the Inuit Heritage Trust trained heritage staff in that seeks to increase local Nunavut; participation and training in • A lack of communication Nunavut’s heritage sector. The networks between cultural program is designed to bring and heritage organizations together heritage interest across the territory; groups from across Nunavut • A lack of resources and by creating a strong support best-practices guides to help network through which untrained heritage workers conversations about

25 Heritage Centres in Nunavut education, training and best The NHN regularly issues an practice guidelines for heritage on-line newsletter dedicated to issues can take place. There culture and heritage issues in are currently about 60 different Nunavut and the rest of Canada. individuals and groups taking If you would like to be put on the part in the network. The NHN’s mailing list for this newsletter ultimate goal is to strengthen please contact the Inuit Heritage local heritage organizations and Trust. showcase Nunavut’s heritage to the world. In doing this, the What programs does NHN seeks to: the Inuit Heritage Trust • Be inclusive of the heritage of offer to support heritage all Nunavummiut; training? • Recognize the role that elders and contemporary The Inuit Heritage Trust people play in shaping the offers the following programs future of Nunavut’s heritage; to increase Nunavummiut • Assist and support Nunavut involvement in the management Heritage organizations in of Nunavut’s heritage: achieving their goals; • Respect communities’ desire 1. Professional development is to reflect their heritage in a essential for northern heritage way they see fit; workers to update and upgrade • Advocate the social and their knowledge of best economic importance of practices in the field of their investing in Nunavut’s profession. IHT is dedicated heritage. to regularly offer training opportunities such

26 Heritage Centres in Nunavut as essentials in conservation, 5. Every year one or several cultural heritage interpretation, heritage institutions in Nunavut and specific community are given the opportunity to outreach programs. Updates on apply for a conservator fly-in upcoming training initiatives visit. The conservator will do a can be found on our website. multi-day site visit to assess the heritage facility, its collections 2. The Heritage Leadership management plan and either the Program awards $3000 per year entire, or parts of, its material to up to 3 beneficiaries who collection. During the visit the are taking at least 60% of their conservator will work with staff secondary education courses at the heritage centre on a one- in heritage or who are aiming on-one bases to help them learn for an academic graduation key principles of conservation (bachelor, master, Ph.D) in any and care regarding the centre’s kind of heritage studies. collection. The project also includes the development of 4. The Mentorship Program is a report by the conservator to specifically aimed at connecting point out areas that require youth who are interested in improvement at the facility, and archaeology with current recommend treatment options archaeology projects occurring for at-risk artifacts. in the territory. The program helps to make the connection between the youth and the project and provides up to $3,000 per student to cover costs such as transportation, wages, and food.

27 Artifacts and Heritage Centres

What kind of artifacts Unlike archaeological artifacts, ethnographic artifacts can be are found in heritage owned by individual people and centres? museums. Special laws have been put in place that allow the Inuit The term ‘artifact’ references any Heritage Trust to request the object made by a human being, return of ethnographic artifacts and is usually an item of cultural from museum collections outside or historical interest. An artifact Nunavut. Both archaeological can be made from many different and ethnographic artifacts kinds of materials and can serve are considered important for many different purposes. When understanding the culture of the dealing with Inuit cultural people who made them. artifacts, two basic categories apply: Can heritage centres • Archaeological artifacts are keep and display objects made, modified or artifacts found during used more than 50 years ago local archaeological by human populations. • Ethnographic artifacts excavations? are also made by humans, but during a more recent Archaeologists are sometimes time period. Examples of asked to return excavated an ethnographic artifact artifacts directly to the might include a homemade community closest to where tool or parka, a soapstone they were found. Archaeologists, carving, or a modern sled. however, are not allowed to An ethnographic artifact in choose where the artifacts go and Nunavut can be made by must follow regulations by Inuit or non-Inuit.

28 Artifacts and Heritage Centres storing the items at the Prince of 1. Donations Wales Northern Heritage Receiving donations is the most Centre, the Canadian Museum common way for heritage centres of History, or at a Parks Canada to acquire new artifacts. Many facility. If a Nunavut museum Nunavummiut have collections or heritage centre would like to of old belongings that they would obtain archaeological artifacts like to put in a place where they for their collections, they can will be kept safe and accessible arrange to loan them or have to the community. While this them permanently transferred method allows collections to be from one of these storage centres. brought together without much In some cases, these facilities will cost, it also means that museums cast replicas of archaeological have less control over the types of artifacts and send them instead of artifacts in their collections. the original artifacts. 2. Loans Where do heritage Many heritage centres in centres get the artifacts Nunavut rely on artifact loans from other museums and in their collections? institutions. This allows Nunavut heritage centres without much There are four main ways that funding to build large and artifacts are brought into a interesting collections of relevant museum or heritage centre artifacts. Loans can either be collection: made as short or long term agreements, and often require that the borrowing heritage centre regularly monitors and reports on the state of the objects.

29 Artifacts and Heritage Centres

3. Purchasing involve the public in learning Another way that artifacts are about cultural activities and acquired is through purchase. sharing their stories and Buying an object from a private knowledge about art and seller allows a museum to choose technology making. exactly what it wants for its collection. Buying artifacts for a How does a heritage collection, however, can also be a very costly process. Purchasing centre decide which old artifacts in Nunavut is not artifacts to accept into recommended, in order to its collection? discourage people from illegally collecting old artifacts they find Many heritage centres have on the land with the intention something called a ‘collection of selling them for profit. If an policy,’ that helps them decide artifact is bought for a collection, what new artifacts they will the purchaser should know as accept into their collection. A much as possible about when and collection policy outlines specific where it came from. themes that define a heritage centre’s collection, and which 4. Production artifacts might best match these A final way that heritage themes. Specific collection centres acquire artifacts is by themes in Nunavut might making them. Artifacts created include: during land camps, traditional knowledge workshops, and • Items from only a single geo- community projects are great graphic region (ie. Kitikmeot sources for public exhibits and or North Baffin); displays. Making artifacts for a • Items from only a single cul- collection is a great way to tural sub-group (ie. Copper

