Sundus Saba is working towards completing a Bachelor of Commerce degree in Marketing from York University. She has undertaken roles in libraries, archives, and heritage organizations. She is passionate about ensuring the histories of different communities are visible within archival records so they can be preserved for future generations.

Who knew taking a Public History course in my fourth year of undergraduate studies would change the trajectory of my career?  As a marketing major, I was on a very linear business career pathway, but I always had a passion for history.  I had previous experience working with archival material, in the heritage sector and libraries, and took an Islamic Civilization history course as an elective.  Somewhere along the way, the stars aligned and here I am completing a Public History course placement at the York University Libraries (YUL) Clara Thomas Archives and Special Collections (CTASC) as a digital records assistant working on the Mariposa Folk Foundation fonds.  This placement provided me with insights into the importance of diversity in the archival profession and an appreciation for the labour involved in archival description. 
 

Mariposa Folk Festival 2012 programme booklet. 

The Mariposa Folk Foundation’s mandate is “the promotion and preservation of folk art in Canada through song, story, dance, and craft.” The Mariposa Folk Foundation fulfils its mandate through its annual Mariposa Folk Festival (MFF); it is one of the longest running folk festivals in North America. The festival has hosted notable artists including Joni Mitchell, Joan Baez, Gordon Lightfoot, Leonard Cohen, Neil Young, and Bob Dylan. It has also fostered the developing talents of many of Canada’s up-and-coming artists, as well as the vibrant folk and Indigenous performers of North America. In 2007, the Mariposa Folk Foundation donated approximately 300 boxes of historical records which document their annual folk music festival to the CTASC. The “Mariposa: celebrating Canadian folk music” exhibit at the CTASC tells the story of the festival’s first two decades and, by extension, the folk music movement of the 1960s and 1970s. In the years since that initial donation, MFF has regularly donated additional material in both analog and born-digital formats including over 500 GB of live performance recordings from 2010 to 2019.  
 
While working ten hours each week at the CTASC, I processed approximately 100 digital records from the 2012 festival using Excel formulas and functions to reconcile technical and descriptive metadata. In the words of my supervisor, I was living and breathing spreadsheets. My weekly tasks involved reviewing resources, researching MFF performers to create name authority records, and capturing information about the live performances from the 2012 festival program booklet to create archival descriptions in an Excel spreadsheet. An interesting moment during this process was discovering that the renowned Gordon Lightfoot put ona surprise performance which wasn’t scheduled in the program and, as a result, was not in the program booklet. I conducted thorough research using different websites and news articles to verify and describe this surprise performance. Although at times these tasks seemed tedious and repetitive, they were crucial for archival description. Archival descriptions are valuable because they help future archives in explaining the context around a specific record.  

Name Authorities Excel spreadsheet of Mariposa Folk Festival. Photo credit: Sundus Saba.  

Of the many tasks that I undertook during my placement, I found working with OpenRefine the most rewarding. Dealing with messy and non-standard data in archival description, file lists, and other metadata operations can be a massive headache. Manually adjusting lines of data can take hours of time. However, thanks to OpenRefine (an open-source desktop application for data cleanup and transformation to other formats) I was able to code formulas into GREL (General Refine Expression Language) to expedite data transformation, cleanup, and cross referencing. The image below is a screen shot of approximately 5 pages worth of text to format a column of dates. If I did that manually it could have taken me hours (in fact, this was the case during the first half of my placement) but with OpenRefine, I am able to do it in a minute. With this information, the CTASC provides greater access to the MFF fonds and enables these records to be more easily discovered through online databases.  
 
 
My supervisor, archivist Katrina Cohen-Palacios, was an influential figure during my placement. By genuinely caring about my experience and excitement about my work, she encouraged me to explore different aspects of archives, which I found very valuable in the early stages of my career exploration. She also introduced me to the Archives Association Ontario’s (AAO) “Safe Spaces for BIPOC Archivists” session. These virtual sessions are safe spaces set aside and reserved for archives workers and records managers, including students, emerging, and established professionals, from historically excluded groups in the profession to connect with one another in an informal, participant-driven environment. As someone who identifies as a Muslim woman, I immediately felt connected with the group and gained appreciation for the work these individuals are doing to advance diversity in the archival profession. Katrina really took the time to answer my questions and offered advice about graduate school, careers, and my research paper. She encouraged my professional development by suggesting articles to read and different webinars to watch that supported my academic interests.  
 
One of the highlights of my placement was the many networking opportunities. In one such opportunity, I met with archivist Moska Rokay from the Muslims in Canada Archives (MiCA). As a Muslim, it was encouraging and insightful knowing that there is a platform for the missing Muslim voices in Canada’s historical narrative. MiCA is doing great work to preserve the history and document the heritage of Muslims in Canada. I also met with Marcia Salmon, YUL digital scholarship metadata librarian, who collaborates with CTASC to mint name authorities in the NACO funnel. Coincidentally, I met with her during the time when I was working with name authorities for the Mariposa Folk Festival. She helped me understand the purpose of name authorities, which is to facilitate searching and browsing, and to establish a unique identifier for an entity name record. Lastly, I met with senior archivist Sean Smith from the Archives of Ontario. He spoke to me about the importance of outreach and making the histories of different communities visible. What piqued my interest was the alignment of archival advocacy and outreach with marketing. Sean emphasized that archivists must redefine their professional roles in society to meet the community’s needs. Just as in marketing we are building brand awareness and providing information to the target audience about products through various media channels, archives are shifting to raise public awareness of their special collections, records, and exhibits.  
 
Despite this being a completely remote placement, I found the experience to be very hands on as I had to primarily rely on the Internet and digital files to complete my work. A big advantage of working remotely was the flexibility to create my own work schedule. As most of my classes were in the evening, I often worked early in the morning and met regularly with Katrina to update her on my progress. Because of the pandemic restrictions, many webinars and training sessions were offered online such as the Black History Wikipedia Edit-A-Thon. I was fortunate to have been able to participate in these unique opportunities from the comfort of my home. My placement experience broadened my understanding of the practice of public history in archives and provided me with opportunities that I will treasure moving forward in my career. 

Rodney Carter (RHSJ St. Joseph Region Archives, Kingston, ON) on behalf of the Archivaria Editorial Board 

In order to better understand who is being published in Archivaria, the Editorial Board began to compile statistics on the authors who appear in the journal. The aim of this work was to identify any trends in authorship and to attempt to discern areas of concern or groups that may be underrepresented. 

