Issue 278 // Spring 2020 Change Makers 2020 Emerging Professionals The BC Museums Association (BCMA) provides networking, advocacy, innovation, and education Council opportunities for 's museum and gallery sector. Membership is available to Jodi Simkin President museums, galleries, heritage sites, and individuals Catherine Ouellet-Martin Vice President in the province affiliated with or interested in B.C.’s Tania Muir Past President museums, galleries and heritage sites. For more Brian Radburn Treasurer info visit: museumsassn.bc.ca Issue 278 // Spring 2020 Carolyn Holmes Secretary Why: We believe in the transformative power Lynn Adam Saffery Councillor of museums. c̓ris – Jordan Coble Councillor Joelle Hodgins Councillor Vision: The museum community is valued for Sherri Kajiwara Councillor providing leadership, dialogue, influence and kevin david meisner Councillor knowledge to British Columbians. The BC Museums Association Alyssa Leier Councillor Secretariat is located on the Councillor Change makers: Mission: We lead by supporting, empowering and Sharanjit Kaur Sandhra traditional lands of the Songhees advocating for the BC museum community. and Esquimalt First Nations. We are 2020 Emerging Professionals grateful for the opportunity to live The BCMA is a provincially incorporated society and learn here in mutual respect Notes from the executive director and a registered charitable organization. The BCMA Secretariat and appreciation. 02 BCMA holds the copyright on all material unless President's report otherwise stated. Opinions expressed are those Ryan Hunt We gratefully acknowledge the 03 financial assistance of the Province of the authors and do not necessarily reflect the Executive Director Notes from the editor of British Columbia and the 04 views of the Association. [email protected] generous support of the Royal BC Vanessa Gelhaar 07 Change makers Ad rates available upon request. Museum in providing a home for Operations Manager ISSN 0045-3005. the BCMA secretariat. 08 Sean Young [email protected] Chepximiya Siyam – Chief Janice George 12 Jordan Hawkswell Indigenous Engagement, Partnership, Anna Irwin and Collaboration Facilitator 16 [email protected] 20 Krystyna Halliwell Lorenda Calvert Program Coordinator Cover: (From left to right) 24 Regan Shrumm [email protected] Top: Regan Shrumm, Jordan Hawkswell, Krystyna Halliwell. 28 Jennifer Martens Abigail Buckwalter-Ingram Bottom: Jennifer Martens , Sean Young, Development & Membership Manager Anna Irwin. 32 Column: Spotlight on museum ed [email protected] Column: Lunch with owl Christina Elkiw (Volunteer) 38 Membership Coordinator 42 Column: Being small is not a problem at all... [email protected] Lindsay Foreman 45 News Managing Editor, Roundup 46 Whoo's news [email protected] B.C. Museums Association Rosemarie Gresham 47 Volunteer spotlight Designer, Roundup 675 Belleville St, Victoria, B.C. V8W 9W2 48 Success by association 250-356-5700 [email protected] [email protected] President’s Notes from the Report

Who has the resources to It is important to recognize Executive Director Jodi Simkin rework exhibit and floor space, that the response from our or to accommodate new ways members is already noteworthy. I was recently contacted by a of gathering? How will our CultureOnline.ca, created BCMA member curious about visitors queue up? How will we through a partnership with Ryan Hunt the paradigm shift happening retain a sense of community? Arts BC, showcases cultural in our sector in response to the Will the opportunity for organic opportunities available despite It’s amazing how quickly the world can change. livestream events with content for parents, COVID-19 crisis. We pondered conversation evaporate if we these challenging times. Over the span of a few months, since we children, and educators. Smaller organizations, how the industry would survive can no longer share moments Parents can seek out resources published our last issue of Roundup, every like the Fernie Museum, have launched new in the short-term and what kind face-to-face? Will we ever be to support home learning aspect of global society has been fundamentally online series that share their collections with of innovations and changes able to resume the interactive and seniors can stay engaged, transformed by the COVID-19 crisis. And I don’t British Columbians. And other members, like would be needed to ensure that engagement that is so valued despite the mandated physical use the word crisis lightly. Defined as a “time Bulkley Valley Museum, have quickly developed our institutions are prepared as and integral to our sector? distancing. Museums and when a difficult or important decision must be compelling virtual exhibits that explore how past everything returns to the new cultural centres are finding made,” I can think of no better word to describe societies weathered global pandemics, in this case, “normal.” Surely, our historical community new ways and methods to our current situation. Museums, galleries, and INFLUENZA: The Spanish Flu in Smithers, 1918. repositories are deserving engage their communities while cultural organizations of every type are currently The crisis has exposed of a national strategy that showcasing collection items and making dozens of extremely difficult decisions. The road ahead is still unclear and there is no the vulnerabilities of our ensures that the necessary sharing information. Decisions about how to transition in-person end in sight to the difficult decisions we all have institutions and our professional resources are in place as programs to online engagement. Decisions about to make. Nonetheless, what continues to give me workforce. Thousands of part- we look to a reimagined, re- I am optimistic that we will whether future plans need to be cancelled. And, hope is our sector’s passionate, caring and creative time and seasonal workers envisioned future. Now is the emerge from this pandemic a sadly, deciding when staff must be laid off in order people who dedicate themselves to continue will experience a shortened time to consider assembling a stronger, more resilient and for organizations to survive. to build a better world for everyone in their season with the possibility provincial task force to monitor, more determined sector. We communities. that facilities may remain in investigate and advocate for are keepers of knowledge; While I don’t want to minimize the incredibly lockdown indefinitely. Canada our sector, so when the time is innovators and storytellers. difficult choices organizations and museum If anyone needs to talk, or has ideas on how Summer Jobs funding and right, we are ready and capable Let’s share the experiences of professionals are facing, I do want to share some the BCMA can better support our sector, extended work terms cannot of responding. Let’s start these frontline workers, our everyday things that give me hope. I am inspired by the please reach out to me directly at replace the revenue derived conversations with one another heroes, to better understand the creativity and resilience of our sector. Large [email protected]. The from visitors in our theatres, to brainstorm next steps. Let’s lives of those we lost. We are organizations, like the Royal BC Museum, have BCMA is here to help build the brightest possible galleries, libraries, gift shops work to better understand thoughtful, we are provocative, managed to quickly pivot their team to working future for our members and the people of B.C. and cafés. Our association to the the role small and medium- we are relevant. In the face of remotely and have launched multiple weekly world around us has never been sized institutions play in local adversity, we remain constant, more precarious. economies and the importance reaffirming, and committed to of recognizing these spaces as the communities we serve. key economic drivers in their regions . . . those deserving of I wish you and your families sustainable, successive funding. good health in the days ahead. 2 3 We Recommend... The Roundup creative team shares content that inspires us.

