Fonds includes a framed collage, 2 photograph albums, 1 loan for copy scrapbook, and miscellaneous certificates and other ephemera. The collage consists of 14 b&w photographs of Stoney First Nations in the Kootenay Plains and Morley areas, 1877-1927. Identification of photographs include images of …
Bill Waterworth (1922-2009) was born on Marten Street in Mrs. Thomson's nursing home in Banff. He enlisted in the Royal Canadian Air Force at the age of 18. On September 19, 1942, Waterworth was shot down over the French coast just short of completing his 33rd mission. Waterworth avoided capture by German patrols for two weeks before being captured and taken prisoner by the Gestapo. He was sent by boxcar to a Prisoner of War camp - Stalag VIIIB/344 - in Lamsdorf, Germany where he remained for three years.
In 1946, Bill married Bernice "Bern" Wilson (d. 2003), who was a granddaughter of Tom Wilson. Together they had three children, Lynn, Bunty, and Christie.
Scope & Content
Fonds includes a framed collage, 2 photograph albums, 1 loan for copy scrapbook, and miscellaneous certificates and other ephemera. The collage consists of 14 b&w photographs of Stoney First Nations in the Kootenay Plains and Morley areas, 1877-1927. Identification of photographs include images of John Hunter and George McLean (Chief Walking Buffalo), William Hunter, Paul Beaver, Sampson Beaver, Chief Tom Chinicka, John House, Silas Abraham, Job Beaver, Enos Hunter, Ben Kaquitts, Dan Wildman Sr., Dan Wildman Jr., Moses Hunter, Wildman boy, Enoch Wildman, Tom Kaquitts Jr., Tom Kaquitts Sr., Leebie Crawler, Tom Wilson, Morley Beaver, Nat Hunter, William and Josh Hunter, Mark Poucette, Geo. Kaquitts, Joe Peacemaker, and Mr. and Mrs. Geo. Hunter. Photograph album belonging to Bill Waterworth pertains to aviation training in Calgary, family, friends, and Boy Scout trips and photograph album created by Bernice "Bern" Waterworth (nee Wilson) consists of friends, family, and activities such as skiing and canoeing. The digitized scrapbook is titled "A Wartime Log : A Remembrance from Home Through the Canadian Y.M.C.A.", and pertains to Bill Waterworth's experience as a POW. The original Wartime Log was digitized in 2009, and the original returned to the family.
Photographs are in the public domain (other restrictions may apply)
Language
Language is English
Finding Aid
Finding aids and reference tools: electronic finding aid for processed material
Related Material
S1 / 162 - Whyte Museum Oral History Prograamme : Bill Waterworth's Wartime Log interview with Bill Waterworth by Head Archivist E. J. (Ted) Hart, May 28, 2009
Fonds consists mainly of Dorothy Mitchell's photographs of Stoney Indians, accompanied by a note by Mitchell on hand-colouring. Also includes two snapshots of Dorothy and Jessie Mitchell.
Dorothy (Waller) Mitchell lived in Banff, ca.1910-1970, where she operated Mitchell's Cabins. She was married to Jessie Hunter Mitchell.
Scope & Content
Fonds consists mainly of Dorothy Mitchell's photographs of Stoney Indians, accompanied by a note by Mitchell on hand-colouring. Also includes two snapshots of Dorothy and Jessie Mitchell.
Fonds consists of two sous-fonds: M521 and V75.
M521 consists of four series, 154 cm, ca.1870-2002. Series I: Dorothy Wardle Personal Papers, 69.5 cm, ca.1870-2002 (includes Dorothy's written work and research and notes related to Banff). Series II: Wardle Family, 32.5 cm, 1872-1998 (including cor…
154 cm of textual records. -- 1304 photographs (1190 prints, 95 negatives, 19 transparencies). -- 6 photograph albums.
History / Biographical
The Wardle family was comprised of husband and wife, James Morey Wardle (June 26,1888 - May 18,1971) and Maud Leette (Roney) Wardle (May 24,1889 - December 1,1969), and their one child, Dorothy Hope Wardle (May 23,1919 - July 20,2003).