A preliminary analysis of 21 issues, from Archivaria72 (Fall 2011) to Archivaria92 (Fall 2021),was prepared and presented at the Editorial Board’s meeting held in February 2022. It was felt that this information may of be interest to the wider archival community so we are sharing some of our initial findings. 

Based on the information on authors available, we examined language of submission, gender of the authors, location of the authors, type of institutions authors are affiliated with, and began some analysis across categories. It is apparent that there are limitations in the available information as certain identity categories we might wish to examine - such as whether authors identify as Indigenous, Black and/or as a Person of Colour - are not captured in the current metadata. As a result, the Editorial Board is planning on expanding information collected at the time articles are submitted in order to be able to fill this gap in our knowledge going forward. 

Submissions and Authors 

In the 21 issues reviewed, there were a total of 265 submissions. This includes every item published in the journal, including articles, reviews, studies in documents, counterpoints, letters to the editor, obituaries, etc. There were 96 articles, nine studies in documents, six counterpoints, seven Dodds Prize-winning articles, 109 reviews, and 38 other submissions.  

Thirty-seven submissions were co-authored leading to a total of 325 authors for all submissions. While the majority of authors (202) were published once, several authors had published multiple works over the period - including one author who contributed a remarkable eight submissions - so there were 249 unique authors identified. Of these, seven authors wrote in French in six separate submissions.  

Number of Submissions per Unique Author	Number of Authors
1	202
2	31
3	11
4	1
5	2
6	1
8	1
Total Unique Authors	249

Gender & Institutional Affiliation 

In order to better understand the identities of Archivaria’s authors, we began our analysis by looking at gender and institutional affiliations of the authors of each submission. Of the 325 authors, the majority (203) identified as female with 115 male-identified authors, and seven authors who identified as nonbinary. 

This breakdown was generally reflected across submission types.  

      

When the gender was examined in relation to the institutional affiliation of the author, the female/male ratio seen overall was reflected in academic faculty. Gender parity was met or approached in authors working in governmental archives (national, provincial/state, and municipal), and a few other categories. Twice as many submissions were published by authors identifying as female in the university/college archives category and the difference was even greater in the PhD and Independent archivist/researcher categories. 

In examining types of institutional affiliations, the Editorial Board was interested in comparing the number of submissions of authors primarily identified as academics to the number of submissions by archival practitioners. For the purpose of this analysis, authors who identified as faculty at a college or university (regardless of department) and graduate students at the PhD and Master’s levels were considered “academics” and all others were classified as “practitioners”, although it is fully acknowledged that these professional identities are fluid and not necessarily exclusive, and that there is plenty of room for refinement in these categories. While lacking nuance, this comparison is offered to provide a broad-strokes glimpse at authorship categories.  

Across all submissions, a majority of items published were from academic authors. Given the richness of research coming out of archival studies programmes recently this is not a surprise but, still, nearly 40% of items were authored by practitioners. The same ratio is reflected if just the articles are examined.  

In an attempt to identify if there were any trends discernable over time, the number of submissions was looked at from 2011 to 2021. Depending on the issue, however, the number of submissions from academics vs practitioners varied and no specific trend can be identified, although, generally, there has been a decline in submissions in recent years which has impacted the last three issues (Archivaria 90-92). This may be related to the impact of COVID-19 on the ability to produce intellectual work and we believe we will see the number of submissions begin to rise again.When the analysis expands to include authors dating back to Archivaria 1 it is expected that the lines will reflect the impact of the development and expansion of university-based archival studies. 

Location 

Finally, we looked where the authors were publishing from across Canada and around the world. Given that Archivaria is the journal of the Association of Canadian Archivists, the majority (71%) of submissions were from authors based in Canada, as expected. The journal has become a desirable venue for international authors, however, with 18% of published submissions coming from the United States and significant numbers of articles from the UK and Australia, and Archivaria has also published submissions of authors from New Zealand, Ireland, Italy, Sweden, and Denmark. 

Of submissions from Canadian-based authors, the largest number came from the provinces with the greatest populations and the largest archival studies programmes: Ontario, British Columbia, and Quebec. During the period under review, submissions were received from every province and territory with the exceptions of Prince Edward Island and Nunavut.  

Next Steps 

This initial review was undertaken to see if we could identify some general characteristics about Archivaria authors given the available information. Using the past ten years as a starting point, we have been able to test some assumptions held about authorship and now have a clearer understanding of the authors published to date in the journal. Moving forward, we plan on compiling statistics back to the first issue in order to look at trends over the full scope of its publication.  

The Editorial Board will use the information gained from these statistics as part of a larger strategy to attempt to identify whose voices have been underrepresented or have not been included in the journal so that we can better solicit submissions to better reflect the wider community. 

The Editorial Board will be seeking more detailed information from those who submit writings to Archivaria so that, going forward, we are able to gain an increasingly accurate picture of journal contributors.

The ACA McGill University Student Chapter invites you to join us for an immersive series of blog posts titled PeepShow and Tell: Sex in Archives. Through interviews with researchers and professionals working firsthand with explicit materials, we hope to illuminate the intrinsic value of sex and sexuality within the field of archiving and why these materials deserve to be preserved. 

Jay Bossé, the co-author for this piece, is a graduate student with the School of Information Studies at McGill University and Co-Coordinator of the ACA McGill University Student Chapter Blog Series Peepshow & Tell: Sex in Archives. 

For this post, we spoke with Karen Herland, a part-time faculty member in Concordia University’s Major in Interdisciplinary Studies in Sexuality (offered across the Arts and Science and Fine Arts Faculties). Herland is currently teaching an undergraduate course in Queer Theory.   

Jay: In her article “Working as an Embedded Archivist in an Undergraduate Course”, Fic presents how her work as an embedded archivist in an undergraduate history course taught students the foundation of archival research. In collaboration with the course professor and their lectures, she conducted a workshop series over the first half of the semester. She states that by the end of the semester, "Students demonstrated their ability to conduct archival and primary source research, analyze secondary literature, and conduct original research projects on their own”(Fic, 2018, p. 299).While she notes that being an embedded archivist is a very time-intensive project and would not be sustainable to take part in every undergraduate history course, it is clear that her role in this course was extremely beneficial for students”(Fic, 2018, p. 299). 

Through correspondence with Professor Herland about her undergraduate Queer theory course, I investigate other potential ways to include archives and archivists in undergraduate courses other than embedded archivists. More specifically, I reflect on how Herland’s undergraduate Queer Theory course presents the ways archives as institutions can greatly benefit undergraduate learning and further develop critical thinking skills.  

