2024 Ontario Museum Association Awards of Excellence

Peter Boyle joined Fort William Historical Park (FWHP) as a Student Interpreter in the 1980’s and has held multiple positions at FWHP for over 40 years – the majority of FWHP’s existence. Throughout his extensive career, Peter has contributed to the research and development of FWHP’s rich and award-winning living history and educational programming telling the story of Central Canada’s 19th century fur trade.

During his tenure at FWHP, amongst other accomplishments, Peter was responsible for ensuring the structural and aesthetic fitness and accuracy in historical depiction of 44 heritage buildings and secondary structures including an Anishinaabe Encampment and Learning Wigwam. His direction of senior artisan staff in conservation efforts reflects his dedication to preserve the past, while his expansion of FWHP’s collaboration with diverse partners and stakeholders exemplifies his forward-looking aspirations for the FWHP. Peter also expertly directed the Cultural Heritage Evaluation Assessment that ultimately resulted in the recommendation to recognize FWHP as a Provincial Heritage Property of Provincial Significance.

“FWHP would not be where it is without the dedicated, loyal, and enthusiastic efforts of Mr. Boyle’s lifetime career of going above and beyond.” – Livio Di Matteo, Professor of Economics, Lakehead University

Watch Peter’s acceptance video HERE.

Roxane Shaughnessy has been on staff at the Textile Museum of Canada (TMC) for 26 years. During her time at the TMC, Roxane has managed many impressive and innovative exhibitions including ‘Printed Textiles from Kinngait Studios’, in partnership with the West Baffin Cooperative, for which she served as Curatorial Lead. For this exhibition, Roxane collaborated with community partners to ensure the project foregrounded Inuit voices, expertise, and engagement which resulted in mutually beneficial research, associated educational programs, and a national exhibition tour. Because of these extensive collaborative accomplishments, the exhibition was awarded the Governor General’s History Award for Excellence in Museums: History Alive!, in partnership with the Canadian Museums Association and Canada’s History Society.

A significant legacy of Roxane’s time at the TMC is her pioneering work in increasing collections accessibility and inclusivity through the Museum’s project to digitize its collection as well as through active partnering with source communities on exhibitions and updating existing gallery exhibits to more appropriately and accurately reflect the objects on display and the cultural needs of the Museum’s communities.

“Thanks to Roxane, the TMC has become one of the great training grounds for museum professionals in the Toronto area, particularly in collections management.” – Sarah Fee, Senior Curator of Global Fashion & Textiles (Asia and Africa), Royal Ontario Museum

Mab Coates-Davies was employed by the Textile Museum of Canada (TMC) in 2018 and has already received four promotions because of consistently going above and beyond in their work. Mab has enthusiastically taken on new tasks involving accounting and financial auditing as well as overseeing re-development of the Museum Shop when the museum was most in need of flexible and initiative-taking professionals during the COVID-19 pandemic.

Mab has fundamentally changed the TMC’s volunteering recruitment, training, and engagement procedures to a more equitable and inclusive model that importantly does not replace what should be paid staff positions. This was also reflected in Mab’s leadership while re-envisioning the Museum Shop to include textiles by BIPOC artists and items made by volunteers to help fundraise for the Museum. Beyond the immediate tasks of the workplace, Mab is also dedicated to self-directed learning of the latest scholarship on volunteer management and is an Executive Member of the Toronto Association of Volunteer Administrators.

“From her first day, Mab has continuously surpassed her official job description at the Textile Museum of Canada because she cares. She cares deeply about the Museum, the museum community, people, and the local and global issues that affect them.” – Zile Liepins, Communications & Design, The Flaherty Film Seminar

After an 1853 stone building in Mallorytown was purchased by the township council, the Thousand Islands River Heritage Society (TIRHS) changed its remit from heritage re-enactment to support the re-development of the site as a museum. In 2017, local historian, TIRHS member, and graphic artist Brian Phillips proposed that the Society create a permanent exhibit honouring the Mallorytown Glassworks, the first commercial glassworks in Canada.