James Wardle, born in Chiliwack, British Columbia, was a civil engineer and public servant. He was the Superintendent of Banff National Park from 1918-1921, Chief Engineer for Parks Canada from 1921-1935, and Deputy Minister of the Interior from 1935-1936. He is primarily known as a highway design engineer, particularly for building the Banff-Windermere, Banff-Lake Louise, and Banff-Jasper highways. He was a councillor for the Municipality of Rockcliffe Park in Ontario and he was the President of the Trail Riders of the Canadian Rockies in Banff from 1925-1929. Mount Wardle in Vermillion was named after him in 1921. James married Leette on November 4, 1913, with whom he had one child, Dorothy.
Born in Calgary, Alberta, Dorothy (also known as Dot and Dorie) grew up in Banff, Alberta and Ottawa, Ontario, due to her father's position with the federal government. She was educated at the Mountain School in Banff and at the Elmwood School in Ottawa. All three family members were graduates of Queen's University in Kingston, Ontario. James graduated in 1912 with a Bachelor of Science in Engineering, Leette graduated with a Bachelor's degree, and in 1942, Dorothy also earned a Bachelor's degree. Dorothy was prominent in student life and active in athletics. In 1941, Dorothy became the first woman elected as President of the Alma Mater Society and during her academic career, Dorothy was a member of the Levana Intercollegiate Debative, University Centenary Committee, and Queen’s War Aid Commission.
Dorothy spent her career as a freelance writer however, upon graduation she served as the first Secretary-In-Charge of Records at Carleton College (now Carleton University) from 1942-1944 in Ottawa and in the mid-1950s worked as a secretary for the Glenbow Foundation in Calgary. Dorothy pursued a lifelong interest in traveling, art, and antiques. Although she was fiercely proud and protective of Banff and the Park, and remained a volunteer and patron of the Whyte Museum of the Canadian Rockies, Dorothy eventually settled in Sidney, British Columbia and shared an apartment with Sheila Iris Ritchie, with whom Dorothy travelled extensively. After her death in 2003, Dorothy, "Dorie," was laid to rest alongside her parents in the Old Banff Cemetery.
Scope & Content
Fonds consists of two sous-fonds: M521 and V75.
M521 consists of four series, 154 cm, ca.1870-2002. Series I: Dorothy Wardle Personal Papers, 69.5 cm, ca.1870-2002 (includes Dorothy's written work and research and notes related to Banff). Series II: Wardle Family, 32.5 cm, 1872-1998 (including correspondence with Carl Rungius and Mrs. Helen Brett, and Christmas and other greeting cards from Peter and Catharine Whyte). Series III: Queen's University, 7.5 cm, 1911-1980 (including graduation certificates for each family member and records pertaining to Dorothy's participation on the Alma Mater Society). Series IV: Travel, 44.5 cm, ca.1950-1988 (includes hand-written notebooks meticulously detailing their travels).
V75 consists of two series, 79.5 cm, ca. 1912-2001. Series I: Wardle Family, ca. 1912-1971, 6 albums, 31 cm of photograph prints and negatives (including family trips, trail rides in the Canadian Rocky Mountains, and family gatherings). Series II: Dorothy Wardle, 1972-2001, 34 cm of photograph prints, negatives, and transparencies (including Dorothy's travels in Alberta and British Columbia, overseas, and various outings with friends).
Fonds consists of transcript and sound recording. Transcript is of text of Treaty No. 7 of 1877, regarding reserves and compensation for Blackfoot, Blood, Peigan, Sarcee, Stoney and other Indians. Sound recording includes: children singing; Frank and Walter Chiniquay singing Indian songs; Mona Mar…
Frank Kaquitts, b.1925, is an artist and former Stoney Indian chief at Morley, Alberta, Canada. Kaquitts was born at Hobbema, Alberta, Canada and was educated at Morley. He studied art under Peter Whyte in Banff and attended the Banff School of Fine Arts. He has taught art and served as a newspaper columnist.
Scope & Content
Fonds consists of transcript and sound recording. Transcript is of text of Treaty No. 7 of 1877, regarding reserves and compensation for Blackfoot, Blood, Peigan, Sarcee, Stoney and other Indians. Sound recording includes: children singing; Frank and Walter Chiniquay singing Indian songs; Mona Mark and the Fives; Mrs. John Hunter singing Charlie and Gang and the Drunken Gang; Bone Game and Old Story by Hansen Bearspaw; part of Old Story by Noah Goat.