In her semester-long course, Herland works collaboratively with her students to define, understand, and apply "Queer" as a theoretical concept, methodology, and approach to activism and organizing. Through reading, discussion and assignments, they become familiar with the interdisciplinary field of queer theory, focusing on its emergence through poststructuralist, critical race, lesbian, gay, cultural and feminist studies to its current articulations (Herland, 2022). The course looks to archives to reflect on concepts of authority, preservation, and erasure within the broader theme of Queer theory. The course's final project is broken down into three parts: an analysis of a text about Queer Archival practice, a proposal for a research project (either analyzing an existing collection or considering the creation of your own), and finally, a research paper, digital archive, or another project on queer archival practices (Herland, 2022). The final project asks students to reflect on practical matters like what should be part of a queer archive, who would have access, and who the intended users are (Herland, 2022). It also challenges students to think more broadly about the role of queer archives, their relation to community and their place as intergenerational projects (Herland, 2022). 

Jay: Could you tell me a little more about the development of this course?  

Herland: I have long wanted to teach Queer Theory and was thrilled when the opportunity arose. Through teaching a different course on HIV/AIDS, I am very familiar with translating key moments, events, elements of my own experience into terms that students who grew up in a very different context can relate to (teaching about HIV in the time of COVID has markedly changed that, though that’s a story for another time). I wanted to approach Queer Theory in the same spirit. 

Jay: For you, what did the focus on archives bring to the course that a simple introduction to Queer theory could not?   

Herland: For me, archives speak to memory, history, community-building and connection. The very act of archiving renders something ephemeral important – it is named, catalogued and retrievable. As a field/concept, Queer Theory is a bridge between activism and thought. So as the students are learning about Queer Theory, archives demonstrate a tangible example of the actualization of thought and action.  

How do you create/transmit knowledge? Who is/isn’t included in knowledge production? Are there ways to acknowledge changes in perception, terminology, tone, parameters? How do you balance access, resources and autonomy? How can you account for what has been left out, and how do you transmit that forward?None of these questions are unique to the archive, but the archive provides a crucible for considering these questions. 

Jay: How is the course going, and do students seem excited by the course content and archival focus of the course and final project?  

Herland: I feel really lucky to be working with such a smart, engaged, cooperative group of students. They have taken this challenge/opportunity up in ways I could not have imagined. From the micro of exploring a specific interaction or relationship and the meanings layered into it initially and overtime to the broader role of clothing, place and memory in the building of community and connection. The range of ways they have developed this basic idea of an archive in/of/for community is extraordinary. 

Jay: You mentioned in our earlier correspondence that COVID kept the course from fully engaging with archival materials and archivists. If you had the opportunity to teach this course without the restraints of COVID (or even budget, time *perfect world scenario*), how would you like to incorporate archives and archivists more into the course? 

Herland: We haven’t been able to visit or work with archives directly – COVID, staffing, resources, etc., make that almost impossible. But I have had people involved in archival creation talk to the students through Zoom. As well, Lucas LaRochelle was able to present not just their Queering the Map project but the decision-making on the back end that allowed the project to be queered in form as well as function. Those exchanges inspired the students to think about how they approach the question and what could/should be preserved for the future. 

Jay: This course is a great example of when students might not gain the most from an embedded archivist in a course focussing on archives. As mentioned by Fic, embedded archivists is a time-consuming role (Fic, 2018, p. 299).It is not realistic or sustainable for university archivists to continuously take on co-teaching positions alongside their other duties. Moreover, as demonstrated through the development of this course and its critical engagement with archives, it might not be beneficial necessarily for students to only work with one archive or a single archivist. As this course demonstrates, students’ ability to find, research, investigate and critique the conceptual elements of archives as they relate to queer theory is more relevant than learning traditional research skills. Thus, this course comes to be a great example of how non-university archives and archivists might have an opportunity to add to undergraduate student learning. It demonstrates why projects and initiatives such as tours, guest lecturing, or even digital exhibitions coming from archives can be essential teaching tools and great outreach opportunities.   

Bibliography  

Fic, C. (2018). Working as an Embedded Archivist in an Undergraduate Course: Transforming Students into Scholars through an Archival Workshop Series. The American Archivist, 81(2), 290–309. https://doi.org/10.17723/0360-9081-81.2.290 

Herland, K. (2022). FASS 392 Queer Theory [Syllabus]. Location: Major in Interdisciplinary Studies in Sexuality Concordia University.

The ACA McGill University Student Chapter invites you to join us for an immersive series of blog posts titled PeepShow and Tell: Sex in Archives. Through interviews with researchers and professionals working firsthand with explicit materials, we hope to illuminate the intrinsic value of sex and sexuality within the field of archiving and why these materials deserve to be preserved. 

Ezell Carter, co-editor for this piece, is a graduate student with the School of Information Studies at McGill University and the Co-Coordinator of the ACA McGill University Student Chapter.

For this post in our PeepShow & Tell Series, we got the chance to work with Steven Frost, a prominent mixed media artist and Assistant Professor of Media Studies at the College of Media Communication + Information, University of Colorado Boulder.  In our discussion, we dive into how Steven’s research with sexually explicit archives influences their work and how preserving and providing access to these materials gives researchers an intimate glance into the lives of others.  

What are some of the unique opportunities researching sexually explicit content provides you with? How does the material, specifically historical, archived pieces, affect your work? 

Sexually explicit archives are fascinating because in my experience you get to see people’s private fantasies in a way that is uncommon in popular culture. Historically, as well as today, people often hide their fetishes from the public out of fear that they may lose their home, job, or damage their reputation. Sexual archives become a place where the ephemera of people’s private lives are collected with the intention of being discovered by other like-minded people. 

At the Leather Archives and Museum (LA&M) in Chicago, I was particularly drawn to clothing, DIY sex toys, hand-drawn pornographic comics, and personal correspondence between play partners. The archived correspondence gave context to a lot of the unusual toys I was finding and allowed me to experience the stories of queer spaces that have long since been replaced by mixed-use high rises and micro-breweries. 

As a queer person who came of age in a period of increased cultural acceptance, I often compared my own experiences to an inaccurate image of older queer people living quietly in the shadows, but the archive gave me an opportunity to understand queer joy as it was experienced before queer rights were nationalized and queer culture was consumed as pop. Objects, letters, and images in an archive can give voice to the lives and desires of a generation of people that we will never have the chance to know. 