The Glassworks Committee raised funds for and designed an exhibition where all aspects – from the sandstone-like tile flooring material to the antique sugar bowl-inspired artificial skylight – are reflective of the Glassworks and the local community. The TIRHS is a small but passionate group of 13 local community members and about a third of this group designed, managed, and implemented the majority of the project. Over 12,000 hours of volunteer time made this ambitious project possible.

“For many years, as a longtime member of the Leeds County Heritage Network, I have been aware of the outstanding energy and the vision of an exemplary group, that which has created the Mallory Coach House Museum. I constantly have marvelled at the scope of this group which plays a vital role in that small community.” – Diane Haskins, Member, Leeds County Heritage Network

Watch the Thousand Islands River Heritage Society Volunteers’ video HERE.

The Niagara-on-the-Lake Museum (NOTL Museum) created the exhibition Bound & Determined: Chloe Cooley, Enslavement and the Fight for Freedom in commemoration of the 230th anniversary of the passing of the first piece of legislation in the British Empire to restrict the Slave Trade. Chloe Cooley was an enslaved woman from Queenston whose resistance efforts sparked the government’s passing of what would become ‘An Act to Prevent the further Introduction of Slaves and to limit the Term of Contracts for Servitude, 9 July 1793 (Act to Limit to Slavery)’. The legislation, along with the later ‘Slavery Abolition Act (1834)’ set the stage for expansion of the Underground Railroad and the thousands of Freedom Seekers that sought freedom in Canada. The NOTL Museum’s exhibition was the first in Canada dedicated to the legacy of this extraordinary historical figure.

From the beginning, NOTL Museum staff set out to mindfully tell these stories through the intentional involvement and participation of members of the Black and African communities, including through co-curation of the exhibition and the commissioning of an original piece of artwork of Cooley. The NOTL Museum was able to reckon with the past by centering stories of truth, resistance, and freedom by presenting a more authentic, inclusive, and truthful history.

“To place one’s body alongside the boat and imagine it to resemble a similar boat that would have taken Cooley back to America, is chilling. The weight was accessible, and it was encouraged to feel the burden of such a weight that may be placed onto someone enslaved felt—heavy.” – Conā S. M. Marshall, Assistant Professor of American Religions, University of Rochester

Watch NOTL Museum’s acceptance video HERE.

‘Unsettling the Grand’ explores the failed enterprise of the Grand River Navigation Company (1832-1861), analyzing the historical and contemporary relationships between Indigenous and settler-colonial communities within and along the Grand River. The exhibition design and narrative within were shaped by the “Two-Eyed Seeing” philosophy of Elder Albert Marshall (Eskasoni First Nation, Unama’ki (Cape Breton Island), Mi’kma’ki), resulting in a transformative process that fostered a plurality of traditional Indigenous and mainstream Western perspectives, critical reflection, collaboration, and reciprocity.

This philosophy was reflected in the innovative experience of the exhibition, including a counter-clockwise narrative challenging conventional chronological exhibition practices, exhibition “chapters” presented through bilateral Indigenous and settler-colonial narrative perspectives, and the room-sized floor map that centered the voice of the river and put museum visitors in dialogue with it.

“The exhibit offered a very accessible picture of a critical story in the history of the Grand River around the relationships between the Crown, their agents, and the First Nation and the nature of colonial expansion in the watershed.” – Jeremy Shute, Senior Planner in Environmental Consultation, Shared Value Solutions

Mat Johnson created ‘Marathon of History Magazine’ in 2022 to satisfy a need in Southwestern Ontario for a fun, informative, full-colour, and accessible local heritage magazine. The magazine creates a space for historians, aspiring historians, and local heritage enthusiasts to share their work with like-minded people. While many popular history magazines are nationally-focused or American-focused, broad in scope, and have high barriers for contributors, ‘Marathon of History’ is unique in that it is regionally-focused and does not require contributors to have extensive experience or credentials, only a love of history – the magazine’s motto is “Local History by Local People”.

