Latest news with #MuseumofAnthropology
Vancouver Sun
16-05-2025
- Science
- Vancouver Sun
5 things to know about B.C.'s long-extinct Coast Salish Woolly Dog
Long gone from existence, the Coast Salish Woolly Dog is brought back to life in the pages of a new book: The Teachings of Mutton: A Coast Salish Woolly Dog. Rich with stories from Musqueam, Squamish, Stó:lō, Suquamish, Cowichan , Katzie, Snuneymuxw, and Skokomish cultures, the book highlights the story of the animal whose coat was used by Indigenous weavers to craft blankets and other woven items. Co-authored by Liz Hammond-Kaarremaa with weavers, knowledge keepers and elders, the book comes out May 25. Hammond-Kaarremaa, along with a number of Coast Salish contributors to the tome, will be doing readings at the VPL Central Branch on June 4 at 7 p.m. and the Museum of Anthropology on June 5 at 7 p.m. Get top headlines and gossip from the world of celebrity and entertainment. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of Sun Spots will soon be in your inbox. Please try again Interested in more newsletters? Browse here. What is a Coast Salish Woolly Dog? The Coast Salish Woolly Dog, or sqʷəmey̓ in the Hul'q'umi'num (a traditional Coast Salish language), was a small-to-medium-sized dog that was bred for its woolly fibres, which Indigenous weavers wove into traditional blankets, robes and regalia. The dogs lived throughout B.C. but mostly on Vancouver Island and the Puget Sound area of Washington state. How far back does the Coast Salish Woolly Dog go? Word in the scientific world is the dogs were developed as a breed before European contact in this part of the world. The oldest remains of the Coast Salish Woolly Dog were found in Puget Sound and the Strait of Georgia, and date from 4,000 years ago. Who is Mutton? In 2000, the pelt of a dog was discovered in a drawer at the Smithsonian in Washington, D.C. The pelt, it turns out, was from a Coast Salish Woolly Dog named Mutton and it had been donated to the institution in 1859 by ethnographer George Gibbs who worked on the Northwest Boundary Survey expedition (1857-61) that mapped the land between B.C. and the U.S. What is a modern breed that resembles the Coast Salish Woolly Dog? The Coast Salish Woolly Dog would have most resembled the modern-day Spitz breed. The two share a small-to-medium build, with thick ivory-white hair, pointed ears and a curly tail. What happened to the breed? Colonization happened and the dog population declined in the 19th century, and then pretty much disappeared by the early 1900s. A simplified answer to the decline was that during colonization sheep wool blankets were introduced and basically put the woolly dogs out of work. But scholars also say contributing to their extinction was the welfare of the caretakers of the dogs as things like disease, cultural disruption and displacement wreaked havoc on Indigenous communities.
Vancouver Sun
16-05-2025
- Science
- Vancouver Sun
5 things to know about the Coast Salish Woolly Dog
Long gone from existence, the Coast Salish Woolly Dog is brought back to life in the pages of a new book: The Teachings of Mutton: A Coast Salish Woolly Dog. Rich with stories from Musqueam, Squamish, Stó:lō, Suquamish, Cowichan , Katzie, Snuneymuxw, and Skokomish cultures, the book highlights the story of the animal whose coat was used by Indigenous weavers to craft blankets and other woven items. Co-authored by Liz Hammond-Kaarremaa with weavers, knowledge keepers and elders, the book comes out May 25. Hammond-Kaarremaa, along with a number of Coast Salish contributors to the tome, will be doing readings at the VPL Central Branch on June 4 at 7 p.m. and the Museum of Anthropology on June 5 at 7 p.m. Get top headlines and gossip from the world of celebrity and entertainment. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of Sun Spots will soon be in your inbox. Please try again Interested in more newsletters? Browse here. What is a Coast Salish Woolly Dog? The Coast Salish Woolly Dog, or sqʷəmey̓ in the Hul'q'umi'num (a traditional Coast Salish language), was a small-to-medium-sized dog that was bred for its woolly fibres, which Indigenous weavers wove into traditional blankets, robes and regalia. The dogs lived throughout B.C. but mostly on Vancouver Island and the Puget Sound area of Washington state. How far back does the Coast Salish Woolly Dog go? Word in the scientific world is the dogs were developed as a breed before European contact in this part of the world. The oldest remains of the Coast Salish Woolly Dog were found in Puget Sound and the Strait of Georgia, and date from 4,000 years ago. Who is Mutton? In 2000, the pelt of a dog was discovered in a drawer at the Smithsonian in Washington, D.C. The pelt, it turns out, was from a Coast Salish Woolly Dog named Mutton and it had been donated to the institution in 1859 by ethnographer George Gibbs who worked on the Northwest Boundary Survey expedition (1857-61) that mapped the land between B.C. and the U.S. What is a modern breed that resembles the Coast Salish Woolly Dog? The Coast Salish Woolly Dog would have most resembled the modern-day Spitz breed. The two share a small-to-medium build, with thick ivory-white hair, pointed ears and a curly tail. What happened to the breed? Colonization happened and the dog population declined in the 19th century, and then pretty much disappeared by the early 1900s. A simplified answer to the decline was that during colonization sheep wool blankets were introduced and basically put the woolly dogs out of work. But scholars also say contributing to their extinction was the welfare of the caretakers of the dogs as things like disease, cultural disruption and displacement wreaked havoc on Indigenous communities.