30 Artifacts and Heritage Centres

Inuit, European explorers, region and time period? Baffin Inuit); • Will the museum be able to • Items from only a particular store, display, and take care of time period (ie. modern the work safely? Inuit art, pre-contact Inuit • Are there any restrictions artifacts). placed on the gift? (In general, the museum cannot Museums usually establish a accept conditions imposed fixed procedure for deciding by the donor: for example, if new items line up with the a request that the object be collections policy and should be always on display. accepted into their collections. This might involve either the Once a new artifact is added person responsible for managing to a collection, it becomes very collections deciding the item difficult to remove it from that should be acquired, or might collection. A decision-making require a decision by an entire process similar to acquiring board of people. The following new objects must be used. Some questions can be asked to help reasons that an artifact might decide if a new artifact should be be removed from the collection added to the collection: include:

• How does the work of art • An artifact is no longer relate to the Museum’s relevant to the theme of the mission and to objects already collection; in the collection? • The cost of storage or • What is the quality and conservation for the artifact condition of the work, is too high, or there is limited especially in comparison to storage space; other works of the same

31 Artifacts and Heritage Centres

• There are multiple similar • They can be exchanged with artifacts in the collection, or a other heritage centres and replacement artifact in better museums for other artifacts condition has been found; that are needed in your • The artifact has deteriorated collection; too much; • They can be used for • The documentation education and research accompanying the artifact has purposes in school programs, been lost or ruined. hands-on demonstrations, and analytical tests where When artifacts are removed there is a chance that artifacts from a heritage centre collection will be damaged or destroyed. it does not mean that they have to be thrown away. Destruction of an artifact should only occur How are gifts and loans if the artifact becomes hazardous of artifacts accepted by to people’s health, a risk to other heritage centres? artifacts and collections, or has become damaged or deteriorated Gifts and loans are the most beyond repair. Here are some common ways for heritage options for what to do with centres to acquire artifacts, artifacts or artifact collections and there is a set process for no longer wanted by a heritage accepting them. For legal and centre: documentary purposes, a form • They can be donated to must be filled out each time a another institution such as a heritage centre receive gifts and museum, school or cultural loans. Templates for each can be organization. This helps found on the following page. keeps the material accessible to the public for educational purposes;

32 Artifacts and Heritage Centres

Deed of Gift no standardized form for loan A Deed of Gift form is issued agreements, but the document when an artifact is officially must make sure that both parties accepted into a heritage centre. It agree on certain conditions is a legal document that transfers before the exchange of an ownership of the material from artifact takes place. Important the donor to the heritage centre. information to write into a loan This document must be signed agreement includes: and dated by both the artifact’s owner and an authorized • A description of the object’s heritage worker. After a gift form history and physical is signed, the artifact belongs appearance (including a entirely to the heritage centre and photograph); can not be requested back by its • The condition of an artifact is original owner. Unless specific before it is loaned out; conditions are written into a • How the artifact is to be deed of gift agreement, a heritage stored and displayed by the centre is allowed to store, display, institution borrowing it; or get rid of the gifted artifact as • How long a loan will take they see fit. place, including beginning and end dates. Loan Agreement When an artifact is loaned to a The length of a loan can vary. heritage centre, it means that its Artifacts can be loaned for short- original owners have the right to term exhibits. In some cases, take it back at some point in the what is called a long-term loan is future. Museums and heritage arranged for artifacts. This means centres often loan each other that the artifact remains the artifacts for exhibits, but loans property of the original owner, can also come from people’s but can be used by a museum for private collections. There is extended periods of time.

33 Sample Heritage Centre Loan Agreement Form

LOAN AGREEMENT

1. Lender’s name and address: 2. Borrower’s name and address: 3. Loaned Artifact description: • Artifact name type and origin • Artifact materials • Artifact dimensions • Artifact appearance/colour (include photo) • Condition of artifact before loan • Artifact catalogue number • Insurance Value 4. Costs: • Insurance? • Loan fee? • Shipping fees? • Administration fees? 5. Duration of Loan: 6. Reason for Loan: 7. How will the loan be acknowledge in display or published images of the artifact?: 8. Special requirements or loan conditions: • Staff monitoring of artifact conditions? • Staff monitoring of artifact environment? • Special display requirements? • Special shipping requirements? • Special storage requirements? 9. Artifact pick up and Return Address:

Lender’s name ______Borrower’s name ______

Date ______Date ______

Lender’s signature ______Borrower’s signature ______

34 Sample Heritage Centre Deed of Gift Form

(INSERT YOUR CENTRE’S NAME) (Insert your centres’ address, phone number, and other contact information)

DEED OF GIFT

(INSERT YOU CENTRE’S NAME) gratefully acknowledges the gift of the material described below, and wishes to thank ______(Name of Donor) for this valued addition to the collections of the Heritage Centre.

Description:

Conditions of deposit:

It is understood and agreed that the materials donated shall become the exclusive and absolute property of (INSERT YOUR CENTRE’S NAME). This property will be handled according to the procedures established in (INSERT YOUR CENTRE’S NAME) policy.

______(Date) ______(Signature of Donor)

Accepted on behalf of (INSERT YOUR CENTRE’S NAME): ______(Date) ______(Signature of authorized heritage centre worker)

35 Caring for Collections: Creating the Right Environment

How does a heritage are expensive to create, heritage workers should focus on simply centre’s environment monitoring environmental effect its artifacts? conditions and trying to make sure they change or fluctuate as Creating a proper environment little as possible. for museum artifacts is always a challenge. Even in best-case What role does scenarios, temperature, light, and humidity all combine to weaken temperature play material artifacts. Nunavut’s in artifact deterioration? extreme climate, extended periods of sunlight, and very dry A steady room temperature air make it even more difficult to is essential for heritage ensure that artifacts stay in good centres. Extreme hot or cold condition. temperatures or extreme changes in temperature in a building The following section will can damage the materials being describe environmental agents stored there. It is generally that cause artifacts to break suggested that heritage centre down. These agents affect temperatures should be kept artifacts whether they are on around 19.5 degrees Celscius or display in exhibit cases, or are 67 degrees Farenheit. in storage in a collections room. Unless an environmentally- Temperature affects artifacts in controlled case or room is built a various ways. Higher tempera- for artifacts, they will remain tures cause chemical reactions vulnerable to environmental and biological activity to in- extremes and changes. As crease. This can cause mold to specially controlled conditions grow and spread, and organic