A central aspect of the magazine’s mandate is recognizing exceptional museum professionals and volunteers, especially those from smaller museums who may not have large exhibition or marketing budgets but have no less passion and dedication to their work. The magazine’s advertising model and its cost for the reader (hard copies have a small fee, but digital copies are free) are affordable and accessible to all. This model has fostered a digital readership base of 2,000 – 2,500 for each issue, plus more who purchase a physical copy at their local market or community event.

“[Mat’s] passion for historical storytelling is evident in each issue and he really gives readers a great sense of how local stories fit into the greater picture of Canadian and world history.” – Ron MacIntyre, Teacher (Retd.), Bluewater Board of Education

Watch Mat’s acceptance video HERE.

‘A Path Forward’ is a dynamic permanent and evolving exhibit in Prince Edward County that symbolizes the community’s ongoing Indigenous Truth and Reconciliation efforts. This exhibit invites visitors to listen, learn, and engage with the lived experiences of those transgenerationally affected by the Residential School program. Through a continuously collaborative process, ‘A Path Forward’ aims to transform the former St. Mary Magdalene Anglican Church by placing contemporary works of art and story created by Indigenous artists amidst a narrative that speaks both to the historical and ongoing presence and important of Indigenous peoples in the county.

‘A Path Forward’ has its origins in a protest surrounding the ‘Holding Court’ statue of John A. MacDonald, one of the architects of Canada’s genocide of Indigenous peoples, on Picton Main Street. The project was created in response to the initial decision to retain the statue in situ and a subsequent decision to remove the statue to preserve it in a county-owned structure to prevent further defacement. The resulting exhibit represents an innovative and significant step towards Truth and Reconciliation by amplifying Indigenous voices and actively fostering continuous, meaningful collaboration between non-Indigenous and Indigenous partner organizations, community members, and artists.

“APF not only created a welcoming community space where Indigenous and non-Indigenous communities are coming together to learn and celebrate; it is also a living, evolving, public testament to the strength, resilience, and future of Indigenous people in Prince Edward County and beyond.” – Andrea Dawes, Special Initiatives Manager, Prince Edward County Arts Council

Watch the acceptance video HERE.

‘To Honour and Respect’ was a cross-cultural, diplomatic, international loan exhibition that brought together diverse Indigenous, non-Indigenous, and institutional partners and stakeholders. Through the dedicated efforts of this compassionate and collaborative team, 13 wiigwassii makakoon (quill birchbark baskets) were able to visit home for the first time in 164 years. The stunning makakoon were expertly crafted by women of Hiawatha First Nation and were gifted to the Prince of Wales in 1860 when he visited Hiawatha on his Royal Tour. 11 of these makakoon are associated with their makers’ names, a rare and important feature which links them to descendant families.

This special project to bring the Ancestors home for a visit enabled them to teach their descendant community and strengthen knowledge of Nishnaabeg arts, language, tangible and intangible cultural heritage, and international diplomacy. The project’s key goals included teaching, learning, and improving language and quillwork skills by embedding the threatened language of Michi-Saagiig Nishnaabemowin throughout the exhibition, project materials, and events. Interactions with the Ancestors powerfully supported the transfer and preservation of traditional cultural skills, intergenerational ties, and healing, as well as fostering cross-cultural understanding.

“The complex partnerships brought together for this project have helped to continue to strengthen the relationships between the PMA and local indigenous communities. Hopefully this project can serve as a model for the loan of other indigenous artifacts from overseas institutions, allowing these ancestors a chance to return home.” – Amy Barron, Program Coordinator, Fleming College

Watch the PMA’s acceptance video HERE.

Museum London launched a collaborative community project in October 2022 that resulted in the exhibition ‘Resilient London: Meet Your Neighbours’. The exhibition collected and showcased stories, objects, artworks, songs, videos, and more artifacts of resilience from 68 individual members of London’s diverse community.

The Museum team designed the project so that the storytelling and subsequent collection of these stories was as accessible as possible to the most diverse participants possible. Participants each chose the tangible object or digital accompaniment that best embodied their own story. Life-sized portraits of the participants further enhanced the power of the stories and objects, and allowed visitors to meet their neighbours eye-to-eye. In presenting the powerful stories of its diverse community, Museum London built new relationships, changing local attitudes about who the museum is for and expanding its material culture collections to better reflect contemporary London.