Digging through archives inspired me to create what I call "ghost collaborations." My "ghost collaborators" are people I would have loved to have known and worked with as an artist but because of their passing, only artifacts of their lives and desires remain. I try to get a sense of these folx through the materials in their archives and create “ghost collaborations” inspired by them. This way of manifesting people in my practice started when looking at the Jim Kane collection in the LA&M but has since transformed into collaborations inspired by the archives of long-departed family members like my Great-Aunt Helen and sometimes celebrities like Liberace. (Figure 1) 

 
Figure 1. Jim Kane Papers PERS 0003, Jim Kane Collection, Box 5 of 9, Leather Archives & Museum (LA&M), Chicago, Illinois, United States (Photograph provided by Steven Frost) 

What is your favourite part of working with these sorts of materials?  

Jim Kane’s personal correspondence provided me with a picture of an individual who was not just a practitioner of BDSM but part of a larger international queer culture when many were localized by geographical limitations. Among his archive are thank you letters from Étienne/Stephen (Dom), Robert Mapplethorpe, and Tom of Finland. One such undated letter recalls Jim’s first of many encounters with artist Tom of Finland. 

Dear Jim, 
Many thanks for the dinner party which you gave me when I was in San Francisco. It was a pleasure meeting you and exciting to see your special room downstairs, which gave me lots of ideas for future drawings. 
 You looked great in your leathers, high boots and breeches are to be the best I know and so I repeat them also in my drawings again and again. As you see in the enclosed prints. Thanks for the inspiration and my best regards. 

Tom [of Finland] 

Kane’s “Special room” was his dungeon, which was the topic of much of his correspondence.From Finland’s letter, it seems he presented it to invited guests, not unlike a suburban homeowner showing off their romper-room. There are no pictures of his dungeon but there are many fictional and non-fictional accounts of the activities that took place there. Kane outfitted the space himself with pulleys, tables, cages, and various other stages for his practice.  

Kane was constantly reconfiguring the room and outfitting it with new or improved equipment after feedback from friends and sexual partners. An anonymous letter from one of Kane’s guests asked that he put more padding on a table so that he could keep his “mind in the act” and not on the pain in his shins. 

The “special room” was for Kane's extra-domestic space not unlike the proverbial “workshop” which was popular in the years following World War II. In that time the workshop was reintroduced to domestic spaces. Some historians site the shift in labor from the home/farm to the workplace/office as the impetus for its rise in popularity. Hobbyist culture sprung up not because of the need for homemade coffee tables but because of a desire to introduce the handmade back into the home. Kane’s dungeons and others like it created a space that was surrounded by a new self-determined sense of place. A dungeon was not a bedroom where heterosexuals made children. It was also unlike the backroom of a bar or a cruising spot in a public park where gay men metfor anonymous sex. Kane’s private dungeon was a space one had to be invited into. It functioned as a domestic and public setting where all participants were consenting and taking pleasure in the sexual acts. (Figure 2) 

 

Figure 2. Artist – Steven Frost, Headmaster No. 2 

What inspired you to look to archives for your research? 

I have always been interested in the power and history of personal items like clothing and small collections. It was because of this that I was asked by the editors of Headmaster magazine in 2011 to create a sculpture based on something in the archives at the Leather Archives and Museum in Chicago. Queer history was already part of my studio practice, but this assignment gave me an opportunity to formalize my experience. I have since visited the One Archives in LA, corresponded with archivists at the Smithsonian, designed a graduate course around oral history archives, and made library funding/advocacy a focus of my personal time. 

What is uniquely interesting to you about this research and these materials?  

Eleven Pink Alley in San Francisco was the home of Jim Kane until 2004 when he passed away at age 75. It was the private center of the San Francisco leather scene for much of the nineteen-seventies and eighties. He was friends with Tom of Finland, Chuck Renslow, Robert Mapplethorpe, and Sam Steward (aka Phil Andros whom I have a portrait of on my right thigh). Although Kane passed away years ago, I got to know him through his archive. A collection of his writings, letters, leather devices, and artwork are stored in the LA&M.There is also a collection of his letters at the University of Michigan. Kane’s collection has fascinated me and found its way into my studio practice. The act of digging through the six boxes was not unlike the act of sorting through boxes of family portraits in my basement. He in many ways is a lost relative in a broader queer lineage. 

 
Figure 3. Artist – Steven Frost, Headmaster No. 2 

The first box I looked through in Kane’s Archive was his straps and belts.(Figure 3).  There were two large file boxes full of these. Through my preliminary research, I knew only that Jim was a pillar of the San Francisco leather community. I had no idea how much of a leather celebrity he was. The director of the LA&M gave me a pair of white gloves. I had sorted through archives before and thought these were to protect the objects from the oils on my hands. The gloves in this case were for my protection. The buckles in the collection had become patinated. They looked forgotten. I laid them out on the pristine table in the LA&M’s reading room. There was a collection of belts, crops, cat-of-nine-tails, and dog collars both homemade and manufactured. These were all the trappings of a leather practitioner. Among these objects were two belts with carpet tacks laid in two planter’s rows along with them. The tacks, now rusted, were encrusted with a dark gloss I assumed was dried blood. I couldn’t imagine how a practitioner wore these objects on their body. In a separate box, I found a folded note. 

Joseph = JK used the belt blanks to make when he called “tack straps.” He would measure the distance between nipples first – then punch holes, then add tacks. He made one and used it on me in 1973. All these tack straps are used and bloody. He typically gave them to those on whom they were used. 

Why is archived material, specifically that of a sexual nature, so important in your opinion? Do you feel it actively influences culture, politics, and community identity? 

Sites like the Leather Archive and Museum present a truly queer history. Individual stories, experiences, and expressions are valued over grand narratives. In their mission, the Leather Archives and Museum states: 

The compilation, preservation, and maintenance of leather lifestyle and related lifestyles [including but not limited to the Gay and Lesbian communities], history, archives, and memorabilia for historical, educational, and research purposes. 

Outside of the LA&M’s association with the gay and lesbian communities, it distinguishes itself as a place of queer context. It creates a space for individuals who may not have biological offspring to pass on narratives that are not part of a heteronormative model. These narratives are often related to sexual practices, but they tell a larger story of people creating communities based on the sharing of knowledge and the creation of safe spaces for their practice. 

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You can find more information about artist Steven Frost and their work here: 

www.stevenfrost.com 

Images courtesy of Steven Frost 

For the next few weeks, we at the ACA McGill University Student Chapter invite you to join us for an immersive series of blog posts titled PeepShow and Tell: Sex in Archives. Through interviews with researchers and professionals working firsthand with explicit materials, we hope to illuminate the intrinsic value of sex and sexuality within the field of archiving and why these materials deserve to be preserved. 