Calgary Herald
16-05-2025
- Science
- Calgary Herald
5 things to know about the Coast Salish Woolly Dog
Article content Long gone from existence, the Coast Salish Woolly Dog is brought back to life in the pages of a new book: The Teachings of Mutton: A Coast Salish Woolly Dog. Article content Rich with stories from Musqueam, Squamish, Stó:lō, Suquamish, Cowichan, Katzie, Snuneymuxw, and Skokomish cultures, the book highlights the story of the animal whose coat was used by Indigenous weavers to craft blankets and other woven items. Article content Article content Co-authored by Liz Hammond-Kaarremaa with weavers, knowledge keepers and elders, the book comes out May 25. Hammond-Kaarremaa, along with a number of Coast Salish contributors to the tome, will be doing readings at the VPL Central Branch on June 4 at 7 p.m. and the Museum of Anthropology on June 5 at 7 p.m. Article content Article content Article content The Coast Salish Woolly Dog, or sqʷəmey̓ in the Hul'q'umi'num (a traditional Coast Salish language), was a small-to-medium-sized dog that was bred for its woolly fibres, which Indigenous weavers wove into traditional blankets, robes and regalia. The dogs lived throughout B.C. but mostly on Vancouver Island and the Puget Sound area of Washington state. Article content Word in the scientific world is the dogs were developed as a breed before European contact in this part of the world. The oldest remains of the Coast Salish Woolly Dog were found in Puget Sound and the Strait of Georgia, and date from 4,000 years ago. Article content Article content In 2000, the pelt of a dog was discovered in a drawer at the Smithsonian in Washington, D.C. The pelt, it turns out, was from a Coast Salish Woolly Dog named Mutton and it had been donated to the institution in 1859 by ethnographer George Gibbs who worked on the Northwest Boundary Survey expedition (1857-61) that mapped the land between B.C. and the U.S. Article content The Coast Salish Woolly Dog would have most resembled the modern-day Spitz breed. The two share a small-to-medium build, with thick ivory-white hair, pointed ears and a curly tail. Article content Article content What happened to the breed? Colonization happened and the dog population declined in the 19th century, and then pretty much disappeared by the early 1900s. A simplified answer to the decline was that during colonization sheep wool blankets were introduced and basically put the woolly dogs out of work. But scholars also say contributing to their extinction was the welfare of the caretakers of the dogs as things like disease, cultural disruption and displacement wreaked havoc on Indigenous communities. Article content Article content
The Province
15-05-2025
- Entertainment
- The Province
Blood, Water, Hair, Land: Anishinaabe artist Rebecca Belmore reclaims the space
Four pieces that span the 65-year-old Anishinaabe artist's 40-year artmaking career are part of new exhibit at UBC's Museum of Anthropology Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother (1991) is one of four works by Audain Prize-winning Rebecca Belmore on display at MOA May 15-Oct. 19. Pictured: Gathering, Johnson Lake, Banff National Park, Banff, Alberta, July 26, 2008. Photo by Sarah Ciurysek Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. This advertisement has not loaded yet, but your article continues below. THIS CONTENT IS RESERVED FOR SUBSCRIBERS ONLY Subscribe now to read the latest news in your city and across Canada. Exclusive articles by top sports columnists Patrick Johnston, Ben Kuzma, J.J. Abrams and others. Plus, Canucks Report, Sports and Headline News newsletters and events. Unlimited online access to The Province and 15 news sites with one account. The Province ePaper, an electronic replica of the print edition to view on any device, share and comment on. Daily puzzles and comics, including the New York Times Crossword. Support local journalism. SUBSCRIBE TO UNLOCK MORE ARTICLES Subscribe now to read the latest news in your city and across Canada. Exclusive articles by top sports columnists Patrick Johnston, Ben Kuzma, J.J. Abrams and others. Plus, Canucks Report, Sports and Headline News newsletters and events. Unlimited online access to The Province and 15 news sites with one account. The Province ePaper, an electronic replica of the print edition to view on any device, share and comment on. Daily puzzles and comics, including the New York Times Crossword. Support local journalism. REGISTER / SIGN IN TO UNLOCK MORE ARTICLES Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account. Share your thoughts and join the conversation in the comments. Enjoy additional articles per month. Get email updates from your favourite authors. THIS ARTICLE IS FREE TO READ REGISTER TO UNLOCK. Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account Share your thoughts and join the conversation in the comments Enjoy additional articles per month Get email updates from your favourite authors When: May 15-Oct. 19 Where: Museum of Anthropology, UBC, 6393 NW Marine Dr., Vancouver Tickets: $10 (youth 6-18), $22 (student 19+ and senior 65+), $25 adult at On the subject of Rebecca Belmore's place in the firmament of contemporary art, curator Jeffrey Boone is committed. 'In my opinion, in my very humble opinion, Rebecca Belmore is quite probably the most important artist of our time,' said Boone. As proof, Boone has gathered four pieces that span the 65-year-old Anishinaabe artist's 40-year artmaking career. Belmore, who was born and raised in Ontario and now lives in Vancouver, is the winner of the 2024 Audain Prize, among many other accolades. 'They're probably the highest-profile works in Rebecca's career that speak to the condition I want to highlight,' said the curator, who is also a collector and former gallerist. Essential reading for hockey fans who eat, sleep, Canucks, repeat. By signing up you consent to receive the above newsletter from Postmedia Network Inc. Please try again This advertisement has not loaded yet, but your article continues below. 'That is the ongoing condition of colonialism, and also looking at the museum as a value system in itself.' The works include Fountain (2005), which consists of a short film displayed on a wall of falling water. In the film, Belmore is seen struggling in the ocean before throwing a pail of water-turned-blood at the screen. Previously seen in a different configuration at the Vancouver Art Gallery nearly 20 years ago, the work will be exhibited to the artist's original installation specifications for the first time in Vancouver. 'MOA has been absolutely amazing in terms of how they have said yes to all four of these pieces, but most importantly Fountain,' Boone said. 'The Fountain introduces a high volume of humidity into an institution that's predicated on controlling a specific level of relative humidity to preserve the museum's collection. MOA has gone to incredible lengths to make sure that they can maintain their collection while introducing this amount of humidity.' This advertisement has not loaded yet, but your article continues below. Another piece, Wild (2001), features a four-poster bed with a bedspread adorned with human hair and beaver pelt. It is accompanied by a placard that reads: 'I AM WORTH MORE THAN ONE MILLION DOLLARS TO MY PEOPLE.' The placard was used as part of a performance in front of the Vancouver Art Gallery in September 2010 in protest against a high-profile legal dispute. Rebecca Belmore's Wild features a four-poster bed with a bedspread of human hair and beaver pelt. It will be on display at MOA May 15-Oct. 19. Photo by Art Gallery of Ontario Originally, Wild appeared in The Grange, a historic house that is part of the Art Gallery of Ontario. 'The work is complicated in terms of where you place it,' Boone said. 'It really doesn't have the kind of resonance or power that it had in its original situation. But, at Rebecca's encouragement, it's being displayed in the Koerner European Ceramic Gallery, which has a whole other different set of stories associated with it. This bed being so ornate and also kind of nightmarish in terms of the hair and pelt and appearing in this gallery of ceramics is a consideration in terms of how it's going to work.' This advertisement has not loaded yet, but your article continues below. A fourth piece, Ayum-ee-aawach Oomama-mowan: Speaking to their Mother (1991), will arrive in late July, following its current activation in Ottawa. Belmore created the two-meter-wide wooden megaphone in response to the deadly 1990 Kanehsatà:ke Resistance in Oka, Quebec. Boone credit's Belmore's importance at least in part to her iconoclasm. 'She has persisted for 40 years in making work that has no discernible style,' Boone said. 'Normally, artists who become very successful are the ones who produce work in series that's recognizable so you can market it. Museums know what they're getting. It makes the things identifiable in their collections. It makes it identifiable to collectors. She has refused all of that.' Boone hopes that visitors to VALUE will pick up on the commentary inherent in the work appearing where it is. 'I would love it if someone goes through this exhibition and realizes, 'Oh my God, this is what Rebecca is commenting on — on the building and the collection that I'm standing in, and on the relationship between the building and the land.' Because MOA is on Musqueam land, and these works do speak to the impact that colonialism has had on the land.' News Vancouver Canucks News Vancouver Canucks International Soccer
