George Mully: moments in Indigenous communities

On the left of the graphic, Tatânga Mânî [Chief Walking Buffalo] [George McLean] in traditional regalia on horse. In the middle, Iggi and girl engaging in a “kunik”, a traditional greeting in Inuit culture. On the right, Maxime Marion, a Métis guide stands holding a rifle. In the background, there is a map of Upper and Lower Canada, and text from the Red River Settlement collection.By Annabelle Schattmann

George Mully (1926–1999) was an American playwright and documentary film director. He began as a playwright, working on off-Broadway shows, travelling productions, and operas in the United States and Europe. Mully had various roles, including stagehand, stage manager, lighting designer, and director; he even worked as a puppeteer. After marrying and settling down in England with his wife Ann, Mully pivoted his career from the stage to audiovisual production. He started his own educational production studio, writing, directing, and producing stories on subjects and issues he was passionate about. By 1979, the family had immigrated to Canada and settled in Ottawa.

The George Mully collection, held at Library and Archives Canada, consists of personal and professional documentary photographs taken in the later part of Mully’s career. The images demonstrate his varied interests, including international development, the environment, history and socio-cultural topics, music, and art. In Canada, Mully worked closely with the National Film Board and museums in the capital region, directing many documentary films. Acid from Heaven (1981), a documentary film about acid rain, is a notable work included in his collection.

Colour photograph of a young girl staring into the camera.

An Inuk girl with yellow sunglasses, a red jacket, and multicolour mittens. Photo Credit: George Mully (e011218259)

Of particular interest to the We Are Here: Sharing Stories initiative is a series of 363 photographs taken between 1978 and 1988. They depict First Nations people and Inuit from across Canada, as well as Diné (Navajo) and Inde (Apache) from the United States. Mully’s images document how Indigenous people lived and worked in the late 1970s and 1980s. Most of the photographs show people going about their daily lives, often while performing an activity. Sometimes it is a traditional activity, such as hunting, gathering, creating art, and making crafts, or a contemporary activity such as working in a modern industry. Occasionally, Mully captures crossover between traditional and contemporary life.

Colour photograph of four men sitting on wooden chairs surrounded by microphones and facing each other, singing and drumming.

Four unidentified First Nations drummers performing under a tent. Photo Credit: George Mully (e011218157)

Mully’s interest in human rights is evident in a series of photographs taken in July 1979, when the Indian women’s rights march arrived in Ottawa. The march, led by Maliseet women Sandra Lovelace and Caroline Ennis, protested inequality and discrimination faced by First Nations women who lost their Indian status upon marrying non-status men. Bill C-31 amended the Indian Act in June 1985 by removing the relevant provisions and reinstating status for those affected, among other changes. The revisions to the Act have been critiqued for not adequately addressing the issue.

Colour photograph of a person sitting on green grass behind a sign that reads “Save our sisters.”

Unknown individual sitting on the lawn of Parliament Hill in Ottawa with a protest sign. Photo Credit: George Mully (e011218140)

It is not initially clear why Mully captured particular images or what purpose they might have served. Some photographs might have been taken in preparation for a possible documentary or as part of research on a future project. The names of the people depicted, the locations, and the dates of the photographs are unknown; none of the images has a detailed caption, and few textual records accompany the collection. As such, a selection of over 300 photographs will be part of an upcoming Co-Lab challenge and Flickr album. If you recognize someone or a location, or know when an event took place, please go to the George Mully Co-Lab challenge and tag the photographs! Tagging the images with names, locations, and dates will allow others to find images of family members and their communities, and ensure that the people and places are remembered. Thank you for sharing your knowledge, and for your assistance in this endeavour.

Colour photograph of a man in dark blue clothing wearing sunglasses and sitting on a wooden bench carving a vase.

Unidentified Inuk artist at an arts event, working on a ceramic vase with an abstract design. Photo Credit: George Mully (e011218140)

This blog is part of a series related to the Indigenous Documentary Heritage Initiatives. Learn how Library and Archives Canada (LAC) increases access to First Nations, Inuit and Métis Nation collections and supports communities in the preservation of Indigenous language recordings.


Annabelle Schattmann is an archival assistant for We Are Here: Sharing Stories, an initiative to digitize Indigenous content at Library and Archives Canada.