36 Caring for Collections: Creating the Right Environment artifacts to lose their color, melt, an enclosed space, the RH goes and disintegrate more quickly. up; when temperature goes At lower temperatures, materi- down, the RH goes down. als begin to dry out too much Generally, a safe humidity level causing paint to crack, leather to for artifacts is considered to be tighten and break, and glues to between 45-60 % RH. come apart. Like temperature, relative Abrupt changes in the humidity can have a strong temperature of a heritage impact on the condition of centre should also be avoided. artifacts. When RH levels Fluctuating temperatures cause are too high, certain artifacts the materials in artifacts to become saturated with water and expand and shrink quickly, begin to swell and expand. With making them brittle and more a high RH, wood and ivory begin likely to break apart. If objects to warp, and skins and canvasses are stored outside or in freezers, can lose their tightness and go repeated freezing and thawing slack. A high RH can also cause should be avoided. metals to rust and fabric dyes to fade or run. When humidity

What role does levels are low, it means that there is less water in the air. Low RH humidity play in artifact levels cause objects like wood and deterioration? ivory to dry out, shrink, warp and crack. Other items such as Relative humidity (often called photographs and leather become RH) refers to the level of water very brittle and break apart more vapour that is in the air. RH is easily. As with temperature, usually related to temperature. extreme changes in RH makes When the temperature goes up in artifacts deteriorate due to repeated swelling and shrinking.

37 Caring for Collections: Creating the Right Environment

What role does light • Reducing the amount of light around the artifact by play in artifact removing objects from direct deterioration? sunlight or windows, or by reducing the amount and Over time, light causes multiple wattage of light in the room physical and chemical changes in where the artifacts are objects, and can make them kept. In the case of extremely fade, become brittle and yellow. light-sensitive objects, UV- The effects of light deterioration filter glass can be used on an become worse when an object exhibit case to minimize the is exposed to higher levels of harm of light. light. A 100-watt light bulb for • Reducing the exposure time example, will cause twice as of an artifact. This can be much damage as a 40-watt bulb done by lessening the amount in the same amount of time. An of time that artifacts are old photograph put on exhibit for exposed to light. This can six months will fade about half as include putting artifacts much as it would if put on exhibit on exhibit for less time, or for an entire year. Direct sunlight storing artifacts in boxes or in is a particularly strong source of a completely dark space. artifact deterioration because it contains UV rays. Light damage How can insects and to an artifact is cumulative and can not be reversed. Ways that infestations of artifacts heritage workers can minimize be prevented? the amount of damage light causes to an artifact include: Even though insects are generally not an issue in Nunavut, heritage workers should still be careful to

38 Caring for Collections: Creating the Right Environment prevent infestations in their Many of these tools, like collections. The biggest risk thermometers and hygrometers, to artifacts occurs when new only measure present artifacts are accepted into a environmental conditions. The collection. Organic artifacts information they give should be such as fur, hide, skin and noted down on a regular basis so feathers can sometimes be that fluctuations can be observed. carrying small insects that For example, if a thermometer can spread to the rest of the gives a reading of 20 degrees one collection. New organic artifacts week, 23 degrees the next, and should be placed in the freezer 25 degrees the following week, it or in sealed plastic bags for about is clear that something will have a week before bringing them to be done to bring the building’s into a collection or storing them temperature back down to safer alongside other artifacts. levels. Another way to monitor heritage centre collections is to

Should a heritage routinely check the condition of the artifacts themselves. A centre environment be picture and description of an monitored? artifact‘s condition is usually obtained for every new artifact Monitoring the environment that enters a collection. This of a heritage centre is essential photo and description should to artifact preservation. Long- be compared to the physical term monitoring helps people artifact on a regular basis to make track temperature, humidity and sure colours have not faded, light so that they can maintain or that new cracks or warping optimal conditions and correct have not occurred. This form of any fluctuations from these monitoring is often mandatory conditions. There are a variety of for artifacts on loan from other tools to help with this process. heritage centres.

39 Caring for Collections: Archaeological Artifacts

How do the materials metals, ceramics, glass, and used to make an artifact some pigments. affect its care? 3. Composite Artifacts Composite objects are made up When caring for and storing of two or more different kinds archaeological artifacts, it is of materials and can include important to first understand both organic and inorganic what materials the artifacts are parts. A traditional Inuit made out of. This will help to harpoon, for example, might decide the best way to store, contain antler (the harpoon display and handle the artifacts. head), stone (the harpoon There are three basic categories blade), animal skin (the of artifact materials: harpoon line) and wood (the harpoon shaft). 1. Organic Artifacts Organic artifacts come from Each of these material types has things that were once living, specific physical characteristics such as animals and plants, and that affect how artifacts can include various material should be handled, stored, types such as wood, paper, and displayed. Inorganic textiles, leather and skins, shells, materials such as stone, brick horn, bone, ivory and grasses. or pottery are usually stable and can handle big fluctuations 2. Inorganic Artifacts in temperature and humidity Inorganic objects come from without being damaged. things that have never lived, Organic materials such as such as stones , minerals, leather and bone, and composite artifacts made of both organic

40 Caring for Collections: Archaeological Artifacts and inorganic materials, down in their new environment, are much more sensitive to becoming very fragile. Before temperature and humidity. picking up an archaeological This is especially the case with artifact, or any other type of composite artifacts, as their artifact in a museum setting, different materials will react take some time to consider the to environmental conditions following questions: in different ways, or even react against each other, creating • Does the artifact absolutely physical stress and chemical have to be moved? interactions that speed up • Am I qualified to move this artifacts’ deterioration. artifact, or should someone with more experience do it?

How should artifacts be • Has the artifact been handled and moved? damaged in the past, or does it have any loose pieces or fragile surfaces that might Most artifacts in heritage come off easily? centres become damaged • Is there any equipment I can because they are not handled use (such as a cart or tray) or moved in a proper way. that will make moving the This is especially the case with artifact easier? archaeological artifacts. When • Is the route to where I want archaeological objects are first to bring the artifact clear uncovered in the Arctic, they and easy to navigate? often appear to be strong and in • Is this artifact too big or good shape due to having been too heavy for one person to frozen in the permafrost. When handle? artifacts are removed from the • Am I moving the artifact to ground, they begin to break a safe storage space?