Ezell Carter, co-editor of this piece, is a graduate student with the School of Information Studies at McGill University and the Co-Coordinator of the ACA McGill University Student Chapter. 

Mary Hague-Yearl is a published writer, speaker, curator, and instructor working within the history of medicine; she is also the Head Librarian of McGill University’s Osler Library of the History of Medicine. We recently discussed why sexuality and its presence in archives is vital, and how the lack of knowledge and resources, particularly in regard to female anatomy, have very real consequences for our health.  

Can you tell me more about these pieces and how they add to the Osler collection? Did you acquire any of these items yourself? 

The portable kit of obstetrical tools has been in the library for a few decades. They belonged to Dr. William Wright (Class of 1848), Canada’s first medical graduate of colour, who practised medicine locally and taught materia medica at McGill from 1854-1883. In terms of reproductive health, they are important for a few reasons: one is that they are very much male tools and reflect a history of medical professionalization, which marginalized female practitioners. At the same time, they are a reminder of the lack of attention given to women’s health. These tools are from about a century and a half ago, yet the speculum is clearly a speculum; forceps have barely changed since modern ones were popularized in the 18^th century. (Figure 1)

 

Figure 1: Portable kit of obstetrical instruments. 19^th-century. From the estate of William Wright, Prof. of Materia Medica at McGill, 1854-1883 and also Canada’s first Black medical graduate, McGill, 1848.  

As for the Predictor home pregnancy test kit and the 3D printed clitorises, those are recent additions to the library’s holdings. In a way, they are connected to the Birth Control Handbook (not shown here), published under the auspices of the McGill Students’ Society in 1968. This publication proved to be so popular in Canada as well as the US, that it ran into several editions (including in French). Montreal has been an important location in the recent history of reproductive health and sexual education. The Predictor, which was the first effective commercially-available home pregnancy test kit, was invented by graphic designer Margaret Crane in New York, but it was test-marketed in Montreal in the early 1970s. (Figure 2)

 

Figure 2: Predictor home pregnancy test kit. Designed by Margaret Crane. 1971. https://mcgill.on.worldcat.org/oclc/1112495610  

Today, important initiatives continue locally, such as SEX-ED+, which aims to make anatomically-realistic models of genital anatomies available for sexual education; being realistic means having a variety of shapes and sizes. We don’t yet have their models in our artifacts collection, but the 3D printed clitorises reflect the emphasis upon knowing what one’s anatomy looks like. (Figure 3) In some ways, the Predictor and the 3D printed clitorises are both about demystification, or providing women with direct access to knowledge that is important for their own health.  

Figure 3: 3D printed clitorises. 2021. Printed at UVic for the Perfecta Colloquium (organized by Prof. Hélène Cazes, May-June 2021), under the direction of Dr. J. Matt Huculak. Design is available on Thingyverse thanks to Odile Fillod and Melissa Richard.   

Do you find the sexually explicit nature of these pieces create unique archival difficulties compared to less erotically charged records (in terms of cataloging, exhibiting, and context)?  

I don’t consider any of these objects to be sexually explicit. We do have a (modern) sexually explicit bookplate in our copy of Vénus la Populaire (1727) and there is some other content that is clearly playing with ideas of arousal, but I don’t see the items featured here in that light. They provide information or are associated either with a service or with basic anatomical knowledge.   

Given that each of these items is a tool I don’t see them as posing a challenge for cataloguing. One can treat them in a matter-of-fact way, stating what they are, their provenance, their intended use, etc.  

What do you think the collection is missing? Is there a perspective, group, or type of record underrepresented, or something you wish the collection had more of? 

The items chosen here are mainly artifacts. It would be useful to have a better record of how, why, by whom they were created – documentation of the process that resulted in their appearance. What is harder for us to get at is work that is being done beyond the confines of the medical establishment (whatever “establishment” means). This means that we don’t have much reflecting underrepresented individuals or groups; since we are speaking of sexual health, we must acknowledge that the voices in our library are overwhelmingly white and cishet. What are communities producing and publishing for themselves? We would like to include those voices.  

What are your thoughts on the preservation and presentation of sexually explicit items in archives? Do you feel they have a part to play in the shaping of culture, politics, and memory?  

Of course, sexuality is a central part of the human experience for many people so it should be included. Some items truly are sexually explicit, and if they are telling a story that is important for history, there is really no difference in bringing in that material and bringing in something else. If such stories are part of the experience of someone whose papers we are acquiring, then to omit material simply on the basis of its being sexual in nature, would be to edit the record in a way that would go against supposed archival objectivity. 

And lastly, what about these materials is unique/interesting to you?  

In terms of items here, I’d have to go with the 3D printed clitorises. My answer here is far from objective. I am glad our colleagues at UVic sent us the clitorises because they should be ordinary and mainstream, but as a society we’re not there yet. They are a reminder that basic anatomy can be deemed “inappropriate”. How many individuals can properly label female external genitalia? How many women (self-defined) would be able to identify those as clitorises? Knowing the proper anatomical terminology shouldn’t be embarrassing. The scale of ignorance around female bodies has very real health consequences. The clitoris may play a role in sex, but that doesn’t mean that identifying it or seeing a model representing the clitoris, reflects anything other than providing basic anatomical information. The 3D printed models are a reminder of important work that is being done to normalize female anatomy; one hopes that such work will help to break down the stigma that too often has a negative impact on health.    

You can learn more about Dr. Hague-Yearl and the Osler Library of the History of Medicine here:  

https://www.mcgill.ca/library/librarians/mary-yearl  

https://www.mcgill.ca/library/branches/osler  

Images courtesy of Dr. Hague-Yearl and the Osler Library of the History of Medicine .

The ACA BIPOC Forum is an annual informal networking event hosted during the ACA annual meeting. This space facilitates connections between BIPOC archivists, students, and other memory workers. The ACA 2021 BIPOC Forum planning committee included Moska Rokay, Tamara Rayan, Laura Hernandez, Melissa Adams, Erin Brown, Lara Maestro, and Lisa Uyeda.