 

John Colin Forbes and Kenneth Keith Forbes, a lineage of official portraitists!

By Geneviève Couture

The careers of painters John Colin Forbes (1846–1925) and his son Kenneth Keith Forbes (1892–1980) clearly illustrate how particular prime ministers were their muses and patrons. Between them, the two portraitists painted seven Canadian prime ministers, two governors general, five chief justices of the Supreme Court, 11 speakers of the House of Commons and 14 speakers of the Senate. These artists also painted a king and queen of England on behalf of the Canadian government. Over a period of more than 90 years, the Forbeses helped to build an artistic and visual heritage depicting the executive, legislative and judicial branches of the Canadian government.

John Colin Forbes

John Colin Forbes was born in Toronto in 1846. In the 1860s, he studied painting in Paris and London before returning to Canada. He was a founding member of the Ontario Society of Artists (1872) and the Royal Canadian Academy of Arts (1880).

Forbes was quickly recognized as a portraitist and received numerous commissions. He painted Lord Dufferin and the Marquess of Lansdowne, both governors general of Canada. Between 1878 and 1893, he created portraits of Sir John A. Macdonald, Alexander Mackenzie, Sir Charles Tupper and Wilfrid Laurier. None of these were official portraits, but Tupper’s is in the Parliament of Canada, while Macdonald’s and one of Laurier’s are in the National Gallery of Canada. Forbes was also commissioned to produce four official portraits of speakers of the House of Commons and six official portraits of speakers of the Senate.

The artist had a special relationship with Sir Wilfrid Laurier, who called Forbes a “friend.” He painted Laurier for the first time in 1885, based on a photo taken around 1882 by William Topley’s studio in Ottawa.

Black-and-white photo of a seated man in a suit.

Wilfrid Laurier, MP. Topley Studio, 1882. (a013133-v8)

The second painting of Laurier by Forbes was presented to the Prime Minister by his friends and Liberal Party supporters on May 15, 1902. In his speech to the House of Commons, Laurier stated, “It is with a very sincere heart indeed that both in my own name and in the name of my wife, I accept from the unknown friends […] this memento which is the work of a great Canadian artist.”

Lamenting that Forbes was at the time practicing his art in the United States, Laurier added:

Unfortunately Canada, which is still a young country, has not afforded to artists all the help it might have given in the past. I trust that in the future Canadian artists and talents will receive more encouragement from the Canadian people that they received hitherto. For my part, it is with some regret, I acknowledge that perhaps the Government might have done more than it has for the encouragement of native, artistic talent.

Finally, regretting not having children to whom he could bequeath the painting, Laurier made this wish: “Someday I hope it will be in a national museum, not with a view of remembering me to posterity, but for the glory of Mr. Forbes, the artist who painted it.” A few years later, in 1906, Laurier himself gave the painting to the National Gallery of Canada.

A royal commission

His special relationship with Prime Minister Laurier earned Forbes his most prestigious commission: a painting of King Edward VII and Queen Alexandra. He was the first Canadian painter to have a sitting with a British monarch, and official portraits of Edward VII would adorn the House of Commons.

The correspondence between Forbes and Laurier on this matter, which is part of the Sir Wilfrid Laurier fonds at Library and Archives Canada, indicates that Forbes had requested the commission from Laurier, with whom he had previously discussed it.

Black-and-white photo of a typed page.

Letter from John Colin Forbes to Wilfrid Laurier dated April 14, 1904, requesting the commission to paint the King and Queen on behalf of the Canadian government. (Wilfrid Laurier fonds, MG26 G 1(A), Vol. 312, page 84516, microfilm C-810)

Laurier agreed after he received a petition in support that was signed by 92 of the 214 members of Parliament.

A black-and-white image of a scanned page from microfilm.

The first of three pages of the petition, from members of the House of Commons to Prime Minister Wilfrid Laurier, to commission painter John Colin Forbes to paint a portrait of the King for the House of Commons. (Wilfrid Laurier fonds, MG26 G 1(A), Vol. 312, page 84518, microfilm C-810)

Laurier forwarded the request to the Governor General, Lord Minto, who helped arrange access to the royals for Forbes.

A black-and-white image of a scanned page from microfilm.