41 Caring for Collections: Archaeological Artifacts

If an artifact is deemed safe straight up, and put it down to move, these best practices the same way. should be followed when transporting it: When transporting artifacts accidents sometime happen. If • Don’t wear anything (such you think an artifact might have as jewelry, rings, a watch been broken or damaged during or a belt buckle) that a move, report the damage on might damage artifacts by its condition sheet and notify scratching or catching on a heritage worker who is able their surface; to arrange for the artifact to • Closely examine an artifact be properly re-assembled or before picking it up and ask repaired. yourself where it is most

fragile; How should artifacts be • Use both hands to pick up labelled? an artifact; • Wear white cotton gloves When a new artifact is when lifting artifacts. If introduced into a museum artifacts are slippery, wear collection, it should be labelled plastic or latex gloves instead with a unique ‘accession’ or of cotton; ‘inventory’ number. This • Never walk backwards while number helps keep track of carrying an artifact. Always information that is linked to make sure you can see the an artifact. By knowing an path ahead of you; artifact’s accession number, one • Never slide an artifact along can connect it to documents a surface as it might become describing its history, condition, scratched. Pick an artifact previous owners, and

42 Caring for Collections: Archaeological Artifacts designated place in a museum, made from and its physical because those documents are all properties: titled with the same number. • For hard, non-porous Labelling is an important way to artifacts (ie. glass, glazed keep basic information attached pottery, metal) and hard, to an artifact. Without labels, porous artifacts (ie. bone, artifacts can easily become lost wood, ivory), labels should within a museum collection. be written onto a coat of There are two main ways that clear lacquer painted on the labels can be attached to an artifact’s surface.This helps artifact: protect the artifact’s surface and means the label can • Direct labels, which are ap- be removed in the future. plied directly onto an arti- Once a label is written onto fact as writing or a label; lacquer, a second coat of • Indirect labels, which are lacquer can be painted over written on another form of the label to protect it from material (such as a tag) and rubbing off. Labels can also loosely attached to, or placed be written on a small piece near, an artifact. Indirect of paper and applied with labelling should be used on lacquer to an artifact; artifacts that are on loan • For paper surfaces (ie. from other collections. books, prints, photographs), a label should be written When deciding which type of directly onto the paper with label to use on an artifact, you a soft pencil that can easily should pay close attention to be erased; the material the artifact is

43 Caring for Collections: Archaeological Artifacts

• For textile surfaces (ie. • Will the type of label I am clothing, wall hangings, adding come off too easily if hides), labels should be the artifact is moved? written onto cloth strips and sewn onto the object using The next step for labelling is to only a few stitches. choose a good position on the artifact: Attention should also be paid to the materials that the labels are • Try to put a label in a made from. Use only acid-free, slightly hidden place, or museum quality labels if they somewhere that will not are going to be in contact with easily stand out if the artifact artifacts. Museum quality labels is displayed; are made from materials that • Avoid placing labels on the will not chemically react with bottom of heavy or large ar- artifacts, causing them to stain tifacts or in areas where they or fade. Labels should also have might be easily scratched or no metal or sharp pieces that rubbed off; could scratch an artifact. Before • Avoid placing labels on applying labels to an artifact, or near fragile areas of an ask yourself : artifact; • Avoid placing labels in areas • Do any other labels exist that cover up important on this artifact? (if so, these designs, features, or artist should always be left on, and signatures on an artifact; a new indirect label added); • When possible, put labels in • Can the type of label the same place on similar I am adding be easily artifacts so that they can be removed from the artifact if easily found; necessary?

44 Caring for Collections: Archaeological Artifacts

• If an artifact consists of causing them more harm than many different pieces, make good. Unless you have received sure that each of the pieces specific training in cleaning has its own label. and fixing artifacts, it is best to avoid any form of treatment that Should I try to fix and might risk damaging an artifact. clean an archaeological artifact myself? How are artifacts shipped by mail? Archaeological research in Nunavut requires that Shipping artifacts is a common most significant artifacts are practice at heritage centres. looked at by a professional Artifacts must be shipped to conservator before they are put and from other collections into storage. Because of this, for loans, and sometimes to archaeological artifacts have to conservators for repair. If an be cleaned and stabilized before artifact is not packed properly they are loaned to a heritage for shipment, it can be damaged centre. In situations where by sudden humidity and this is not possible, cleaning temperature changes, or by of archaeological artifacts being mishandled, bumped or should be kept to a minimum. dropped during travel. Theft is The cleaning process may also sometimes an issue. The destroy important details and best way to learn how to pack information that exist on the artifacts is by watching another outer layers of an artifact. Many heritage worker who knows how cleaning products will also to do it. If that is not possible, chemically react with artifacts, here are a set of steps to follow:

45 Caring for Collections: Archaeological Artifacts

1. Examine the artifact for 4. When wrapping and placing places that are fragile or that an artifact in the box, try to: have already been broken • Place the heaviest part or repaired. Write up a of the artifact low and condition report about the close to the center of the object, with photos and a container. description of how it looks • Take artifacts with many before shipping. pieces apart and wrap 2. Select your packing each separately. materials carefully. Certain • Provide extra support for materials might scratch heavy parts of an artifact. or chemically react with • Only pack artifacts of artifacts. Try to use only similar weight together acid-free paper and tissues in the same container. for wrapping an object. • Fill empty space inside Cushioning materials such the box with cushioning as bubble-wrap or foam or extra padding. should be added to the 5. When labelling a box for artifact to prevent it from shipping always: bumps and shocks. • Print the recipient’s 3. Select a shipping box name and address in or container. The best clear handwriting and in containers are made from permanent ink; materials such as metal, • Write the address both wood, cardboard, fiberglass, on and inside the box in and strong plastic. Ideally case the address on the these containers should be box’s wrapping gets torn. able to withstand punctures, light, water and shocks.