The first Forum for Black, Indigenous, and People of Colour Archivists (BIPOC Forum) was created by members of the student and alumni-led Diversity Working Group (DWG) at the University of Toronto Faculty of Information (iSchool). The intentions for this first BIPOC Forum were to create a space for BIPOCs in the Canadian archival field to connect with one another to discuss issues of race, diversity, and strategies to navigate the field. Moreover, as a result of the facilitators all being students and alumni of the University of Toronto, a secondary purpose for this first BIPOC Forum was to inspire the creation of other diversity working groups within Faculties of Information across Canada, but the content of the Forum was primarily focused on Toronto. Recognizing the need for racial justice in the profession, in October 2019 the DWG applied to the Association of Canadian Archivists (ACA) 2020 conference. However, by the time the conference rolled around in June 2020, George Floyd had just been murdered. The rest of the archival profession had sobered up to the reality of racial inequality in the field and BIPOC archivists needed a means to come together to feel solidarity during a traumatic time. The BIPOC Forum became timelier than ever. Due to a boost in promotion by the ACA and opening up of subsidized spots for BIPOC archivists to attend the Forum for free, 60 participants from across Canada and the United States came forth to share this one-hour of space together, the first of its kind.[1]

Following the ACA's Equity Commitments Report on October 6, 2020, the ACA made a commitment to "provide meeting spaces and networking opportunities for BIPOC professionals to connect and meet (virtually and in-person at the annual conference).” In line with the report, the ACA 2021 conference Programme Committee reached out to potential moderators for the 2021 BIPOC Forum, a clear deviation from the year before. Many of the moderators of the first Forum were happy to return. With a total of six moderators, up from the previous year’s three, and considering the moderators were no longer solely students and alumni of the University of Toronto, this year’s Forum was uniquely positioned to address BIPOC experiences in Faculties of Information and the profession across Canada. Unfortunately, just as the year before, the months leading up to the conference were mired by difficult times for BIPOC communities as a result of multiple traumatic events: the horrific discovery of 215 unmarked Indigenous graves at a Kamloops residential school, the deadly attack on a Muslim Canadian family in London, Ontario, the senseless bombing of Gaza, and rampant Asian hate crimes instigated because of the COVID-19 pandemic. Yet again, the 2021 BIPOC Forum became a critical space for BIPOC communities to come together in solidarity and healing, and brought increased awareness to the larger archival profession of the pains felt by their BIPOC colleagues." This time around, the Forum was 2 hours long and consisted of multiple Zoom breakout rooms of small group-led discussions on racial equity, diversity, and inclusion in archival education and the profession as a whole led by one of the six moderators.

As part of the 2021 Forum, the BIPOC Forum planning committee created the BIPOC Forum Participant Survey for those expressing interest in being involved in the creation and management of a network or community of BIPOC Archivists and Memory Workers in Canada. Below are highlights from the survey. 

24 participants responded. Most were new professionals, followed by seasoned archival professionals, and those somewhere in between. A few respondents were students and others were looking for work. 

We asked participants what type of institution they worked with and the top 2 responses with 4 respondents each were government archives and libraries. Others indicated they work with university archives, community archives, non profits, and corporate archives. The comments indicated that others worked in records management, special collections, museums, library and information studies programs, and for First Nations. Overall, 11 individuals indicated they work with a large institution, 6 a medium sized institution, and 3 a small institution. 

Our first question asked, “How would you like to create a network or community of BIPOC Archivists and Memory Workers in Canada?” The top two responses show that folks would like to see the annual BIPOC Forum at the ACA conference continue and are interested in the development of an ACA BIPOC Special Interest Group. The other responses indicate that folks would like to stay connected more frequently and informally through communication channels such as a listserv, Slack, Discord, or Facebook. A few folks also suggested collaborating with other BIPOC-specific associations in or related to the profession, including those in the USA. 

Our most important question asked, “Why do you want to join this community? What would you like to see come out of its activities?” The open-ended responses were detailed and meaningful. Most BIPOC respondents expressed the importance of staying connected and supporting one another in a profession where many feel alone because we are under-represented. Folks would like to see the continuation of a safe-space for BIPOC professionals to come together to listen and learn from one another, discuss their work, work environments, and experiences in the profession, work through issues together, and mentor new professionals. Many expressed the importance of building a community, both within the BIPOC community and the profession as a whole, that will encourage and foster new BIPOC professionals. The responses acknowledge that institutions, including Faculties of Information across Canada, need to begin meaningful and actionable EDI work. This includes keeping the concerns of BIPOC folks top of mind across the profession, in schools, and addressing representation in archives and beyond. Lastly, respondents would like to see a strong, collaborative community in all areas of the profession that actively fosters and supports BIPOC professionals and those interested in entering the profession. 

To conclude the survey, participants provided feedback on the BIPOC Forum in general. We greatly appreciate everyone’s kind words of thanks and feel so honoured to have helped provide a safe-space that brings our community together. We recognize that the sessions are never long enough, that meeting once a year is too infrequent, and continuing the forum is really important and necessary. We thank the participants for providing comments that will help guide the next session, including: most folks enjoyed the small breakout room discussions and noted the benefits of connecting with one another; the facilitators were great; the polls were good additions; the information shared was valuable and insightful; a student focused group could be valuable with working professionals to be involved as mentors; folks hope to meet in person next time or in the future; and a recommendation to host a second session at the end of the conference. 

As for next steps, we aim to continue this important work by planning a third installment of the BIPOC Forum at ACA 2022. As the first two BIPOC Forums have shown, there is a continual need for BIPOCs in our field to meet and hold space for one another. To ensure that we are fully representing our growing and changing community, we are seeking new voices for next year’s planning committee. If you are interested in being an organizer or moderator, please send an email to bipocarchivists@gmail.com. Moreover, we understand that hosting these spaces once a year is far too infrequent for our community’s needs, so we are planning to host more regular community check-ins on a smaller and more informal scale. Additionally, we recognize the need for BIPOC students to have leadership and guidance from members in the field who represent and understand their own lived experiences. For this reason, we are exploring mentorship options with the ACA Mentorship Program to match BIPOC students and early career archivists with BIPOC professionals. Finally, we are also exploring the option to create a Special Interest Section with the ACA so that we can continue the work that the DWG started, but on a national level, and continue to enact racial justice in the field.

[1] For further information about the impact of the first BIPOC Forum, please see this piece the facilitators authored in Off the Record: Martin, Stefanie, Tamara Rayan and Moska Rokay. “45 Years Later: The First BIPOC Forum at ACA.” Off the Record, v.36, no. 3 (Summer 2020): 16-18.

For the next few weeks, we at the ACA McGill University Student Chapter invite you to join us for an immersive series of blog posts titled PeepShow and Tell: Sex in Archives. Through interviews with researchers and professionals working firsthand with explicit materials, we hope to illuminate the intrinsic value of sex and sexuality within the field of archiving and why these materials deserve to be preserved. 