Fonds consists of research papers and drafts, 1963-1964, and photographs, ca.1880-1930, pertaining to Walking Buffalo and Moral Rearmament, John MacLean, David McDougall, John McDougall, ranches, Andrew Sibbald and Stoney Indians. Research papers include correspondence, interview notes, narrative …
9 cm of textual records. -- 3 photographs : prints
History / Biographical
Hermann Hagedorn was an American writer who was known for his biographical works, particularly on Theodore Roosevelt, as well as poetry and novels. Late in life, Hagedorn became interested in Moral Rearmament. During a visit to the movement's headquarters on Mackinac Island, Michigan in 1958, he met George McLean (Chief Walking Buffalo of the Stoney Indians), an active proponent and traveller on behalf of Moral Rearmament. Intrigued by McLean's character and philosophy, Hagedorn wrote articles as well as drafts of a biography tentatively titled "A Chief in Two Worlds," but died before the work could be completed.
Scope & Content
Fonds consists of research papers and drafts, 1963-1964, and photographs, ca.1880-1930, pertaining to Walking Buffalo and Moral Rearmament, John MacLean, David McDougall, John McDougall, ranches, Andrew Sibbald and Stoney Indians. Research papers include correspondence, interview notes, narrative notes, miscellaneous notes, notes from published sources, photocopies and maps. Drafts include an outline and incomplete draft of "A Chief in Two Worlds"; and drafts of "The Man Who Was Needed" article.
Fonds pertains to Moral Rearmament representative Chief Walking Buffalo (George McLean) and Moral Rearmament tour of New Zealand during March and April 1960.
Moral Rearmament is an international movement founded by Dr. Frank Buchman
Scope & Content
Fonds pertains to Moral Rearmament representative Chief Walking Buffalo (George McLean) and Moral Rearmament tour of New Zealand during March and April 1960.
Series I: Photographs (V786) - one sub-series consisting of photographs of Nicholas de Grandmaison; one photograph of Order of Canada event
Series II: Textual (M561) - three sub-series:
A - Biographical information and personal documents
B - Newspaper and magazine clippings and excerpts
C - Invita…
[2] cm of textual records. 19 photographs; b&w and col.
History / Biographical
Nicholas de Grandmaison was born in southern Russian in 1892. He attended military college in Moscow, graduating in 1911 and transfered to military school in 1913 to train as an officer. He was stationed in Warsaw, Poland in early 1914 when World War I began and was captured as a prisoner of war in Germany until 1918. Upon then end of the war, Nicholas de Grandmaison studied art in England, eventually arriving in Calgary, Alberta via some time spent in Winnipeg, Manitoba. He had specific interest in Indigenous peoples and travelled widely throughout North America painting portraits.
Nicholas de Gradmaison moved to Banff in 1939 with his wife Sonia, where they raised five children.
He is a member of the Order of Canada, and holds an honourary doctorate from the University of Alberta, and was made an honorary Peigan "Chief Little Plume".
He died on March 23, 1978 and is buried at the Brocket on the Piikani Nation reserve, west of Fort McLeod.
Scope & Content
Series I: Photographs (V786) - one sub-series consisting of photographs of Nicholas de Grandmaison; one photograph of Order of Canada event
Series II: Textual (M561) - three sub-series:
A - Biographical information and personal documents
B - Newspaper and magazine clippings and excerpts
C - Invitations and exhibit announcements
Copyright, privacy, commercial use and other restrictions may apply
Language
Language is English
Finding Aid
Finding aids and reference tools: basic description
Related Material
Accompanied by report titled "1969 Archeological Survey of Banff National Park" by O. A. Christensen, Department of Archeology, University of Calgary. Copy in Archives library
Fonds consists of photographic material accompanied by media coverage and articles written by Robert Fleming pertaining to Chief Walking Buffalo's 1960 world journey with Chief David and Mrs. Crowchild and five other Stoney and Sarcee people, sponsored by International Moral Rearmament. Travel incl…
ca. 500 photographs: negatives, prints, transparencies. -- ca. 30 cm of textual records
Scope & Content
Fonds consists of photographic material accompanied by media coverage and articles written by Robert Fleming pertaining to Chief Walking Buffalo's 1960 world journey with Chief David and Mrs. Crowchild and five other Stoney and Sarcee people, sponsored by International Moral Rearmament. Travel included Aboriginal people in Hawaii, New Zealand, Australia, South Africa, Southern Rhodesia (now Zimbabwe), Uganda, and Kenya.Fonds are unprocessed held in 3 boxes and 1 oversize print mounted on foamcore
Fonds consists of Andrew Sibbald papers, including correspondence, 1925, 1932, mainly with William Pearce on early history of Alberta, 100th birthday celebration papers, 1933, and notes, essays and other writings, n.d.; miscellaneous papers of George Hunter re the Banff Rotary Club and of Leanore H…
8.5 cm of textual records. -- ca.75 photographs : prints, tintypes
History / Biographical
Andrew Sibbald came to Alberta in 1875 with Rev. George McDougall to become the province's first teacher, teaching at Morley until 1896. He retired to Banff in 1909, where he celebrated his one hundredth birthday in 1933. George Hunter, son-in-law of Howard Sibbald (Andrew's son), came to Banff in 1905, served as Park Superintendent (1908-1910) and town magistrate (1922-1942); Leanore Hunter was his daughter.