46 Caring for Collections: Archaeological Artifacts

A visual guide to labels

1. Direct labels are drawn or pasted onto a less visible part of an artifact using a coat of lacquer to protect 1. the artifact surface. 2. Indirect labels attach to artifacts with a string, and are used when an artifact’s surface is too fragile for direct labels or when an artifact is on loan. 3.Textile tape is made from materials that don’t chemically 2. interact with textile dyes. 4. Labels written on textile tape should be sewn onto a less visible area of a textile using several small stitches. 4. 3.

47 Caring for Collections: Archaeological Artifacts

A visual guide to handling and moving artifacts

1. 1. Always use gloves to directly handle artifacts. Use both hands 2. to carry an artifact to make the process of transporting it safer. 2.If you want to transport numerous artifacts, use a carrier that keeps the artifacts cushioned and separated from one another. This will prevent them from bumping and scraping. 3. When handling artifacts that are fragile or made of numerous pieces, use one hand to support the most at-risk area. This 3. will make sure that the pieces sticking out do not bump against anything or collapse under their own weight. 4. If an item is too big or heavy to transport comfortably, use a rolling cart to move it. Place artifacts on the cart inside a box or in such a way that they will not easily fall off during turns. 4.

48 Caring for Collections: Archaeological Artifacts

A visual guide to packaging artifacts for shipment

1. Examine an artifact closely for fragile areas or breaks that might affect how it is shipped. Take a picture of its condition before 1. being shipped. 2. Using foam and tissue, provide extra cushioning on parts of an artifact that are thin or fragile. 3. Wrap the entire artifact in several layers of foam or bubblewrap, cushioning its entire surface. 4. Place the wrapped artifact in a padded box. Fill empty spaces in the box with foam pieces to 2. prevent movement.

3.

4.

49 Caring for Collections: Archaeological Artifacts

What kind of storage do to make sure a storage space space is needed to house is as safe as possible: artifacts? • Use an indoor space that has no windows or natural light, Heritage centres should have a and that is not vulnerable space reserved only for storing to big fluctuations in artifacts that are not on display. temperature or humidity; Storing artifacts in a space • Make sure that shelving in shared by other activities (such the space is sturdy and made as research or office space) of materials that will not increases the likelihood of harm the artifacts; accidents, theft and artifact • Make sure that there is deterioration. The room chosen enough room for both the to store artifacts should either artifacts presently in your be designed specifically for that collection, and artifacts that purpose, or should be re-fitted might be there in the future; with equipment and shelving to • Make sure the space and provide more security for the doorways in the room allow artifact collection. for artifacts to be brought in and out easily. Leave enough Ideally, storage rooms should room between shelving be sealed and regulated aisles so that artifacts can be environments that keep artifacts put in and taken out with no at optimum temperature and problems; humidity levels. Environmental • A storage space must be control is expensive and not secure against the possibility always possible in Nunavut, but of theft. Entrances to the these are a few things you can room should always be

50 Caring for Collections: Archaeological Artifacts

locked, and only trained by at least four inches. This heritage centre staff should will prevent damage from have the keys. flooding, and allow dirt and dust to be removed from the How should artifacts floor beneath the artifacts; be stored inside a storage • Foam padding should be used as a buffer between room? artifacts and shelving; • Accessibility is a key issue. Choosing proper storage Find equipment that opens materials and equipment is and closes easily, and does essential because they will be in not have pieces that will direct contact with artifacts for break off or catch when long periods of time and can an artifact is placed in or possibly cause them harm. Try removed from it. Do not use to follow these guidelines when equipment that is too high choosing storage equipment: or dangerous to reach.

• Make sure all boxes, pad- Different artifacts require ding, foam and paper used different methods of storage to wrap artifacts is museum depending on their size, shape quality and acid-free; and material make-up. Here • If made of metal, make sure are a few basic rules for storing the storage equipment has different artifacts: no rust or paint that can transfer onto artifacts; • Find cabinets and shelves • Make sure that storage that will fit different sizes equipment is built so as to and shapes of artifacts. Long raise artifacts off the ground flat drawers should be used

51 Caring for Collections: Archaeological Artifacts

for maps and prints, and A visual guide to open shelving can be used for larger artifacts; archive tools • Small artifacts should be 1. Large wall hangings and stored so that they do not tapestries are best stored as rolls. bump into one another or Roll with the back of the textile roll when a box is moved or facing upwards around an acid- a drawer is opened; free tube. A textile shelf can be • Foam supports should be used to store rolled textiles. built to help protect and 2. A simple thermometer and hy- hold up more fragile parts grometer can be used to monitor of artifacts. environmental conditions inside sealed exhibit cases and artifact storage rooms. 3. A horizontal storage shelf can be used to store large flat items such as maps, prints, photographs, and textiles. 4. Artifact boxes come in various shapes and sizes. Make sure that they are made of acid-free ma- terials that will not harm their contents. 5. Artifact boxes can be purchased with interior dividers to hold and cushion small artifacts during storage or transport. Never place multiple artifacts loose in a box if there is any chance of them moving or colliding.

52 Caring for Collections: Archaeological Artifacts

1. 4.

2. 5.

3.

53 Archives and Archive Materials

What is an archive? What materials are found in an archive? An archive is a space that is used to store information and The materials stored in an records related to a particular archive are variously referred organization, cultural group, to as ‘records’ or ‘documents.’ community, or geographic Archives contain both published area. Like museums and and unpublished records in libraries, an archive’s purpose different formats that include: is to keep collections in such a way that they can be both • Text-based records (ie. safe and made available to the manuscripts, letters, general public. While archives rare books, diaries, old sometimes collect artifacts and newspapers, and reports); books, they tend to focus on • Image-based records written documents that contain (ie, photographs, slides, particularly important or hard drawings, artworks, and to find information. Archives blueprints); also collect materials that are • Moving image-based very unique, rare, or one-of-a- records (ie. old film reels, kind. home video recordings, and DVDs); While archaeological artifacts • Audio-based records (ie. are not usually stored in interviews, oral history archives, records produced tapes, musical recordings, through archaeological tapes, and records); fieldwork such as field notes, • Physical records (ie. photographs, maps, and digital historical tools, artifacts documents are often kept there. formerly owned by famous