Jay Bossé, the co-author for this piece, is a graduate student with the School of Information Studies at McGill University and Co-Coordinator of the ACA McGill University Student Chapter Blog Series PeepShow & Tell: Sex in Archives. 

For this post, we spoke with Patrick Keilty, Associate Professor in the Faculty of Information and Centre for Sexual Diversity Studies at the University of Toronto. He is also the Archives Director of the Sexual Representation Collection (SRC), administered by the Centre for Sexual Diversity Studies. Professor Keilty's research pertains primarily to the politics of digital infrastructures in the sex industries and the materiality of media in erotohistoriography (Patrick Keilty, n.d.). 

To read the full post please visit our website.

Olivia White is an emerging archival professional working towards a Master of Information and a Master of Museum Studies from the University of Toronto. She has undertaken roles in archives and heritage organizations, and is passionate about ensuring the stories within archival records can be preserved and shared far into the future. 

The University of Toronto (U of T) student chapters of the Association of Canadian Archivists and Librarians Without Borders (LWB) worked diligently to produce the 7th Annual Human Library to great success! With about 15 participants and nine professionals in attendance, the event provided an excellent opportunity for students to have small-group discussions about the day-in-the-life of an information professional. 
 
With a tradition towards an in-person event, the Human Library has pivoted to an online setting for the past two years. The virtual environment notably expands the scope of professionals and participants beyond the Greater Toronto Area, permitting a geographically diverse group of attendees. As a student in my final year at the University of Toronto’s iSchool, I have attended the Human Library annually for three years. This marks my first year attending as an Executive Member of the ACA UofT Student Chapter, and I enjoyed seeing behind the curtain as to how the event is produced.


 
 
Events Coordinator Sophia Dodic spearheaded the event, aptly coordinating timelines and preparing documentation to keep the event planning on schedule. ACA Student Executives Camille McDayter, Steve Kim, and Ursula Carmichael, as well as LWB Student Executive Allison Kaefring were integral during the event planning sessions in which we devised communication strategies and divided the work for reaching out to professionals. 
 
As Communications Coordinator, I promoted the event on our social media sites, the iSchool’s discord server, through iSchool newsletters, and in-class announcements. We also posted information on dedicated Facebook groups, listservs, and Slack channels, and had support from Professor Karen Suurtamm to spread the word. With the ever-presence of Zoom fatigue, our early registration numbers were lower than average, but more participants signed up closer to the event date. 
 
During the event, we paired professionals to “host” a breakout room based on their professional experiences, which established a meaningful dialogue between attendees. Participants could jump around to different breakout rooms, but many chose to stay within one group to gain a comprehensive understanding of an information professional’s duties. Students received a Human Library handbook with biographies provided by the professionals to determine which rooms to join and guide their conversations. 
 
One component of the Human Library that I have always enjoyed is hearing about the everyday rewards and challenges of the information professions. Many professionals also provide resources to learn more about topics of interest – I always come away with a few websites to bookmark for future research. It is also interesting to hear about the journey of iSchool alumni into their current positions. 
 
After the event, we circulated a feedback form for attendees to describe their experience to improve upon the delivery of the next Human Library. Finally, we were also pleased to offer two complimentary student member registrations for the upcoming ACA Conference through a raffle for student attendees. With another year of the Human Library completed, it is my hope that this long-running networking event can continue in the future, allowing emerging information professionals to discover the inner workings of archives, records management and library environments. 

For the next few weeks, we at the ACA McGill University Student Chapter invite you to join us for an immersive series of blog posts titled PeepShow and Tell: Sex in Archives. Through interviews with researchers and professionals working firsthand with explicit materials, we hope to illuminate the intrinsic value of sex and sexuality within the field of archiving and why these materials deserve to be preserved.

Ezell Carter, co-author of this piece, is a graduate student with the School of Information Studies at McGill University and the Co-Coordinator of the ACA McGill University Student Chapter.

For our first post, we spoke with Matthew Lawrence, a graduate student with the School of Information Studies at McGill University and the co-founder of Headmaster magazine, “The Art Magazine for Man-Lovers,” alongside his partner Jason Tranchida. We asked Matthew to tell us more about Headmaster, their engagement with archives, and how sexually explicit collections have shaped culture overall.

Can you tell us about your magazine, Headmaster, and what inspired you to start it?

The art journal Headmaster launched in 2010 as “the biannual art magazine for man-lovers.” The first issue was 88 pages, perfect bound, and printed on 70lb paper in an edition of 1000, a format we left virtually untouched for six years. We spent weeks agonizing over paper selection and then finding a printer that would let us do press proofs. Even now we drive to the printer so we can check each page as it comes off the offset printer, saying things like “can we bump up the magenta here?” or “this needs five percent less yellow.”. Many people would not find this rewarding, but we do.

For the past decade, I have edited the art magazine Headmaster with my partner Jason Tranchida. Each issue of Headmaster features nine or ten original projects, based on assignments written specifically for each artist. Released occasionally—issues are numbered, not dated, and the “biannual” idea did not last very long—Headmaster is intended to be sexy and smart, topical without dating itself too quickly.

What can I find in an issue of Headmaster?

We have given assignments about an array of subjects: the planet Neptune, the lax public nudity laws in Seattle, the titling of porn videos, the architecture of discotheques. But we always keep returning to specific moments in queer (primarily gay male) histories, and that can lead to some fun archival research work. Once an artist is interested, we develop their assignment for a week or two and then give them roughly 6-8 weeks to complete their project, whether that is a comic style photo novel project about dithyrambs or a cut paper tug of war (to name two recent examples). We work with photographers and writers, but also with artists working in fiber, video, music, and other genres that are not traditional two-dimensional paper works. The most recent issue features an astrology project by House of Rice, Vancouver’s only all-Asian drag family.

What is one of your favourite projects from Headmaster?

There were originally three Headmaster editors. The third, Matthew Underwood, stepped back after the first few issues but remained close to the project, creating his own project for Headmaster No. 7. At some of our launch events, he live mixed pornographic VHS tapes under the pseudonym VJ DILF.

Headmaster No. 7 was field trip themed, and we sent our former co-editor Matthew Underwood to investigate the records of the Gaylactic Network, “a national organization for gay people and their friends, who are interested in science fiction, fantasy, horror and gaming.” In the early 1990s, the group’s geographically disparate members waged a letter-writing campaign to demand queer representation on Star Trek: The Next Generation. Underwood’s project includes a reproduction of a thoughtful but cagey letter from staff research consultant Richard Arnold explaining why gay and lesbian identities would not be an issue by the 24^th century. (Figure 1)

Figure 1. Artist – Matthew Underwood, Headmaster No. 7

How does the world of archives enter into your work with Headmaster?