Letter from Prime Minister Wilfrid Laurier to Governor General Lord Minto, recommending that John Colin Forbes be commissioned to do the painting, and that steps be taken to that effect with the King. (Wilfrid Laurier Fonds, MG26 G 1(A), Vol. 326, page 87632, microfilm C-813)

The sitting was granted, and Forbes travelled to England to paint the portraits. Unfortunately, the paintings were destroyed in the Parliament fire in 1916, less than 12 years after their creation. Forbes’s four official portraits of the speakers of the House of Commons and six official portraits of the speakers of the Senate survived the fire.

Black-and-white photo of a burning building.

The eastern part of Centre Block in flames, Ottawa, 1916. (a052822-v8)

Sir John A. Macdonald and Sir Wilfrid Laurier: inspiring portraits

Two portraits of prime ministers painted by Forbes inspired their successors. In a Winnipeg Free Press article published on March 20, 1965, journalist Peter C. Newman reported that, depending on their political allegiance, new prime ministers had either Sir John A. Macdonald’s or Sir Wilfrid Laurier’s portrait installed in their East Block office in Ottawa. This practice changed under Lester B. Pearson, when the Prime Minister asked for both paintings in his office.

Photographs taken by Duncan Cameron (recently discussed in a blog post about news photographers and prime ministers) confirm that John Diefenbaker, Lester B. Pearson and Pierre Elliott Trudeau had paintings by Forbes in their offices. Paul Martin’s office was decorated with the first painting of Laurier by Forbes from 1885.

Black-and-white photo of a man taking a photograph of a photographer who is photographing him.

Pierre Elliott Trudeau taking a photograph with news journalist Duncan Cameron’s camera, June 28, 1968. Photo: Duncan Cameron (a175919)

Kenneth Keith Forbes

The son of John Colin Forbes, Kenneth Keith Forbes, also became a famous portraitist. Born in Toronto in 1892, he began drawing at the age of four under his father’s tutelage. Between 1908 and 1913, he studied art in England and Scotland. When the First World War started in 1914, the younger Forbes joined the British army as an ordinary soldier. He fought in France, where he was injured and gassed. Forbes was promoted to captain, and in 1918 he was transferred to the Canadian Army (specifically, the Canadian War Records Office) as a war artist. He painted scenes of battles as well as portraits of Canadian officers, including Brigadier General D. Draper.

Library and Archives Canada holds the recently digitized military file of Kenneth Keith Forbes.

Oil painting by Kenneth Keith Forbes from 1918. The scene shows the defence of Sanctuary Wood by the Canadian military near Ypres, Belgium, in 1916.

The Defence of Sanctuary Wood (1916), by Kenneth Keith Forbes, 1918. (e010751163-v8)

Official portraitist

A few years later, Forbes returned to Toronto; continuing in the family tradition, he focused mainly on portraits.

Among other things, he painted the official portraits of seven speakers of the House of Commons, eight speakers of the Senate and five chief justices of the Supreme Court.

Forbes also painted the portraits of prime ministers Robert Borden, R.B. Bennett and John Diefenbaker. The first portrait of R.B. Bennett painted in 1938 by Forbes was offered to the Prime Minister by members of Parliament, senators and Conservative Party members upon his retirement from politics. It is now in the New Brunswick Museum, where Bennett bequeathed it.

Forbes then painted the official portrait of Sir Robert Borden for the House of Commons. The painting was commissioned by the Speaker of the House, Gaspard Fauteux, whose portrait Forbes had painted the previous year. The aim was to complete the collection of official portraits representing Canada’s prime ministers in the House of Commons. This painting was unveiled in Parliament on June 11, 1947, 10 years after Borden’s death, along with a portrait of William Lyon Mackenzie King, with President Harry Truman of the United States in attendance.

In his diary, Mackenzie King explains why he suggested that his portrait and that of Borden, both prime ministers in the major wars, be unveiled at the same ceremony.

A black-and-white image of a typewritten page of William Lyon Mackenzie King’s diary dated May 19, 1947.

Excerpt from the May 19, 1947, entry in William Lyon Mackenzie King’s diary, explaining how he came to suggest that his portrait and that of Borden, both prime ministers in the major wars, be unveiled at the same ceremony. (William Lyon Mackenzie King fonds, MG26 J 13, May 19, 1947)

A decade later, Forbes painted two portraits of John Diefenbaker. The first was given to Diefenbaker by members of his Cabinet and hung in the prime minister’s official residence at 24 Sussex Drive, and later in Stornoway, the official residence of the leader of the opposition. The second portrait of Diefenbaker was commissioned by freemasons from Washington and is now in Arlington, Virginia.