54 Archives and Archive Materials

people, and equipment • Who or where a record needed to watch or listen to came from; old recordings). • Whether or not there are any restrictions on a record;

How do I find out what • Where in the archives a records are in an specific record can be found. archive’s collection? This information helps both archivists and people wanting One of the primary purposes of to use the archives keep track of an archive is to promote public what and where specific records interest in a certain topic or exist in the collection. Archive research area. In order to build records should always be stored this public interest, archival in the same order so that they records have to be accessible can be found by reading the to the people wanting to learn location described under their from them. Artifacts are made catalogued number. accessible through a ‘catalogue,’ or ‘database,’ which is a detailed list of all the records contained How can archival in an archive. This list pairs records be shared with each record with a different the public? catalogue number, as well as a description of: Often, materials have specifically been placed in an • The format or material of the archive because they are fragile, record; rare, or one of a kind. Because • The information a record of this, certain rules have to be contains; placed on how the public uses them. Unlike a library, archival

55 Archives and Archive Materials records can not be checked out 2. Copies and Reproductions or loaned to the public. These Copies and reproductions allow are some other ways that the the public to get information public can gain access to archive from records without handling records without affecting their the original records. If a safety: material is considered too fragile for visitors to handle, a 1. Public Visits to Archives copy of part or all of the record People are allowed to visit can be made by archive staff. archives to look at original This might include taking documents or records under a photo of an object, using certain controlled conditions. a scanner to digitize an old This means they can look photograph, or photocopying at collections under the pages out of a book. This supervision of somebody allows the public to have their who knows how to handle own copy of the material the records properly. Often without putting the original at visitors to an archive will not risk. Visitors are sometimes be allowed to bring coats and allowed to take digital photos of bags with them while looking documents and photos that are at materials so that accidents too fragile to copy in any other and theft are less likely. If a way. document or record is fragile, it is recommended that visitors 3. Digital Collections wear clean white gloves when Many archives are beginning handling them. These will to digitize materials from usually be supplied by the their collections to make them archives. available on the Internet. Digitization means that

56 Archives and Archive Materials virtual copies of materials are 1. Copyright created by scanning records Copyright is a legal way of and uploading the scan onto a protecting the rights of an computer. This allows people to original author or creator of view materials without having materials. When a copyright to visit an archive in person. is placed on an idea, a piece of Often, digital catalogues are music, or a written material, the created on archives’ websites person holding the copyright that allow all digitized content can decide how the materials to be searched. Visitors to the are used, reproduced, and website can type words related distributed. When an archive to the subject they are interested accepts a new item into its in (such as names, or places) collection, copyright on the item into a search box, and have all can either be transferred to the the documents containing those archive or remain the property words appear on the screen. of the original copyright holder. Getting permission to use

Are all the materials in copyrighted material is not an an archive accessible to archive’s responsibility. It is the responsibility of whoever wants the public? to use an archival record to contact the material’s copyright Not all records in an archive are holder for permission to publish accessible to the public. Some or use the materials in other records have rules attached public ways. which specify who is allowed to see them and how they are used. 2. Other Restrictions Reasons for limited access When materials are loaned or generally fall into two gifted to an archive, the original categories:

57 Archives and Archive Materials owner might place conditions Accepting materials into on who the materials can an archive’s collection be shared with. This occurs because the information the As with the acquisition of materials contain might be artifacts in heritage centres, considered to be sensitive, or archives can not accept every is something that not everyone donated or gifted item into should have access to. Specific their collection. For a new item reasons for this might be that to be housed in an archive, it the information is sacred, or should be directly relevant to might unnecessarily damage the specific topic an archive somebody’s reputation or cause has chosen as a theme for its harm to a community if it was collection. This might include known by everybody. In cases material related to a specific such as this, it is an archive organization, time period, worker’s responsibility to write geographic area, or cultural the restrictions into a record’s population. catalogue file and make sure that they are followed when As with heritage centres, an members of the public try to archive accepts gifts into its access the record. collection. A ‘deed of gift’ form must be filled out for the donated item and signed by both the donor and an authorized heritage worker. A template for this form is provided on the following page.

58 Archives and Archive Materials

The loaning of items to number of best practice archives for display is not a guidelines that should be very common practice. Items followed by staff and visitors are, however, often loaned to alike: archives so that copies can be made and stored in the • Hands should always be collection. A loan agreement clean and dry when working for archives should always make with archival records. If re- clear what permissions (such cords are particularly old or as copyright and reproduction) fragile, white gloves should are transferred to the archive be worn; along with the loaned item. A • Records should always be template for this form has been carried with both hands. provided on the next page. Fragile, heavy, and oversized materials may need to be How can archival carried on a carrying board materials be handled or cart to prevent tearing and folding; safely? • Only one archival record should be handled at a time. Like artifacts, archival records A flat surface should always are often old and fragile. Unlike be underneath documents to artifacts, however, archival prevent them from bending; records are frequently removed • Never flip archival records from storage to be handled by like magazine or newspaper archive staff, researchers and pages; the general public. In order to ensure that archival records are not damaged as a result of this increased contact, there are a

59 Archives and Archive Materials

• Do not write on archival • Store papers in acid-free records. Avoid placing folders before putting them writing pads on top of in boxes. Do not over-or records because the ink or under-fill folders; pressure of the writing might • Label a document’s folder transfer. Do not trace maps with all relevant information or other records; about the papers. When • Do not use post-it notes or necessary, label paper other self-sticking labels, documents directly with a staples or paper clips on light pencil. archival records; • Do not force records to lie Many of the non-paper flat when reading, scanning media stored in archives (ie. or photocopying them. film negatives, glass slides, old photographs) can be very

Labelling and storing sensitive to their environment archival materials and require specialized storage conditions. The labelling and storage of archival records is similar to that of other artifacts. Many of the records stored in archives are paper-based, which requires several specific guidelines to be followed:

60 Sample Archive Deed of Gift Form

(INSERT YOUR ARCHIVE’S NAME) (Insert your Archive’s address, phone number, and other contact information)

DEED OF GIFT

(INSERT YOU ARCHIVE’S NAME) gratefully acknowledges the gift of the archival material described below, and wishes to thank ______(Name of Donor) for this valued addition to the collections of the Archive.