Brown University holds the administrative records, newsletters, correspondence, and promotional material for the Gaylactic Network’s first three decades, and we were fortunate enough to visit the collection with Underwood, who was so charmed by the fan-made comics, memorabilia, and newsletters that he decided to present the materials essentially as is, arranged neatly atop the visually disorienting grid of a transparent Photoshop layer. 

The sexual content of Headmaster varies from issue to issue, though generally the most explicit projects tend to be illustrated and not photographed. I enjoy the discovery process, and personally get excited when uncovering historical and creative moments that I did not know about previously. For instance, we gave the homoerotic writer Michael Wynne an assignment inspired by calling cards produced for Paresis Hall, an all-male brothel that existed on New York’s Bowery at the beginning of the twentieth century. We found a collector and reprinted some of his postcards for the issue, even though Wynne’s story was completely contemporary. Artist Dean Sameshima used vintage magazine imagery to advertise his own version of utopia. (Figure 2) In a more startling use of appropriation, artist Nicholas Galanin (Tlingit/Unangax̂) blended colonial imagery of Indigenous destruction with clueless white sports fans wearing feathers and headdresses.

Figure 2. Artist – Dean Sameshima, Headmaster No. 5

We began Headmaster at a time when many mainstream periodicals were dying out, but when a wave of underground queer periodicals was beginning to crest: titles like Christopher Schulz’s bear-focused photo project Pinups (which could be disassembled and turned into an almost life-sized poster), Darren Ankenbauer’s raunchier Handbook, or Jessica Gysel’s lesbian-centered Girls Like Us. That wave has largely subsided, partly due to the shuttering (at least in North America) of independent bookstores and other outlets that sold erotic niche zines and magazines.

What strikes you the most about this work and how it is received?

Well, as one example, our debut issue features a painting project by Sholem Krishtalka, an artist now based in Berlin who at the time managed Toronto’s Glad Day Bookshop. With the 2009 closing of New York’s Oscar Wilde Bookshop, Glad Day had recently taken the title of North America’s oldest gay bookstore. We learned about the store and about Krishtalka and thought we could maybe interview him, completely unaware that he was primarily a visual artist. After sending a cold email and getting a positive response, we asked him to paint some of his favorite images from vintage periodicals sold in the store. One of the most striking is a white page that simply says “’Homosexuals are child molesters.’ That’s what they’ll be saying.” (Figure 3)

Figure 3. Artist – Sholem Krishtalka, Headmaster No. 1

I visited New England last week and, scanning through radio stations, listened to a few minutes of a call-in show on one of the area’s many conservative talk radio networks. (This is one of the bluest parts of the country, mind you.) A caller used the words “grooming” and “indoctrination” to describe an interaction between a child and a hair stylist who asked for clarification when asked for “a girl’s haircut.”

Headmaster remains a labor of love for us. I am studying at McGill University in the Master of Information Studies program with a focus in archiving. I want to move into the archival field and realize that my dream job would be one where I could incorporate my experience in publishing, art, and queer histories. That’s where I hope to go. That’s where my journey with Headmaster has led me.

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You can find more information about Matthew Lawrence and Headmaster magazine here: matthewrobertlawrence.com and here: https://www.headmastermagazine.com

Images courtesy of Matthew Lawrence and Headmaster Magazine

Matthew Lawrence is a graduate student with the School of Information Studies at McGill University and the co-founder of Headmaster magazine alongside his partner Jason Tranchida.

Andrew Chernevych is Head Archivist at the Galt Museum & Archives, Lethbridge, Alberta. He also serves as a Director-at-Large at the ACA and as a board member of the ICA's Section of Local, Municipal and Territorial Archives (SLMT). 

The social isolation of the COVID-19 pandemic was the last straw. Being an archivist in a small urban centre, a town or a municipality means you’re on your own—professionally speaking. Chances to talk to a fellow archivist are precious and rare. It’s a difficult situation to be in, especially for a young professional. The pandemic made things worse as conferences and workshops got cancelled. How does one hope to challenge oneself and grow professionally under these conditions? 

The pandemic upheaval, however, has brought to life developments that can remedy the problem. One of them is the rapid proliferation of virtual meeting platforms, particularly Zoom. Almost overnight, virtual meetings have become a new normal, upending the culture of professional communication. And this has opened new doors for connecting—notably for archivists in small communities. 

The first virtual meeting of local archivists took place in June 2021. Fourteen participants from Alberta, Saskatchewan and British Columbia joined a Zoom event to get to know each other and share experiences. Each participant had the chance to introduce themselves, their institution, and share their interests and challenges. It was novel, exciting and perhaps a bit overwhelming. For me, it was quite eye-opening to see so much diversity—in institutional settings, in roles and backgrounds, and in perspectives on archival work. The hour flew by fast. 

The consensus was that such meetings are useful and that participants would like to make them regular. It was agreed to keep it informal and to have the chair position rotated among the members. It was also suggested to have themes for future meetings —with a focus on a particular subject such as volunteers, grants, digital records, etc. A volunteer facilitator was to take care of scheduling, meeting hosting and note-taking. The group was to be called the Network of Regional Archives or NoRA for short. 

Since the summer of 2021, we have had two more NoRA meetings. In the fall, we discussed archival databases and most recently in January we delved into a discussion about volunteer programs. Both meetings featured brief presentations by members, Q&A periods and informal discussions. Big thanks to Philip Pype of the Esplanade for chairing both sessions. Personally, I learned a lot. For example, Tara Hurley of Kelowna Museums offered cautionary tales of unethical behaviour of volunteers, while Corine Price of Lloydminster Museum outlined limitations of work-from-home volunteering. 

The purpose of the group is to provide networking opportunities and a forum to exchange ideas and experiences. Unlike the Society of American Archivist’s Lone Arrangers Section, the NoRA has no formal affiliation or organizational structure. A participant doesn’t have to become a member or take on any commitments. Anyone is free to attend as many meetings as one wishes. It’s open to everyone—one doesn’t have to have “archivist” in their title or have an archival education. In fact, many Canadian lone arrangers have neither. The NoRA collective currently includes a librarian, a museum CEO, a collections technician and an archives manager. We are open to all “small-place” heritage professionals who work with archival records.

If you would like to participate in future meetings, please contact Andrew Chernevych (andriyc@ualberta.ca) to be added to the NoRA email list. The next meeting will take place in late March or early April; the theme will be announced soon.