Notes from FROM LINDSAY Canadian Geographic Indigenous Peoples Atlas of Canada (2018) indigenouspeoplesatlasofcanada.ca

the Editor This beautifully written and illustrated series consists of four volumes: Truth and Lindsay Foreman Been thinking about upcoming exhibits and Reconciliation, First Nations, Inuit and Métis. programming and how to pivot your content Each volume covers a wide variety of topics, On behalf of our members, we would like We truly are living in a Brave New World. This to reach a socially distant audience? Check out such as activism, filmmaking, language, oral to thank the Ministry of Tourism, Arts spring we’ve all had more time to think, reflect this issue’s Being Small is Not a Problem at All traditions, place names, worldview and material and Culture and the BC Arts Council and hopefully catch up on some much needed column and the tips and tricks learned during culture (my archaeological background cannot for their support of the arts and culture rest . . . I’ve been drawn into past experiences and Tim Willis’s two day exhibition development resist mentioning the latter). They are rich with sector during the COVID-19 pandemic. the paths I’ve chosen to reach this particular fork workshop in February. archival maps, documents and images, combining The BCMA has been in close contact with in the road. Recently, my mind keeps dwelling on both past and present perspectives in a holistic the BC Arts Council on the best ways to my formative high school years, and as we work Need some inspiration? Then look no further manner. It is definitely worth “getting lost” in the provide immediate financial assistance towards finding our new “normal,” I return to than the six fabulous emerging professionals Indigenous Peoples Atlas of Canada. and sustainable policies. my good old friend from Grade 12 English class, profiled here, our Lunch with Owl interview with Aldous Huxley. Dr. Kit Grauer, and our Volunteer Spotlight on FROM ROSEMARIE the youngest volunteer at the Royal BC Museum Skindigenous I hope this issue finds you well, safe and actively and Archives, four year old Nova Fernandes. I’ve skindigenous.tv engaged in all the wonderful arts, culture, and said it before and I’ll say it again: arts, culture, vimeo.com/ondemand/skindigenousseason1/ COVID-19 Impact Survey heritage content your fellow British Columbians and heritage professionals are the hardest and Canadians are creating. Haven’t had a chance working and most passionate individuals I’ve Skindigenous is a 13-part series exploring In partnership with Greater to check much out yet? Then you’re in for a treat ever encountered. We hope this issue sparks your Indigenous tattooing traditions around the world. Professional Theatre Alliance, and BC with our Spotlight on Museum Ed column. and positivity. This too shall pass. Each episode dives into a unique Indigenous Alliance for Arts + Culture, the BCMA is culture to discover the tools and techniques, the working to help quantify the impact that symbols and traditions that shape their tattooing COVID-19 is having on the province’s arts, art. In this series, the art of tattoo becomes a lens culture, and heritage sector. Help us by for exploring some of the planet’s oldest cultures completing this survey! These data will and their unique perspectives on life, identity, be essential in helping our governments and the natural world. Season one features understand the economic and social Dion Kaszas (ep. 4) and Nahaan (ep. 6) who you impacts of COVID-19 on our sector. may remember from our article on the Bill Reid Gallery's exhibit Body Language, curated by www.gvpta.ca/covid19_survey Kaszas, in issue 274 of Roundup.

4 5 CHANGE MAKERS 2020 Emerging Professionals

The arts/culture/heritage sector is constantly changing and challenging us to stay current and relevant to keep our communities engaged. In this issue, we learn about the amazing projects that six emerging professionals have been involved with, what inspired them to choose a career in the arts/ culture/heritage sector and what they feel are some of the biggest issues we currently face.

7 FEATURE ARTICLE Sean Young with his family. Photo credit: Sean Young

SEAN YOUNG Collections Manager HAIDA GWAII MUSEUM KAY LLNAGAAY, SKIDEGATE, B.C.

What is your educational background How long have you been working in the and experience? arts/culture/heritage sector?

I took courses in Cultural Anthropology Since 1995. I’ve been with the Haida and History from Malaspina University Gwaii Museum now for 5 years, going College (now Vancouver Island on 6. I started off with an internship University) in the 1990s. I worked as a in curation. My role has shifted to field archaeologist with collections management, conservation in Gwaii Haanas in 1995 and coordinated and exhibit preparation. heritage programs for the Council of the Haida Nation from 1997 to 2001.

9 FEATURE ARTICLE SEAN YOUNG

What do you think is the biggest issue As a direct result of the Potlatch our sector faces today? Ban of 1884, [the Moon/ Mountain Goat chest] was not Funding. I don’t believe heritage centres or museums should have to seek funding allowed to be used in traditional or grants to cover operational costs. ceremonies and the chest sat dormant for over 100 years. What is your most rewarding arts/ culture/heritage experience? During our potlatch, we brought it back to life. Being part of, and responsible for, the Moon/Mountain Goat chest that was Why did you choose a career in arts/ loaned to the Haida Gwaii Museum culture/heritage? from the American Museum of Natural History for my Gak”yaals Kiigawaay As a young child growing up on Haida Raven Clan of K’uuna Llnagaay Gwaii, I was fascinated with the classic () potlatch. This was a two-day cultures of ancient Egypt and Greece. potlatch held from April 14 to 15, 2017. When I was 8 years old, I became curious about my own Haida culture. I’ve always The chest was owned by the chief of been surrounded by Haida artists and K’uuna back in the mid-to-late 1800s. cultural knowledge holders, many of As a direct result of the Potlatch Ban whom are my aunties and uncles. I’m of 1884, it was not allowed to be used in Sean in front of very lucky to have a career in this field. traditional ceremonies and the chest sat dormant for over 100 years. During our Do you have a role model or mentor? Moon/Mountain potlatch, we brought it back to life. The How does this individual encourage and Goat chest, 2017. chest is very special to me because I’m support you? Photo credit: from that clan and a direct descendent Sean Young of a previous chief of K’uuna, my great Daryl Fedje, a Parks Canada chini George Young. archaeologist, was my first mentor in the heritage field. He blended Haida Throughout the entire loan, potlatch cultural knowledge with science, which and exhibit, I had to blend both museum was pretty groundbreaking then. conservation and handling techniques with my Haida cultural values. I took Nika Collison, the Executive Director/ a lot of direction from my clan elders Curator at the Haida Gwaii Museum, Sean and his brother and family and found a way to combine has been my role model within the with the Moon/ their wishes with the professional museum field. She balances professional Mountain Goat standards of our loan. It wasn’t easy, but museum practices and standards with chest, 2017. Photo credit: it turned out great. Haida cultural values and law. Nika Sean Young supports me and allows me to practice this two-eyed seeing in my work, where I blend science and cultural knowledge in collections management and exhibit displays.