“Having the chance to both reflect and take-away useful elements supported the message that not only is London filled with people with remarkable stories, but that I too am capable of being resilient, and of belonging to strong, caring communities.” – Kathryn Lyons, Director of Learning and Community Engagement at the Gallery, National Gallery of Canada

Watch Museum London’s acceptance video HERE.

‘Stories of Migration and Belonging’ is a video-based digital experience created by Hamilton Civic Museums in partnership with Hamilton Immigration Partnership Council. Through the digital space of the exhibition, a diverse group of  community members were invited to share their stories of immigration to Hamilton in their own words. While the resulting exhibition represented a variety of different voices and life experiences, all are tied together by the common thread of making a new home together in Hamilton – an experience shared by a quarter of Hamiltonians today.

This co-created exhibition serves as a digital anchor for the newcomer stories. The stories collected in this exhibition are easy to access and just as easy to share, extending their reach throughout the Hamilton community and beyond. The digital format of the exhibition ensures that, regardless of physical barriers to access, community members have an opportunity to participate in and experience the cultural story of today’s Hamilton in its rich diversity.

“The variety of voices provided diverse points of view and experiences, facilitated by the Museum, but notably, the community voice – rather than the institutional voice – was front and centre.” – Megan Wiles, Coordinator of Exhibition & Outreach, Museums of Mississauga

Watch the Hamilton Civic Museums’ acceptance video HERE.

‘Standing in the Doorway’ is a community-driven exhibit program and accompanying educational program resources in solemn commemoration of the 100th anniversary of the ‘Chinese Exclusion Act (1923)’. The project presents a community-authored narrative of resistance, resilience, and the many accomplishments of York Region’s residents of Chinese descent through a three-part virtual and touring exhibition program. An additional resource kit is designed to engage students in their classrooms and at their grade level (from Kindergarten to Grade 10).

This project was shaped by the local Chinese-descent community from its inception. Ultimately, over 500 advisors, participants, and contributors of personal records, stories, and artifacts were involved in this collaborative, inclusive, and actively engaging community project. Additionally, 175 youth and their educators contributed to the planning phases of the project. The project focused on appropriately and responsibly representing the stories and culture of the Chinese-descent community but also ensuring that these stories were accessible to all community members and that young people especially had the opportunity to learn from the exhibition and its associated programming and resources.

“While the subject matter focuses on the Chinese community, the message is more broadly anti-racism; students of all marginalized communities can see themselves and their family stories in those of the Chinese and find value and pride in their identities.” – Katrina Pyke, Coordinator of Museum Operations, Pickering Museum Village

Watch the YRDSB Museum & Archives and the Markham Museum’s acceptance video HERE.

‘Sensory Saturday’ is an accessible gallery experience designed especially for neurodiverse visitors and individuals with sensory processing needs at the Kitchener-Waterloo Art Gallery. During these Saturdays, all expressions are welcome, so that visitors can move, stim, or make noise while exploring exhibitions with low light and volume levels. Alongside this project, the Gallery also built a Sensory Environment featuring a range of stimuli to support calm, focus, and comfort for guests with a range of sensory needs.

To ensure that this project was undertaken responsibly, appropriately, and with respect, the Gallery worked closely with Autism Ontario and neurodivergent advisors from the community. The project has made the gallery more accessible to children and adults with diverse needs, and has also fostered new and better relationships with neurodivergent community members, visitors, and other organizations that serve the needs of this community.

“The development of an entire space – first of its kind in Ontario – is a deliberate and conscious act of acknowledgement of a population that has been overlooked in the past. The existence of the Sensory Environment space supports the positive social model of disability: staff have identified that a lack of such a space is a cause for exclusion and acted, proposing constructive changes to remove barriers and increase access.” – Karoline Varin, Program Administrator of Arts and Creative Industries, City of Kitchener

Watch the KWAG’s acceptance video HERE.