Scope & Content
Fonds consists of Andrew Sibbald papers, including correspondence, 1925, 1932, mainly with William Pearce on early history of Alberta, 100th birthday celebration papers, 1933, and notes, essays and other writings, n.d.; miscellaneous papers of George Hunter re the Banff Rotary Club and of Leanore Hunter re the Banff Boating Club. Includes a photograph of Tom Wilson and Chief George Hunter at Lake Louise, by W. D. Wilcox, 1929. Also includes tintype portraits, possibly of Sibbald family, ca.1870.
In Aboriginal™, Jennifer Adese explores the origins, meaning, and usage of the term "Aboriginal" and its displacement by the word "Indigenous." In the Constitution Act, 1982, the term's express purpose was to speak to the "aboriginal rights" acknowledged in Section 35(1). Yet in the wake of the Constitution's passage, Aboriginal, in its capitalized form, became far more closely aligned with Section 35(2)'s interpretation of which specific groups held those rights, and was increasingly used to describe and categorize people. More than simple legal and political vernacular, the term Aboriginal (capitalized or not) has had real-world consequences for the people it defined. Aboriginal™ argues the term was a tool used to advance Canada's cultural and economic assimilatory agenda throughout the 1980s until the mid-2010s. Moreover, Adese illuminates how the word engenders a kind of "Aboriginalized multicultural" brand easily reduced to and exported as a nation brand, economic brand, and place brand--at odds with the diversity and complexity of Indigenous peoples and communities. In her multi-disciplinary research, Adese examines the discursive spaces and concrete sites where Aboriginality features prominently: the Constitution Act, 1982; the 2010 Vancouver Olympics; the "Aboriginal tourism industry"; and the Vancouver International Airport. Reflecting on the term's abrupt exit from public discourse and the recent turn toward Indigenous, Indigeneity, and Indigenization, Aboriginal™ offers insight into Indigenous-Canada relations, reconciliation efforts, and current discussions of Indigenous identity, authenticity, and agency. -- Provided by publisher.
Contents
Introduction -- 1. Aboriginal, aboriginality, aboriginalism, aboriginalization: what's in a word? -- Aboriginalized multiculturalism tm: Canada's olympic national brand -- Selling Aboriginal experiences and authenticity: Canadian and Aboriginal tourism -- Marketing aboriginality and the branding of place: the case of Vancouver international airport -- Conclusion: thoughts on the end of aboriginalization and the turn to indigenization.
Notes
Title appears with the trademark symbol after the word "Aboriginal".