10 11 Jordan Hawkswell during a beach clean FEATURE ARTICLE / community event on North Beach, Haida Gwaii, 2018. Photo credit: Mo Phung

JORDAN HAWKSWELL Science Communications and Outreach UCLUELET AQUARIUM SOCIETY UCLUELET, B.C.

What is your educational background Why did you choose a career in arts/ and experience? culture/heritage?

I have a BSc in Earth and Ocean Science I love sharing knowledge with people, from Dalhousie University and a MSc especially about the natural world, the in Planetary Geology from Western ocean and the many other waterways University. I also gained really valuable in Canada. I enjoy encouraging people skills while participating in the Ocean to build a respectful relationship with Wise “Ocean Bridge” program and by the Earth by learning about the world starting a Zero Waste community group around them, in their own region or while living in London, Ontario. neighbourhood and how they are connected to it. People care about the How long have you been working in the things that they know and love, so arts/culture/heritage sector? getting to know the Earth and the ocean is impactful in building a sustainable I have been working at the Ucluelet future and it is one of the ways I help to Aquarium for 7 months, sharing ocean protect our waterways. science, conservation, and natural history. My work in this sector is just beginning and I am looking forward to learning so much more. 13 FEATURE ARTICLE JORDAN HAWKSWELL

People care about the things that they know and love, so getting to know the Earth and the ocean is impactful in building a sustainable future and it is one of the ways I help to protect our waterways.

What do you think is the biggest issue our sector faces today?

We sometimes forget how much our lives depend on a healthy and balanced global ecosystem. It is easy to feel removed from it in our fast-paced world, so we need to remember that every breath we take depends on the forests and the ocean. This sector offers a lot of resources on how humans around the world lived in the past, the mistakes we made and the lessons we have learned. I hope that people take the opportunities to slowly walk through museums and aquariums and reconnect with our history on this Earth. Do you have a role model or mentor? Jordan Hawkswell How does this individual encourage and sorting through microplastics in support you? What is your most rewarding arts/ Ucluelet, 2020. culture/heritage experience? Photo credit: I have met and worked with some of Jordan Hawkswell I love to learn hands-on from people the most incredible people. Women that are so excited and happy to teach in science, youth taking action, urban me, and in turn, to pass that energy on farmers, small business owners, ocean to the people I interact with each day. advocates, people connecting spirit to It has been rewarding to witness and place, supportive friends and family be a part of knowledge sharing, either and so many more. Over the last few from person to person or from nature to years, I have made big moves into ocean person. In the aquarium, it is amazing to conservation and sharing the natural Jordan Hawkswell show people what lives just out of their world and have been supported by during a beach clean sight, below the water’s surface. Those fellow ocean advocates. I am grateful / community event beautiful lightbulb moments when for these encouraging mentors and on North Beach, people start to see the diversity of life of friends and how they helped me get Haida Gwaii, 2018. Photo credits: our oceans are my favourite. to where I am today. Mo Phung

14 15 FEATURE ARTICLE

Anna Irwin during condition Curator report of 3D CHILLIWACK MUSEUM AND ARCHIVES topographical map [Chilliwack Museum CHILLIWACK, B.C. and Archives, 2001.013.001a-b], 2019. Photo credit: Anna Irwin ANNA IRWIN What is your educational background Why did you choose a career in arts/ and experience? culture/heritage?

I received my undergraduate degree and At their cores, the arts, culture and various certificates and diplomas from heritage all celebrate the joy and the University of the Fraser Valley. I also tenacity of the human spirit. In my role earned my Professional Specialization as Curator, I am fortunate to be able to Certificate in Collections Management work with objects which relate to and from the University of Victoria. In represent human experience. Each of September 2020, I will be building on these items is tied to a specific place, this certificate in the Cultural Resource time, event or person in Chilliwack. And Management Diploma program, also that’s a beautiful thing. through the University of Victoria. Curators are storytellers and storykeepers. My passion is sparked How long have you been working in the when there is an opportunity to learn arts/culture/heritage sector? about, and from, objects so that their histories can be shared with the public. Seven years, four of which have been at Being the detective who uncovers the the Chilliwack Museum and Archives. stories of these objects makes my heart sing. I also enjoy the daily variety of tasks I perform, including mounting or Curators are storytellers and supporting artifacts on display and in storykeepers. My passion storage, troubleshooting display case lighting, or conducting research for is sparked when there is an upcoming exhibitions. opportunity to learn about, and from, objects so that their histories can be shared with the public.

16 17 FEATURE ARTICLE ANNA IRWIN

What do you think is the biggest issue What is your most rewarding arts/ our sector faces today? culture/heritage experience?

Embracing diversity and inclusivity, Each exhibition and individual project Anna Irwin especially in positions of authority. While has the potential to connect with visitors returning a forage the situation is slowly improving and on a deep level and can generate that cap [Chilliwack we are seeing more women, Indigenous, special “aha” moment – where everything Museum and culturally diverse and LGBTQ2S falls into place and the message that you Archives, 1991.031.004] to its individuals rise within our ranks, we still are sharing sinks in. Being able to witness home location at have a lot of work to do to ensure that that spark of recognition and know the Chilliwack our leaders and our boards reflect the that I contributed to visitors learning Archives, 2020. diversity we see within the country. something new or watching as they gain Photo credit: Anna Irwin a different perspective on a topic, is one of the most rewarding experiences I have had in the sector.

Do you have a role model or mentor? How does this individual encourage and support you?

I genuinely think every person is a mentor in their own way to everyone else – we all have stories and lessons to teach each other. I learn new things from the people and fellow museum professionals I come across on a daily basis.

My mentor is Christina Reid (Executive Director at Heritage Abbotsford Society), who was my supervisor and trained me when I first entered the sector. We don’t see each other as much as we used to because we’re at two different institutions, but we maintain contact and run ideas past each other, discuss object care and swap professional development opportunities.

Opposite Page: Condition assessment of a recent donation at the Chilliwack Archives, 2020. Photo credit: Anna Irwin

18 19 FEATURE ARTICLE FEATURE ARTICLE FEATURE ARTICLE

Krystyna rolls up her sleeves and gets her hands dirty applying clay to rope for a recent installation. Photo credit: Krystyna Halliwell

What is your educational background and experience?