Description:

Conditions of deposit:

It is understood and agreed that the materials donated shall become the exclusive and absolute property of (INSERT YOUR ARCHIVE’S NAME). This property will be handled according to the procedures established in (INSERT YOUR ARCHIVE’S NAME) policy.

______(Date) ______(Signature of Donor)

Accepted on behalf of (INSERT YOUR ARCHIVE’S NAME): ______(Date) ______(Signature of Archivist)

61 Sample Archive Loan Agreement form

(INSERT YOUR ARCHIVE’S NAME) (Insert your Museum’s address, phone number, and other contact information)

LOAN AGREEMENT Received from: Name:______

Address and telephone:______

I hereby loan the following material to (INSERT YOUR ARCHIVE’S NAME) for the purposes of duplication:

Description:

(INSERT YOUR ARCHIVE’S NAME) may reproduce any or all of the above described material for any purposes which promote the educational/ research objectives of the Archive. The disposition of these reproductions is solely the prerogative of the (INSERT YOUR ARCHIVE’S NAME). Any copyrights such as the owner may possess in this property are hereby transferred to the archive. ______(Date) ______(Signature of Lender)

Received by:______(Signature of Archivist) ______I hereby acknowledge the safe return of the material described above: ______(Date) ______(Signature of Lender)

62 Creating Exhibits from Artifacts

What is an exhibit? How can artifacts be made into an exhibit? In the context of heritage centres, an exhibit is a display There are many types of of text and material items that exhibits. Stories can be realized is built to educate the general as physical exhibits in many public about a particular different ways, from simple table subject. Exhibits are designed top displays to more elaborate to tell a particular story to an museum cases. Regardless of audience. Material artifacts what type of final exhibit you can be used to illustrate this are working towards, a similar story, and to allow public to set of steps should be followed visualize and make a stronger to plan and develop the project: personal connections to the story’s subject. When artifacts 1. Finding a topic are directly associated with The first step to exhibit a specific person, culture or building is deciding what historical period they are able kind of story you want the to bridge the distance between exhibit to tell. Exhibit themes a museum audience and other and artifacts are often inter- places and times. Exhibits will related in that exhibit themes often use other media such as are usually developed with a text, sound and video to more particular set of artifacts in clearly communicate their mind. These artifacts might message. share a common history or similar characteristics, or might illustrate the ways that the people who made them are different. As ideas for an exhibit

63 Creating Exhibits from Artifacts topic begin to take shape, workshops. There are often you should ask yourself some multiple versions to every story important questions: and it is an exhibit builder’s job to present this information in a • What will be the purpose of truthful and unbiased manner. this exhibit? • Are there any artifacts in this 3. Planning how your project heritage centre that fit the will develop theme of this exhibit? Develop a project plan for • What message do I want the exhibit that lays out the the public to learn from this following information: exhibit? • Who is the intended • Project budget: How much audience of this exhibit? will a project cost? Where will the money for the 2. Building a story through project come from? What research grants or funding sources The public relies on heritage are available to help pay for centres to make sure the such a project? information included in an • Project schedule: What are exhibit is well researched and the different phases of the correct. When developing your project and how long will exhibit’s story, take time to learn each phase take to complete? background information about When is the exhibit the exhibit topic. Research for a scheduled to open to the exhibit subject can take place public? through books, the Internet, • Project staff? Who will be oral history interviews, archival working on each phase of records or public meetings and the exhibit? Will contractors

64 Creating Exhibits from Artifacts

have to be hired, or will staff • Is there a lot of natural do the building? sunlight? Is the exhibit close • Project materials: What to a heater or a doorway materials will be required to that lets in cold air? Keep build the exhibit? Are these in mind that sudden available, or will they need temperature changes can to be shipped? damage artifacts. • Evaluation plan: When will • How will the placement of the exhibit be considered an exhibit affect traffic in complete? What criteria the heritage centre? Will will be used to decide if the safety exits be blocked? Is exhibit is a success? the exhibit in a place that is heavily used for other 4. Assembling an exhibit reasons? Before starting to build an • Is the exhibit positioned well exhibit, it helps to create a for viewing? Is there enough visual picture or drawing of light to read the text? Is it the desired exhibit layout to low enough to be looked at guide your work. When turning by children? this blueprint into a physical structure consider the following: The exhibit’s materials

The exhibit’s surrounding • How safe are the environment construction materials being used to build the exhibit? • What environmental Are they good quality or will conditions might influence they fall apart with time? artifacts in an exhibit? Will they chemically react with the artifacts?

65 Creating Exhibits from Artifacts

• How safe are the artifacts be- 5. Follow-up and evaluation ing used in the exhibit? Are Just because an exhibit has been the artifacts sensitive to built and installed, it does light? Are they fragile or do not mean that the project is they show signs of damage? finished. As long as the exhibit • How can the exhibit as a is in place it will continue to whole be built to withstand require staff supervision in the public usage and wear? following areas. Should barriers be put up between people and Monitoring artifacts? Are there any loose ends that can be pulled An exhibit needs to be checked on or broken off? Can the on a regular basis for signs of exhibit be washed down if wear and tear. Make sure that a something is spilled or gets condition report exists for each dirty ? artifact on display so that its appearance can be monitored The exhibit’s audience in reference to how it looked before the exhibit. Designate • What type of people visit somebody to be in charge this heritage centre? What of regular inspections of the do they already know about exhibited artifacts to monitor the exhibit topic and what them for signs of change or will they find interesting? deterioration. • Does the audience read? Will they be able to Education and outreach understand the language Museum exhibits are more level used in this exhibit? effective when they play a role in their surrounding