Vancouver Sun
15-05-2025
- Entertainment
- Vancouver Sun
Blood, Water, Hair, Land: Anishinaabe artist Rebecca Belmore reclaims the space
When: May 15-Oct. 19 Where: Museum of Anthropology, UBC, 6393 NW Marine Dr., Vancouver Tickets: $10 (youth 6-18), $22 (student 19+ and senior 65+), $25 adult at On the subject of Rebecca Belmore's place in the firmament of contemporary art, curator Jeffrey Boone is committed. 'In my opinion, in my very humble opinion, Rebecca Belmore is quite probably the most important artist of our time,' said Boone. As proof, Boone has gathered four pieces that span the 65-year-old Anishinaabe artist's 40-year artmaking career. Belmore, who was born and raised in Ontario and now lives in Vancouver, is the winner of the 2024 Audain Prize, among many other accolades. Get top headlines and gossip from the world of celebrity and entertainment. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of Sun Spots will soon be in your inbox. Please try again Interested in more newsletters? Browse here. 'They're probably the highest-profile works in Rebecca's career that speak to the condition I want to highlight,' said the curator, who is also a collector and former gallerist. 'That is the ongoing condition of colonialism, and also looking at the museum as a value system in itself.' The works include Fountain (2005), which consists of a short film displayed on a wall of falling water. In the film, Belmore is seen struggling in the ocean before throwing a pail of water-turned-blood at the screen. Previously seen in a different configuration at the Vancouver Art Gallery nearly 20 years ago, the work will be exhibited to the artist's original installation specifications for the first time in Vancouver. 'MOA has been absolutely amazing in terms of how they have said yes to all four of these pieces, but most importantly Fountain,' Boone said. 'The Fountain introduces a high volume of humidity into an institution that's predicated on controlling a specific level of relative humidity to preserve the museum's collection. MOA has gone to incredible lengths to make sure that they can maintain their collection while introducing this amount of humidity.' Another piece, Wild (2001), features a four-poster bed with a bedspread adorned with human hair and beaver pelt. It is accompanied by a placard that reads: 'I AM WORTH MORE THAN ONE MILLION DOLLARS TO MY PEOPLE.' The placard was used as part of a performance in front of the Vancouver Art Gallery in September 2010 in protest against a high-profile legal dispute. Originally, Wild appeared in The Grange, a historic house that is part of the Art Gallery of Ontario. 'The work is complicated in terms of where you place it,' Boone said. 'It really doesn't have the kind of resonance or power that it had in its original situation. But, at Rebecca's encouragement, it's being displayed in the Koerner European Ceramic Gallery, which has a whole other different set of stories associated with it. This bed being so ornate and also kind of nightmarish in terms of the hair and pelt and appearing in this gallery of ceramics is a consideration in terms of how it's going to work.' A fourth piece, Ayum-ee-aawach Oomama-mowan: Speaking to their Mother (1991), will arrive in late July, following its current activation in Ottawa. Belmore created the two-meter-wide wooden megaphone in response to the deadly 1990 Kanehsatà:ke Resistance in Oka, Quebec. Boone credit's Belmore's importance at least in part to her iconoclasm. 'She has persisted for 40 years in making work that has no discernible style,' Boone said. 'Normally, artists who become very successful are the ones who produce work in series that's recognizable so you can market it. Museums know what they're getting. It makes the things identifiable in their collections. It makes it identifiable to collectors. She has refused all of that.' Boone hopes that visitors to VALUE will pick up on the commentary inherent in the work appearing where it is. 'I would love it if someone goes through this exhibition and realizes, 'Oh my God, this is what Rebecca is commenting on — on the building and the collection that I'm standing in, and on the relationship between the building and the land.' Because MOA is on Musqueam land, and these works do speak to the impact that colonialism has had on the land.'