My experience is a combination of post- secondary education and on-the-job training. I received a Bachelor’s degree from the University of Calgary before obtaining a diploma in Collections and Conservation Management from Fleming College in Peterborough, Ontario. The training I received at Fleming provided an invaluable foundation for my career, and I rely on those competencies to this day. Having the opportunity to work with “real” collections from local museums and galleries in practical settings has Why did you choose a career in arts/ Krystyna allowed me to develop hands-on skills culture/heritage? assisting with the installation of the and gain confidence. recent exhibition, I have always been fascinated by art and Feminist Land Art How long have you been working in the world history and how the influences Retreat: Free Rein arts/culture/heritage sector? of the past can shape and alter the at Kamloops Art present. Growing up, I was active in Gallery, 2020. Photo credit: For almost 15 years. I took a part- performing arts and often traveled to Dylan Sherrard time gallery assistant position at participate in festivals across Canada the University of Calgary’s Nickle and in Europe. On each festival trip, KRYSTYNA Arts Museum when completing I visited museums and galleries as I my undergrad, and this set me on a loved seeing the tangible representations career trajectory that has included an of history all around me. I wanted to internship with the Royal BC Museum’s work in a field that would allow me to HALLIWELL conservation department, followed by maintain a connection to the arts and Collections Manager/Registrar positions in collections registration and history that I grew up appreciating, KAMLOOPS ART GALLERY management in museums and galleries so working with museum and gallery in B.C., Alberta and Ontario. I have been collections was a natural fit. KAMLOOPS, B.C. with the Kamloops Art Gallery since 2013. 21 KRYSTYNA HALLIWELL

What do you think is the biggest issue our galleries, and the conference itself was All smiles after receiving the sector faces today? an incredible networking platform for shipment for an sharing and exchanging ideas. I brought incoming exhibition. Remaining relevant. As the needs of our a wealth of knowledge back that I have Photo credit: audiences and the technologies available applied at my own institution. Krystyna Halliwell to us continue to change and evolve, Opposite Page: we must adapt and find new ways of Condition offering unique, social and meaningful Do you have a role model or mentor? reporting fun. experiences. Within the sector there is How does this individual encourage and Photo credit: a desire to see museums and galleries support you? Krystyna Halliwell become the cultural hubs of the communities we serve - open inclusive I’ve been fortunate to train and work spaces accessible to all. The challenge is with colleagues who have been eager to balancing increased public accessibility share their knowledge and experiences with our institutional responsibility to with me while being equally receptive preserve and safeguard the collections to what I’ve had to contribute. Support we hold in public trust. has come in many forms, from answering questions I’ve had or helping me expand upon my skill sets to sharing networking What is your most rewarding arts/ opportunities and encouraging culture/heritage experience? my participation in professional development endeavours. Attending and participating in the 2018 European Registrar’s Conference in London. I was treated to behind- the-scenes collection tours in some of London’s most famed museums and

22 23 45 Years of Fooling Around with A. FEATURE ARTICLE Banana, 2015. Photo credit: Bobbi Bortolussi

REGAN SHRUMM Assistant Curator ART GALLERY OF GREATER VICTORIA (AGGV) VICTORIA, B.C.

What is your educational background and experience?

I identify as a queer and disabled curator, artist, writer, and educator. I received my Masters in Art History and Visual Studies from the University of Victoria. Most of my skills, however, have come from on- the-job training, both at museums and in other settings. I feel that the skills I use every day derive from being out in the community and from being surrounded by curious and strong individuals trying to change the world.

How long have you been working in the arts/culture/heritage sector?

Almost 10 years. I started as a curatorial assistant for the Pacific Northwest Quilt and Textile Museum in La Conner, Washington. The Young Canada Works and BC Arts Council's Emerging Professional Development 25 FEATURE ARTICLE REGAN SHRUMM

Grant programs enabled me to work in a number of small and mid-sized arts institutions early on in my career. For the past three years, my role as Assistant Curator at the AGGV has included creating off-site programming, assisting other curators and educators with programming, and making the Gallery more accessible.

Why did you choose a career in arts/ culture/heritage?

My family moved around a lot when I was growing up. No matter where we ended up, we always became members of the local science museum. In high school I spent my spare time at the Seattle Art Museum and . Although I was visiting museums more often during that formative time in my life, I found it difficult to find stories that I could relate to. I knew at that point, that I wanted to work in the field and make museums more interactive, fun, educational, and community-based.

What do you think is the biggest issue 45 Years of Fooling our sector faces today? What is your most rewarding arts/ Do you have a role model or mentor? Around with A. culture/heritage experience? How does this individual encourage and Banana, 2015. Museums are a vital part of how we support you? Photo credit: tell each other who we are and how we I love to work with the public and Bobbi Bortolussi live together. However, without being observe individuals see or think through I've had many mentors throughout Top: Participants at What accessible to all individuals, museums another viewpoint. Last year I created my curatorial and programming Artists Bring Without being accessible to the Table, gathered to cannot tell all stories or claim to be truly a program called What Artists Bring to career, including Kathleen Kox, France eat discounted food, 2019. to all individuals, essential. There is an urgent need for the Table, a food series exploring the Trepanier, Megan Salocks, Mary Savig, museums cannot tell all greater representation of Indigenous, artistic practices of cultivating and and Margaret Day. I am honoured to Bottom: Rhubarb custard Black, and People of Colour (IBPOC) cooking food. I like to curate programs work with the AGGV's Chief Curator, pots eaten during a stories or claim to be in museum management roles and on that focus on making the arts the Michelle Jacques. She recognizes my discussion on medicine truly essential. and poison at What museum boards. Programs like Museums centre of every level and aspect passion for community-based, non- Artists Bring to & Race, MASS Action, and the American of society, as the arts allow us to traditional curatorial projects, pushes the Table, 2019. Alliance of Museums' Diversity, Equity, understand, relearn and contradict me to create and gives me the freedom to Photo credits: Accessibility, and Inclusion Working truths about human experiences. explore and experiment. Adrian Paradis Group have produced great guidelines and resources to work towards this goal.

26 27 FEATURE ARTICLE

JENNIFER MARTENS Office and Volunteer Manager MENNONITE HERITAGE MUSEUM (MENNONITE MUSEUM SOCIETY) AND MENNONITE HISTORICAL SOCIETY OF BC (MHSBC) ABBOTSFORD, B.C.

What is your educational background and experience?

I received my Library and Information Technology Diploma from the University College of the Fraser Valley (now University of the Fraser Valley) in 1993.

Can you share some of the tasks you perform at the Mennonite Heritage Museum?