66 Creating Exhibits from Artifacts community. Think hard about damaged. In order to different ways that an exhibit minimize the amount of risk can be built into classroom to artifacts, there are a number activities or public workshops. of considerations that should Organize staff members or be taken into account when volunteers to help interpret the planning the exhibit. exhibit materials for community members. • Make sure that exhibit cases can be locked; Project evaluation • Put barriers in front of artifacts too large for cases; Because exhibits use up both • Choose appropriate time and money in heritage artifacts for the exhibit’s centres, it is important to environmental conditions. make sure they are being used. Choose examples of artifacts Keep track of visitor numbers from your collection that and conduct surveys to help are in good shape and do determine which parts did and not have existing problems did not work in an exhibit. This that will be made worse feedback can be applied to build if they are exposed to more effective exhibits in the changes in light, humidity or future. temperature; • Change up sensitive artifacts How can artifacts be kept in long-term exhibits, giving them a chance to rest in safe while in exhibits? storage; • Original artifacts can never Any time an artifact is displayed be drilled, trimmed, tacked, outside of a storage room, there nailed, screwed, or glued is a greater risk of it becoming

67 Creating Exhibits from Artifacts

down when installed into an Creating exhibit labels exhibit. An artifact should look exactly the same when Museum labels are used to removed from an exhibit as help communicate an exhibit’s when it originally went in; story through words, symbols, • Mounts should be built to photographs, and other visual hold and protect artifacts images. Without labels, artifacts that are in danger of become purely decorative moving or slipping during objects and the public often an exhibit. Mounts should has difficulty figuring out how be built from museum- they relate to the story that the quality materials that will exhibit is trying to tell. When not harm the artifact and creating labels for an exhibit should cushion artifacts so keep these tips in mind: that the heaviest and most fragile parts of the object are • Labels should communicate supported. Artifacts should information in a concise and be firmly attached to their interesting way; mounts with fishing line or • Labels should be written see-through thread so as not in plain language at a basic to fall off if an exhibit case reading level that most is accidentally shaken or audiences can understand; bumped; • Labels should be written in dark text on a light background, and in a font type and size that is easy for visitors to read.

68 Creating Exhibits from Artifacts

Several different layers of • Secondary label information labels should be added to an exhibit to help This label provides more audience navigate its content: detailed information for different sections or sub- themes of the exhibit. These • Title label labels help audiences understand the relationship This label contains the title of between the exhibit topic the exhibit. lt should clearly and artifacts included in the communicate what the ex- exhibit. hibit is about and should be large enough to grab a visitor’s • Artifact identification label attention. This label provides the basic • Primary label information about individual artifacts or images included in This label provides a general an exhibit. An identification introduction to an exhibit as label should have no more a whole, explaining what the than four lines of information exhibit is about, what specific about what the object is, where perspective is being taken, and when it came from, what and why the exhibit topic is materials it is made from and important. who it belongs to.

69 Creating Exhibits from Artifacts

1.

Lena Kamoagyok lighting a qulliq Cambridge Bay, 2011 Photo by Brendan Griebel KHS-754632 2.

70 Creating Exhibits from Artifacts

3. 4.

A visual guide to exhibit stands and labels

1. Exhibit mounts should be built to support both the weight and fragile pieces of an artifact. Special mannequin mounts can be used when displaying clothing. Mounts should provide protection and safety for an artifact, yet should not be distractingly visible. 2. Exhibit images need labels too. When using a picture in an exhibit write a small label describing what the picture is, where and when it was taken, the name of the photographer, and the accession number of the photograph (if there is one). 3. Small exhibit cases can be purchased pre-made from various companies. These cases can either be built as regular (i.e., non- airtight) displays or as environmentally-sealed displays, which have airtight strips and contain sillica gel to help keep the humidity at a desired level. 4. Adding audio and visual components to an exhibit encourages the public to interact with its contents.

71 Notes and Comments

72 Notes and Comments

73 References and Resources

Works cited in this Recommended booklet resources for general museum and archive • Knud Rasmussen. 1931. The Netsilik Eskimos: Social Life questions and Spiritual Culture. Report of the Fifth Thule Expedition • National Park Service Museum 1921-24. Vol. 8 (1-2). Handbooks Part 1, II, and III Copenhagen: Gyldendalske Boghandel. This handbook series is an excellent overview of all museum • Douglas Stenton. 2003. operations including museum Guidelines for Applicants and collections, records and exhibits. It Holders of Nunavut Territory is available as an on-line printable Archaeology and Palaeontology PDF at the following website: Permits. Nunavut Department www.nps.gov/museum/ of Culture and Heritage publications/handbook.html available at: www.ch.gov.nu.ca • Museum Basics (Heritage: Care-Preservation-Manage- ment) by Timothy Ambrose and Crispin Paine. 2012. 3rd edition. Routledge Press.

• Canada Council of Archives publications.

The CCA offers a wide array of free publications for people interested in learning more about archival practice. These publications range

74 References and Resources from basic information on how This PDF booklet gives to use archives to more detailed instructions on how to advice on professional techniques excavate, stabilize and care for for managing and storing archival archaeological artifacts in northern collections. These booklets are settings. It can be found in the available on the CCA website programs section of the PWNHC at: www.cdncouncilarchives.ca/ website at: www.pwnhc.ca public_free.html • Arctic Peoples and Archaeology • Canadian Conservation by Inuit Heritage Trust Institute Notes This multimedia CD outlines CCI has produced a large amount the history of arctic peoples in of practical publications detailing Nunavut. The CD-ROM can be how cultural artifacts should be purchased , or tried for free, at the handled, stored and cared for. IHT website. These publications are available for free on their website at: • Guidelines for Working with www.cci-icc.gc.ca/ Inuit Elders by Pelagie Owlijoot and the Nunavut Arctic College. Heritage and research 2008 resources specifically This document has many written for the Arctic suggestions for heritage centres wanting to involve elders in oral • Conservation Manual for history projects or educational Northern Archaeologists by programming. It can be viewed Prince of Wales Northern as a PDF at the Arctic College Heritage Centre. 2007. website: www.arcticcollege.ca

75 “When we speak about the origins and history of our culture, we do so from a perspective that is different from that often used by non-Inuit who have studied our past…Our history is simply our history and we feel that the time has come for us as Inuit to take more control over determining what is important and how it should be interpreted. To be of value, our history must be used to instruct our young and to inform all of us about who we are as Inuit in today’s world”

- Inuit Tapirisaat Kanatami 2012 www.itk.ca