Adjusting the Lens explores the role of photography in contemporary renegotiations of the past and in Indigenous art activism. In moving and powerful case studies, contributors analyze photographic practices and heritage related to Indigenous communities in Canada, Australia, Greenland, Norway, Sweden, Finland, and the United States. In the process, they call attention to how Indigenous people are using old photographs in new ways to empower themselves, revitalize community identity, and decolonize the colonial record. Adjusting the Lens presents original research in this emerging field in Indigenous photography studies, juxtaposing the historical and the contemporary across a range of geographically and culturally distinctive contexts. The transnational perspective of this exciting collection challenges old ways of thinking and meaningfully advances the crucially important project of reclamation. -- Provided by publisher
Contents
Reading a Regional Colonial Photographic Archive: Residential Schools in Southern Alberta, 1880-1974 / Carol Williams ; Camera Encounters: Bourgeois Settler Women's Adentures in Sami Areas of Norway / Sigrid Lien and Hilde Wallem Nielssen ; Negotiating Meaning: John Moller's Photographs in Early Twentieth-Century Scandinavian Literature / Ingeborg Hovik ; Reclaiming Pasts, Reclaiming Futures: Indigenous Re-workings of Historical Photography in North America / Laura Peers ; Distruption and Testimony: Archival Photographs, Project Naming, and Inuit Memory in Nunavut / Carol Payne, with contributions by Beth Greehorn, Piita Irniq, Manitok Thompson, Deborah Kigjugalik Webster, Sally Kate Webster, and Christina Williamson ; "Our Histories" in the Photographs of Others: Sami Approaches to Archival Visual Materials / Veli-Pekka Lehtola ; The Best Day for Me, Looking at These Old Photos: Returning Photographs to Australian Aboriginal and Torres Straight Islander People by Jane Lydon and Donna Oxenham ; On Being with (a Photograph of) Sugar Bush Womxn: Towards Anishinaabe Feminist Archival Research Methods / waaseyaa'sin Chrisitne Sy ; Indigenous Culture Jamming: Suohpanterror and the Art of Articulating a Sami Political Community by Laura Junka-Aikio ; Negotiating Postcolonial Identity: Photography as Archive, Collaborative Aesthetics, and Storytelling in Contemporary Greenland / Mette Sandbye ; Photographic Portraits as Dialogical Contact Zones: The Portrait Gallery of Sapmi - Becoming a Nation at the Arctic University Museum of Norway / Hanne Hammer Stein ; Photographic Studies and Indigenous Photographies: Some Thoughts on Categories, Assumptions, and Theories / Elizabeth Edwards
Information provided by Stoney Nakoda Elders during the Recognizing Relations project, an archives initiative undertaken in 2014 to identify Indigenous people in photographs held in the Whyte Museum Archives and Special Collections.
Information provided by Stoney Nakoda Elders during the Recognizing Relations project, an archives initiative undertaken in 2014 to identify Indigenous people in photographs held in the Whyte Museum Archives and Special Collections.
Identification made through misc. Elder meeting notes, source not confirmed.
Album consists of 14 photographs and accompanying notes pertaining to various historical events in Alberta. Photographs in album pertain to the Ranchmen's Club in Calgary; an unidentified Stoney Nakoda chief receiving royalty payments for oil extraction in 1929; a group of police officers gathered …
Album consists of 14 photographs and accompanying notes pertaining to various historical events in Alberta. Photographs in album pertain to the Ranchmen's Club in Calgary; an unidentified Stoney Nakoda chief receiving royalty payments for oil extraction in 1929; a group of police officers gathered outside of a building [possibly the North-West Mounted Police Barracks in Canmore]; a cattle ranch, possibly located on a Blackfoot reserve; and other related subjects.
Notes
Photographs are copies of older images which were reproduced by Eleanor Luxton, ca.1955-1960. Dates and ownership details of original images is unknown.
Circular pouch with two straps with buckskin ties. Green white triangular beading on straps, pouch white "Queen's Crown" beaded on green ground is on front face of cotton lined pouch. Backside of pouch beaded with silver at edge, star in middle and surrounding V shapes, all on red ground. Backside…
Circular pouch with two straps with buckskin ties. Green white triangular beading on straps, pouch white "Queen's Crown" beaded on green ground is on front face of cotton lined pouch. Backside of pouch beaded with silver at edge, star in middle and surrounding V shapes, all on red ground. Backside of pouch beaded on canvas and front side beaded on buckskin. Fringe tassels of silver beads on lower two thirds of pouch edge.
This exhibition catalogue introduces historic photographs of Indigenous peoples of Western Canada from a collection housed at the University of Alberta's Bruce Peel Special Collections. The publication focuses on the ancestors represented in the collection and how their images continue to generate stories and meanings in the present. The selected photographs contribute to a richer, deeper understanding of the past. There is strength, character, persistence, determination, artwork, humour, dance, celebration, and so much more in the photographs. Some serve as records of cherished landscapes that may have been altered. Others provide links to ancestors: revered leaders, soldiers, healers, thinkers, and orators. The curators hope that the process of identifying the people in these photographs, only begun here, will continue. (Provided by Publisher)
Contents
Foreword / Chief Willie Littlechild ; The nature of the collection and its challenges ; Western Canada in the late Nineteenth and early Twentieth Centuries ; The aims of the curators ; The Exhibition