I have been working at the museum and historical society and in the arts/

Opposite Page: culture/heritage sector since July Top: Jennifer 2016. I am responsible for overseeing Martens in the the administration, execution, and main gallery of promotion of projects and events at the Mennonite Jennifer Martens Heritage Museum. the museum. Further, I coordinate and work with our many volunteers. I chose Bottom: The to work at the museum as it allows me Mennonite to connect people with history while Heritage Museum, providing me with the opportunity to Abbotsford, B.C. leverage my experience and expertise in Photo credits: a broad range of areas, and continue to Jennifer Martens expand those. 28 29 FEATURE ARTICLE

What do you think is the biggest issue our sector faces today?

Barriers to volunteering. Volunteerism drives our two societies and people today are finding it really challenging to carve out time and resources to volunteer. We have many micro- volunteers, but to be able to operate Jennifer Martens, smoothly, we need to balance that out Do you have a role model or mentor? Cheryl Isaac, with those who can volunteer more How does this individual encourage and Noreen Dragani, regularly and for longer than two hours support you? and Christina Neigel at a time. Our volunteers are a significant at MHM. Photo credit: connection to our community; it is When it comes to a role model, I Jennifer Martens important that we value that connection, think of Christina Reid, at Heritage encourage and support it. Abbotsford Society. She has such an unprecedented passion, energy and drive What is your most rewarding arts/ for heritage in our community, which is culture/heritage experience? very encouraging. She has an inclusive attitude and I love that. Having visitors expect to come for an hour, but they end up spending most When it comes to mentors, I am of their day in our facility. Our building privileged to have many, including our includes the museum’s main exhibit, own museum Executive Director, Richard two galleries, a coffee shop, artisan Thiessen. Our stellar, faithful volunteers market, bookstore and gift shop, and the share their life experiences with me MHSBC Research Centre and Archives, and actively endorse our/my efforts. I including three library collections. The appreciate our team so much, including societies host many events, including Mary Ann Quiring our Admin Assistant, free film matinees and book launches, Jenny Bergen our Museum Educator, and and with our human resources, we have Grace Abrahams and Lilian Batista who a lot to offer. It is so rewarding to hear operate our Coffee Shop. I am grateful that people are surprised, delighted and to be part of the outreach we do in our thirsty for more and also wonderful to community and beyond, creating and get to know familiar faces, as many of maintaining a fun, positive learning our visitors return on a regular basis. In atmosphere that people look forward to the summer, visitors come from all over participating in. the world and are able to find something to do here daily. It is exciting to look ahead to our future exhibits and our summer market.

30 This column explores innovative informal education projects being undertaken within our local museum community. As active spaces for dialogue, connection and critical thinking, it seeks to highlight programming that makes our institutions more inclusive and that encourage more meaningful engagement with our visitors.

Today, online content comes in a variety KEEPING of forms, including: websites, social media, virtual programs, podcasts, webinars and videos. Many cultural CONNECTED and heritage organizations in B.C. have experimented with new and Using Digital Platforms innovative ways of connecting with their communities, encouraging dialogue, to Engage Communities and keeping them engaged. Digital resources can be extremely powerful Sarah Carlson and interactive. They also ensure our continued presence within, and support Vanessa Richards of Hogan'sWe crave connection. Most people don’t of, our communities near and far. Below, leave home without their phones, which we share some inspirational examples. they constantly check in their “spare” time. This attachment to technology provides museums, galleries, and Websites and Social Media heritage sites with the opportunity to If you are looking for a Daily Dose Top: Photo credit: Creston engage visitors even when they can’t of History, the Creston Museum has Museum physically come to us. By clicking a link, regular features on their website. Or Middle: Photo credit: Sncəwips anyone can explore sites, objects, and perhaps you want to view the Vancouver Heritage Museum ideas that are thousands of kilometres Aquarium’s animal cameras to see what away – from the British Museum in the otters and jellyfish do when no one is Bottom: Photo credit: London to the Metropolitan Museum around! The Heritage Museum Sncəwips of Art in New York. Digital platforms releases weekly videos on Facebook and provide inclusive, accessible, immersive YouTube, covering topics from pictograph visitor experiences, allowing us to reach interpretation to basket handling, more people, and provide them with highlighting the natural and cultural unique and interesting information. aspects of Okanagan (Sqilxw) heritage.

32 33 COLUMN: SPOTLIGHT ON MUSEUM ED KEEPING CONNECTED

Virtual Programs and Online Learning Resources

While many organizations already use digital platforms to share content and resources, including Science World’s at home activities, the Museum of Anthropology’s teacher resources and Or maybe you will delve into the Fernie You may also want to check out the Photo credit: the Vancouver Aquarium’s online ocean Museum’s Cabinet of Curiosities, a virtual Sturgeon Harpoon Knowledge Web, Fernie Museum activity centre and learning resources, museum experience on YouTube that which resulted out of a partnership virtual programs are becoming more shares the stories behind objects in the between the Musqueam First Nation and more popular. The Royal BC Museum collection. This series starts by exploring (xʷməθkʷəy̓əm) and the Beaty and Archives has a robust learning the history of a 1948 bottle of Burdock Biodiversity Museum. This innovative portal, which includes a variety of Blood Bitters. online exhibit explores the complex web resources from timelines, maps, images of knowledge and relationships around and sounds; this institution has recently Virtual Exhibits and Virtual the traditional sturgeon harpoon. introduced a series of weekly RBCM@ Reality Tours Home webinars. Art Connects is a new Finally, you can virtually climb aboard initiative by the Vancouver Art Gallery Step back in time and learn about B.C.’s the historic St. Roch, even if the Top Left: Photo credit: Gulf which features livestream, interactive canning history through the Gulf of Vancouver Maritime Museum is closed. of Georgia Cannery National content to encourage dialogue and Historic Site Georgia Cannery’s online exhibit, From Originally built in 1928, this was the first connection when visitors cannot come Tides to Tin: Salmon Canning in B.C. This ship to make the journey from west to to the gallery. The Maritime Museum Top Right: Photo credit: Royal virtual exhibit features an interactive east through the Northwest Passage. BC Museum and Archives of BC has also adapted a number of map and a timeline of the canneries You can walk the decks, tour the cabins their existing school programs to a along B.C.’s coast, and allows visitors to and fo’c’sle, and even explore below Bottom: Photo credit: virtual format. Topics range from ocean step into the Cannery Manager’s shoes to decks, including the engine room, on this Vancouver Art Gallery conservation to exploration, immigration build and operate a cannery. virtual reality tour. and the fur trade.

