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As a child growing up in Manitoba, you were predestined to visit Winnipeg's Museum of Man and Nature (since renamed the Manitoba Museum. The display wi I I be at the Manitoba Museum of Man & Nature unti I the end of August, .. that they wanted answered in connection with what they had seen. Manitoba Museum, Winnipeg: See reviews, articles, and photos of All reviews natural history hudson bay company full size science center fur trade.
The museum was run by volunteer Honorary Curators, with assistance from other dedicated volunteers and a small staff. As the museum grew in acquisitions and attendance, the need for an expanded facility became critical, and in the Board began planning a new institution, which would reflect the values of the time.
Funding came in large part from federal project sources designed to create new Canadian cultural facilities for the Canadian Centennial commemoration. Ina proposal for a museum and planetarium was submitted to the Manitoba government headed by Premier Duff Roblin. The proposal stated that: Not a collection of stuffed birds, antiquated firearms or dusty rocks — but a living history of man and his environment, tracing the evolution of Manitoba's resources, industry and culture, past and present, and pointing the way, through research, to the future.Manitoba Museum of Man & Nature 2016
To inform, instruct and educate by interpreting nature to man and their effect on each other in the function of a Modern Museum of Man and Nature. Paid curatorial positions were created, and the former volunteer curators were appointed to the Museum Advisory Council. Most of the invaluable collections were transferred to the new corporation and duringwhile the new building was being completed; the collections were put in storage.
The planetarium was opened intwo years prior to the museum's facilities opening in At the time of the official opening only the Orientation Gallery and part of the Grasslands Gallery were finished.
Other galleries opened as follows: The museum formally began using the name The Manitoba Museum in Inthe Hudson's Bay Company designated the museum as the permanent home for its historic material collection, which portrays more than three centuries of the company's colourful history. Flemming Curatorial Statement 12 "Concerning Work," which opened at the Manitoba Museum of Man and Nature in October and which is now on tour across Canada, was influenced profoundly by, and intended as a contribution toward, the development of a new social history of Canada.
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Both the exhibit and the thirteen months of public programming that preceded it were designed to explore the many dimensions of the theme "Change in the Work Process in Canada The reasons for this are to be found, in part, in the nature of the historiography from which our history museums are developed. Traditionally, historians have focused on the "great men" of the past and on the political and economic issues that have surrounded them.
Seldom are the lives of ordinary working people, or of women of any class, considered. Rarely are the social and cultural dimensions of peoples' lives given serious attention.
The "things that people leave behind," their material culture, are thus isolated from their past. Essentially, he found that many well established, highly acclaimed museums were actually quite limited in value because a number of common biases were reflected in them.
Some, like John D. In the case of Colonial Williamsburg, the black slaves who made up 90 per cent of the population of this eighteenth-century Virginia colony were virtually ignored.
In other museums, like Henry Ford's re-creation of a pre-industrial American community at Greenfield Village, the lives of craftsworkers, farmers, and domestic labourers were made the centre of attention, while bankers, politicians and others who constituted the upper stratum of society were excluded.
In neither case were the political, social or economic realities of the society explored.
Objects are divorced from the work process, and the social relations of production are ignored. An incomplete, if not misleading, interpretation of the past is thus presented. It focused on the labour process — the social relations in the work-place — to consider how the organization of work in our society has affected and will affect the lives of Canadian working people.
Many individuals and organizations from the Winnipeg community and beyond became involved in the organization of these events. To some extent, therefore, the Concerning Work project was akin to conceptual art — the work and cooperation involved in making the project "work" was an accomplishment in itself.
The question of whether the exhibit should or should not coincide with the related programming was discussed at length. It was decided that, given the vastness and complexity of the subject under consideration, it would be better first to explore the many issues involved and then to present the exhibit to a somewhat prepared audience. The micro-chip intensified automation and the replacement of workers with machines, yet many jobs still require traditional skills and physical labour.
Artifacts include Heath kit analog computer top tightmicroprocessor module and computer circuit boards middle rightcomputer memory core centreteletype machine top leftand in the foreground, hammer, level, chainsaw, hardhat, lunchbox, and briefcase.
Display large image of Figure 2 Photo: Clearly, not everyone who viewed the exhibit — even in Winnipeg — would have participated in the "Concerning Work" programmes. It was hoped, however, that widespread publicity about the project and the dissemination of the special "Concerning Work" bi-monthly Calendar of Events would help to prepare the wider audience.
Also, to facilitate the interpretation of the exhibit, the Museum diverged from its normal practice and, with the assistance of the National Museums of Canada, produced a catalogue to accompany the exhibit.
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Carefully prepared by the curators involved, this document explored the primary themes of the exhibit, outlined the programme that pre-ceded it, and explained the rationale for the project as a whole. But, for the first time in a museum context, it explored the major trends in technological development in the labour process in Canada. Technological innovation is often perceived as a liberating force, as the means "by which man progressively masters his environment.
Industrialization in Canada in the nineteenth century meant dramatic increases in productivity and profits, and made a wide variety of labour-saving implements and products commonly available. The new factories created hundreds of thousands of jobs for Canadians, but the reorganization of the work-place that was necessary for industrialization to occur also had less welcome implications for Canadian workers.
Computers and robots will alter most occupations though some jobs, like firefighting, will still depend on human strength and skill. The potential for easier, more productive work and increased leisure time is counterbalanced by the possibility of more tedious jobs and higher levels of unemployment.
Artifacts are top left to right computer terminal, display phone, Black Brant 10 weather researtch rocket, and bottom left fishing rod and basket and bottom right firefighter's hat.
Display large image of Figure 3 Photo: It concludes by casting ahead to the year to consider the possible effects in the work-place of the "second industrial revolution" of microtechnology. As well, the various individuals involved in an effort of this kind obviously have different expectations and goals. In any exhibit, a compromise must be reached between content — what the curators want — and the limits imposed by design considerations. The overall concept, as presented in the catalogue, was controlled by the curators and met their expectations.
Many themes and ideas which they considered important were presented in the exhibit. Artifacts that seldom see the light of day became a part of the display, and many excellent photographs, slides, and other graphic images were included. Interpretive label deemed necessary by the curators was reduced, and reduced again, due to space limitations.
An early interest in presenting the "sights, sounds, and smells" of the work-place was never realized. An attempt was made, however, through the designers' initiative, to create an appropriate work-related ambience by using a scaffolding structure and wooden crates. All those involved, from the Curatorial Division, Design, Conservation, or elsewhere, made a sincere effort to produce the best possible exhibit. As the exhibit neared completion it became clear that, time and resources permitting, improvements could be made in terms of interpretation, design, and security.
Some artifacts had to be removed from the exhibit before it travelled, for example, and one important item, an irreplaceable, ultra-modern "display phone," generously provided by Northern Telecom, disappeared from the exhibit during its final week in Winnipeg.
We learned a great deal from the experience and hope to reflect this knowledge in the next such effort. While a formal evaluation has yet to be done, it is safe to say that it was a project of major importance in terms of contemporary efforts by historians and museum workers to "re-discover and reinterpret the world of work.