34 35 COLUMN: SPOTLIGHT ON MUSEUM ED KEEPING CONNECTED Podcasts and Games SARAH CARLSON Podcasts are a recent addition to the Sarah Carlson is the toolboxes of museums, galleries, and Programs Coordinator at heritage sites, broadening our digital the Vancouver Maritime programming possibilities. The Kitchen Museum and has been Stories is a thirteen-episode podcast a member of the Lower series created by the Jewish Museum Mainland Museum and Archives of BC. It explores food from Educators (LMME) many different angles, connecting it with Conference Committee since its inception culture and migration, through the voices in 2016. She has a Masters of Art in Museum of community members as they develop Studies from University College London new traditions or revive long forgotten and has previously worked at the Richmond ones. Museum, the Museum of Anthropology and the Delta Museum and Archives. Another way to reach and connect new visitors with local history is through games. The Nikkei National Museum in Burnaby created an interactive history Top: Photo credit: Beaty mystery card game – Taiken – in which Biodiversity Museum visitors become historic detectives. Each player must claim, discard and Bottom: Photo credit: trade cards to find out how one of many Vancouver Aquarium remarkable Japanese Canadians made their way through the tumultuous 1940s, a period during which the Canadian government enacted policies that forever changed the lives of the Japanese Canadian community.

The Kitchen Stories podcast. Photo credit: Jewish Museum & Archives of BC

Sample card from Taiken history mystery game. Photo credit: Nikkei National Museum & Cultural Centre

36 KIT GRAUER

I have always stressed that L: Volunteerism has always been a main component of your career. Can you speak we need to connect to the about your time working with the BCMA Lunch With community, the larger public, and the Gulf of Georgia Cannery? and to tell the stories that K: When I went to school, volunteering need to be told. was just an expected part of what you did as an educator. You helped organize L: Can you share about the dream and associations and bring people together reality of The Galiano Relief Retreat? from around the world. Art education has always been about looking at the K: We are in the privileged position of bigger picture and making connections having a place on the Gulf Islands and a globally. I have been on the executive of studio right on the water. My husband, local (i.e., BC Art Teachers’ Association - Peter Scurr, taught art and graphics BCATA), national (i.e., Canadian Society for the Delta School District and we for Education through Art - CSEA) and always invited the secondary school art international (i.e., International Society teachers over for a year-end retreat. We for Education through Art - InSEA) would create a collaborative project, and organizations. Last year, I co-chaired a Printmaking at the Galiano Relief over time, as many of us had children, it conference for InSEA that brought over Retreat, July 2019. became kid-focused. 700 hundred art educators from around Photo credit: the world to UBC. Dr. Kit Grauer We were fortunate to be given a KIT GRAUER printmaking press that belonged to one Ph.D., Professor Emerita, Art and Museum of our former teachers at UBC. Once we got the press, we shifted our projects to Education, The University of British Columbia use it. Now we have support and classes visiting from across the Lower Mainland, L: Can you share your educational and I worked as a faculty advisor for a year including: Richmond, Delta, Surrey, Interviewed work background with us? What drew you at SFU before I took over Penny’s job Langley, and a couple of private schools. by Lindsay to art education? at UBC, teaching textiles, etc. I hadn’t Foreman finished my Ph.D., so I continued to Many of the students come from inner Managing K: When I was completing my work on it while teaching full time and city schools; they have never been on a Editor: Roundup undergraduate coursework at UBC, I raising my family. It wasn’t until I started ferry or in the forest. It is a wonderland Magazine took a textiles course in the education working with graduate students that for them to visit us at the studio. faculty with Penny Goldstone. I was I realized that museum education was Each year we select a theme for our young and I remember coming home and going to be my continued passion. We workshops. This year’s theme is “Birds of knowing “that is what I want to do when started a specific museum education a Feather.” I grow up.” I became an art teacher and program at UBC. I also ran summer art taught in Richmond for 10 years. During programs at the Vancouver Art Gallery that time, I completed my Master’s and the Museum of Anthropology at degree and became a Supervisor of Art, UBC for 10 years. which allowed me to teach students from Kindergarten to Grade 12. I also started my Ph.D. at Stanford with Elliot Eisner.

38 39 COLUMN: LUNCH WITH OWL KIT GRAUER

Becoming a member of the BCMA board in retirement has been an incredible delight. The six years I spent on the board gave me a chance to be involved with the museum sector in a special way. The boards I worked with were peopled with wonderful, dedicated museum professionals. So many of my former students are also members of the BCMA.

It has also been a pleasure working on a board at a small museum. I have worked L: How do you express your own Dr. Kit Grauer, Printmakers from with the Gulf of Georgia Cannery Society creativity? Do you have a preferred Executive Director Working as part of a collective can be liberating because academia Montreal, Toronto, of the Gulf of West Virginia, for eight years now in the capacity of medium? Georgia Cannery emphasizes “self” above all. It should actually be the opposite, as Montana, Merritt, Director, Vice Chair, and now Chair Stephanie Halapija working as part of a collective improves your chances of survival. Tsawwassen and of the board. I was originally invited K: I did a photography course when I was and BCMA Ladner, holding up on to the board because they needed at Stanford, which was really wonderful. Executive Director the international someone with a museum education I tend to work with and manipulate Ryan Hunt in front L: What have been some of the most L: Do you have any advice for emerging print following of John Lennon’s the InSEA World background. I felt that I could make a digital images. I’ve started painting again, professionals in the museum/gallery Rolls Royce at the influential changes you’ve witnessed in Congress at UBC, real difference because of that. I have which has been quite fun. Painting over Royal BC Museum museums and galleries over the course sector? What has helped you maintain July 2019. always stressed that we need to connect photographs. Using textile techniques to and Archives. of your career? your balance, passion, and focus Photo credit: to the community, the larger public, and put photographs together. Playing with Photo credit: throughout your career? Dr. Kit Grauer to tell the stories that need to be told. all the media. Dr. Kit Grauer K: The biggest change I’ve observed, is a Currently, we have prioritized reconciling shift in perspective and attitude from: K: I have always placed an emphasis on and sharing the stories of all of the Peter and I curate. We collect random “these are my things and you can look at relationships and community in both marginalized groups who worked in the bizarre stuff and curate it into something them and I have the right way of looking the professional and personal aspects west coast fishing industry. that amuses us for a time. Then we take at them” to “oh how do you respond to of my life. I try to find like-minded it apart and do it all over again. We make these things and what is the meaning people that have a deep commitment our own galleries at home and at Galiano. in it for you?” The shift has been from to the arts and education. It is why The biggest change I’ve “don’t touch the stuff” to “let’s have a I loved having graduate students or observed, is a shift in L: Today people are using the term dialogue about these items, how do they working in a collective at the university. “curate” more colloquially. How do you connect to you?” “What do these objects Working as part of a collective can be perspective and attitude from: feel about this? say about people’s lives?” liberating because academia emphasizes “these are my things and you “self” above all. It should actually be can look at them and I have the K: I think it is a great word. It really More recently, there has been a major the opposite, as working as part of a does say “I’ve got this stuff and I want shift in the sector in response to the collective improves your chances of right way of looking at them” to to put it together in a thoughtful way Truth and Reconciliation Commission survival. Keep in touch with other “oh how do you respond to these that juxtaposes these things together.” I of Canada’s Calls to Action. We’ve never professionals and get involved outside things and what is the meaning don’t mind it being used. I think any way before seen the collaborations and your work place. that allows people to understand what is changes in perspectives that we are in it for you?” going on in art museums is better for us. observing today. 40 41 REPORT BACK FROM THE EXHIBITION DEVELOPMENT WORKSHOP

Lesson #1: Good Exhibits are Achieved by the Quality of Your Thinking

The biggest take-home message for me was that more time and planning should be devoted to exhibit development and design than I had previously thought. Working as an exhibit team, you need to think critically, develop a flexible work schedule, test out your ideas, and be willing to change your approach. It takes a lot of patience and practice to work well together and to learn to tell a story in an engaging and effective manner.

Strategy is key to reaching your primary REPORT BACK audience(s). Constantly ask yourselves: Who are we doing this for and why? Keep Their Purpose: To absorb as much as evaluating your approach, even after the FROM THE they could about planning, designing, exhibit has opened, and be prepared to interpreting, and writing exhibits tweak it to suit your visitors’ needs. Keep from expert Tim Willis. notes about what worked, what didn’t, and why and use this information when The Workshop EXHIBITION Constantly ask yourselves: Organizing Team: Their Shared Goal: Honing their planning, designing, and installing your Tim Willis, Lindsay skills to produce the best exhibits next exhibit. Who are we doing this for Foreman, Vanessa DEVELOPMENT and interpretive programs for and why? Keep evaluating Gelhaar. their communities. Lesson #2: Visitor Fatigue Starts Photo credit: your approach, even after Jennifer Martens around the One Hour Mark WORKSHOP Participants hailed from Hope to the the exhibit has opened, and Sunshine Coast. Discussions on the We’ve all been there . . . You planned a be prepared to tweak it to Planning Successfully & first day of the workshop identified visit to a museum, gallery, or heritage site. suit your visitors’ needs. that everyone faced the same exhibit You are fully engaged in an exhibit, series Designing with Purpose and interpretive program development of interpretive panels, or a conversation Keep notes about what with Tim Willis, Agassiz, B.C. challenges: small budgets, limited with a costumed interpreter. You are worked, what didn’t, and why staff time, limited experience and really enjoying yourself; however, after expertise, and competing community/ a while, your mind starts to wander and Lindsay Foreman organizational interests. The facilities you’ve lost your focus. Why? Exhibits need to be emotionally, Managing Editor, Roundup Magazine and communities we represented had intellectually, and physically accessible ample stories, object, and archival Perhaps you didn’t connect personally to everyone. The stories we share should On February 12 and 13, 2020, a group collection items to share. Our main with the story or items on display. to be told from multiple perspectives of passionate museum, gallery, and concerns surrounded which stories Perhaps your legs were tired from and should include an opportunity for heritage enthusiasts from across to prioritize, how to plan and execute standing and there was no place for you visitors to connect with in their own southern B.C., gathered at the Agassiz- exhibits, and determining the most to sit down or take a rest. Or perhaps ways. Exhibits should be engaging and Harrison Museum in the eastern effective methods of designing and there was too much to see in the time you eye catching. People respond to each Valley. writing to engage our visitors. had allotted for your visit. other’s creativity.

42 43 COLUMN: BEING SMALL IS NOT A PROBLEM AT ALL

Lesson #3: KISS Principle - Simplify everything: the number of text We are Trying to Do Too Much panels, the number of display cases, the number of objects on display, the number Less really is more. When developing, of words on a panel or object label. Be designing, and installing an exhibit, be wary of trying to incorporate too many aware of the available physical space ideas into your overall exhibit theme. and how best to use it. Ensure that Stick with one Big Idea and hit it out visitors can choose their own path of the park. It takes more effort to do LINDSAY through the exhibit and arrange panels less in an exhibit, but your visitors will FOREMAN and objects in a way that makes their thank you for it. relationships obvious. NewsDigital Resources Postponement of BCMA’s Annual Conference: Stronger In collaboration with Arts BC, the BCMA has launched Unable to Attend the Workshop? CultureOnline.ca, a digital directory of online programs Together – Resilience, Review the BCMA Brain Exhibit Development Resources For Yourself! and resources from British Columbia’s museums, art Collaboration and Inclusion museumsassn.bc.ca/brain/tools-and-resources/exhibit-development/ galleries, heritage sites, cultural organizations and in a Changing World individual creators. Because even when our doors are The BCMA Brain includes an entire set of Exhibit Development resources. Here you will find closed #CultureDoesntStop. It is with a heavy heart that we have Tim Willis’s The Art of Storytelling in Exhibitions and The Art of Writing for Exhibitions, which decided that this year’s BCMA conference were used in this workshop. Other resources include: For (prospective) members that would like to start in Surrey will be postponed until 2021. • Exhibit Panel Design Basics, Anine Vonkeman offering virtual programming, site tours, live streams The COVID-19 crisis has affected the or other online content, check out our webinars here: resilient and vibrant museum community • Exhibit panel templates museumsassn.bc.ca/brain/learning-opportunities/ in British Columbia in profound ways • An Activate Your Exhibition! webinar with Yukiko Stranger-Galey and Derek Tan of the webinars/. and it was not easy to make this decision. Beaty Biodiversity Museum from 2017 We are taking the advice of public health officials in B.C. to practice physical distancing and are of the opinion that COVID-19 Resources for Museums planning a conference at this time would and Cultural Organizations not be prudent. We expect to announce more detailed plans in the next few Keep up-to-date with financial, weeks. We are planning to have a virtual HR, mental health, and event in October where we can share collections support here: our stories of resilience, learn from each museumsassn.bc.ca/covid-19- other, take part in our AGM and celebrate resources-for-museums-and- BCMA award winners. Keep an eye out cultural-organizations/. for updates! And don’t forget to join us from 5 -6 pm each Wednesday BCMA Councillor Lynn Saffery for Watercooler Wednesdays. Museum Manager, Museum of Surrey Stay connected and support on behalf of the BCMA Conference your fellow museum, gallery, Working Group and heritage professionals from across B.C.

44 45 VOLUNTEER SPOTLIGHT Whoo's News NOVA Lorenda Calvert recently joined the BCMA Secretariat as our FERNANDES Program Coordinator. She has Royal BC Museum and Archives, jumped into her new role with Victoria, B.C. both feet: April’s multitude of webinars, the updated resource At the age of four, Nova Fernandes is section on the BCMA homepage, the weekly the youngest volunteer at the Royal virtual chats, and Watercooler Wednesdays BC Museum and Archives (RBCM). Her are the fruits of her labour. parents, Sarah Petrescu and Ashley Fernandes, first introduced her to the Lorenda previously worked as the Education RBCM two years ago; she immediately and Public Program Coordinator for the became a member of the Kids’ Club. Burnaby Village Museum, with the Richmond Located close to the family’s apartment Museum and the Museum of Surrey. Outside in downtown Victoria, and with of work, she sits on the Lower Mainland unlimited access to the galleries and We are saddened by the loss of a passionate Museum Educators (LMME) Executive Board feature exhibitions provided by their leader in Fort St. John’s arts and culture and is the Chair of the LMME Conference Family Membership, they visited often, Nova with her community this April. A devoted community planning committee. allowing Nova to accumulate stamps on Other children visiting the RBCM are favourite exhibit builder, mentor, volunteer and fundraiser, Sue her Kids’ Club Card and earn prizes. inspired by Nova and envious of her at the RBCM, the Popesku was instrumental in the growth and Chepximiya Siyam' - Chief uniform and badge. The family also Woolly Mammoth. development of the North Peace Museum, Fort Janice George has joined Digging through the prize box one day, enjoys meeting visitors from all over Photo credit: St. John Artspost and North Peace Cultural the BCMA Secretariat as our Nova selected an RBCM replica staff the world and representing B.C. and Sarah Petrescu Centre. Sue further supported local museums Indigenous Engagement, lanyard, complete with badge. “Can I the local community during their through the Northern Heritage Trails Society. Partnership, and Collaboration work here too?” she asked her dad. Ashley volunteer shifts. This experience has Her passion for history, culture and the arts, Facilitator. This new role approached the volunteer coordinator on allowed them to connect with so many and her quick smile, were contagious. Our represents a partnership between the BCMA, duty to find out if there were any tasks people, which has been really rewarding, thoughts go out to her family and friends. the Royal BC Museum, and First Peoples' that Nova could help with. Since that and best of all, Sarah noted, it is Cultural Council, and aims to continue time, the family has been volunteering “something we can do together.” building and strengthening connections to together at the RBCM once or twice a B.C.’s Indigenous communities. In addition to month. They have tested out different Off-shift, you can find Nova visiting Theresa Schober joins the supporting the BCMA, Chief George will also family activity sheets before they are her favourite exhibit, the Woolly Nisga’a Museum team as director work with the Royal BC Museum’s traveling shared with the public. Together they Mammoth, testing out the acoustics and curator. She welcomes the exhibition Our Living Languages, providing have engaged other visiting families at of the museum building, or munching on opportunity to contribute to community outreach services and connecting activity tables. During Letter Writing hummus and carrots and M&M cookies in ongoing exhibition, program, with Indigenous communities, museums, Week in January, they encouraged RBCM the museum cafe. and repatriation efforts. Theresa cultural and interpretive centres in B.C. Chief visitors to write letters to local politicians, has previously held leadership positions in the George is a curator, designer, teacher, artist friends, and family members about their archaeological community and in heritage site and a hereditary chief of the Squamish Nation experiences at the museum. Nova’s job planning and development in Florida. (Skwxwú7mesh Úxwumixw). was to tape the letters closed. 46 47 Success by

ASSOCIATION Whoo Accepts the We’re Growing! Welcome to new members: Webinars ROUNDUP IS BCMA OWL Card? The B.C. Museums Association is pleased to Issued to all Individual and Institutional Individuals present a monthly webinar series! On the third AVAILABLE IN PRINT members, the OWL Card provides free • James Barrett Wednesday of every month, join your museum Roundup is also available in print! Annual admission to museums, galleries and heritage • Patricia Barrett colleagues from around the province for a subscriptions (4 issues, mailed within Canada sites across B.C. • Caitlin Donaldson lunchtime webinar. These engaging professional only), are available at www.museumsassn.bc.ca/ • Nadine Fieber development opportunities will cover a members/round-up. Visit some of the outstanding museums, • Mallorie Francis different topic each month, including education, galleries and historic sites in B.C.! Present • Charlene Garvey conservation, marketing, exhibit management, Our quarterly magazine is available to everyone your OWL card, with your picture ID, to our • Nicola Howard and everything in between. Webinars are free for interested in the museums and galleries sector. member institutions for complimentary • Abby Lizee members, and $15 for non-members. admission during regular operating hours. • Rachel Meloche Visit issuu.com/bcmuseumsassn to read current A list of participating institutions is continually • Ashli Meyner You can also access our growing archive of past and archived issues. updated and available on our website. • Grace Muller webinars by visiting the BCMA website. For • Kate Ray Chin more information, visit museumsassn.bc.ca/ If you are a student or volunteer member and • Fred Roland archives/5112/introducing-BCMA-webinars/ BCMA Brain would like to change your membership category • Theresa Smith BCMA’s BRAIN is your learning centre on to access OWL card benefits, email • Benjamin Wilson 2020 Webinar Sponsor our website. Discover upcoming learning [email protected] opportunities, as well as practical tools and Volunteers resources on a variety of topics related to museum • Beth Compton operations, including new landing pages for • Craig Horsland advocacy, diversity and inclusion and Indigenous • Kaylyn Olynyk culture and heritage. Content in all areas of the • Emily Scott BCMA Podcast BRAIN will grow over time. • Joelle Sevigny The BCMA has a podcast! You can listen to new episodes and find out how to download the series We welcome contributions and feedback from Institutions on the BCMA website. Visit bit.ly/BCMApodcast BCMA members and the sector at-large. Feel free • ArtSea Community Arts Council to share ideas for new resources and innovative • Grist Mill and Gardens Historic Site practices by emailing: • Quesnel Art Gallery BCMA Job Board [email protected]. • The ACT Arts Centre, Maple Ridge Pitt The BCMA is excited to provide a job board for Meadows Arts Council the B.C. museum community! Check it out at Tap into the collective knowledge of our sector at • Vancouver Police Museum & Archives museumsassn.bc.ca/members/job-board/ museumsassn.bc.ca/brain/ • Yale Historic Site

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