In 1962, Forbes painted the official portrait of R.B. Bennett for the House of Commons. The commission came close to 25 years after his earlier painting, and 15 years after Bennett’s death. It was requested by Prime Minister John Diefenbaker and the Speaker of the House of Commons, Roland Michener. Once again, the aim was to fill in gaps in the collection of official portraits of Canada’s prime ministers in the House of Commons.

Conclusion

The careers of portraitists John Colin Forbes and Kenneth Keith Forbes reveal the sometimes unsuspected links between the arts and politics. The father and son clearly benefited from their good relationships with parliamentarians, particularly prime ministers, receiving many highly prestigious commissions.

Prime ministers also benefited from the work of artists like the Forbeses, whose paintings helped to commemorate and glorify the men who held the country’s highest political positions and inspired their successors. As we have seen, political affiliation was not at issue in requests to the father-and-son artists to contribute to this commemorative undertaking by painting portraits of prime ministers in office and their predecessors. The Forbes portraitists helped to establish the role of prime ministers in the country’s political memory.

Moreover, the talent for painting portraits did not end with John Colin Forbes and Kenneth Keith Forbes. The latter married Jean Mary Edgell, who was also a painter, and their daughter, Laura June McCormack (1921–1961), painted some portraits now in the Legislative Assembly of Ontario, notably one of Louis-Hippolyte La Fontaine.

For additional information about portraits of prime ministers, read Andrew Kear’s thesis, Governing Likenesses: The Production History of the Official Portraits of Canadian Prime Ministers, 1889–2002.


Geneviève Couture is an archivist with the Prime Minister Papers project in the Science and Governance Private Archives Division at Library and Archives Canada.

The reactions of the “Third Group” to the Royal Commission on Bilingualism and Biculturalism

By Deniz Çevik

2019 marks the 50th anniversary of Canada’s Official Languages Act, a legislative milestone in Canadian history that granted English and French equal status as official languages of the Government of Canada. We recently published a blog article about what our archival holdings reveal about the history of the Act, as well as about the evolution of bilingualism in Canada.

The Official Languages Act was built upon the recommendation of the Royal Commission on Bilingualism and Biculturalism. This Commission was created in 1963 by the government of Lester B. Pearson “to inquire into and report upon the existing state of bilingualism and biculturalism in Canada.” Co‑chaired by André Laurendeau and A. Davidson Dunton, the Royal Commission on Bilingualism and Biculturalism held several public hearings across Canada over the next two years.

The Commission’s Preliminary Report in 1965 underlined the cultural and linguistic duality of Canadian society. Often referred as the B&B Commission, one of its B’s, bilingualism, was considered practical as most people functioned in one of those languages. The other B, however, raised controversy. Was Canada bicultural or multicultural? Communities whose members descended from neither English nor French peoples did not enthusiastically embrace the idea of an equal partnership between the “two founding peoples” and their cultures.

A black and white photograph of eight men wearing black and gray suits smiling towards the camera in a boardroom with white walls.

Research staff of the Royal Commission on Bilingualism and Biculturalism, 1965. (e011166427)

In his speech to the Senate on March 3, 1964, Senator Paul Yuzyk, who would later be referred as the “father of multiculturalism,” raised his concerns about the exclusion of other ethnic groups from the cultural duality.

First of all, the word “bicultural,” which I could not find in any dictionary, is a misnomer. In reality Canada never was bicultural; the Indians and Eskimos have been with us throughout our history; the British group is multicultural—English, Scots, Irish, Welsh; and with the settling of other ethnic groups, which now make up almost one-third of the population, Canada has become multicultural in fact… If biculturalism were carried to its logical conclusion—a virtual two-nation co-existence—then all Canadians would be required to become either English or French. This is an impossibility, and I believe that is not the desired objective of our people.

Painting of a stamp design with a turquoise background and a large orange maple leaf that contains a white flower-like design. The painting says “Unity in Canada/Unité au Canada,” and “English–French Biculturalism/Anglais–Français Bi-culturalisme.”

Unity in Canada English–French biculturalism (e001217565)

Yuzyk was not the only voice that spoke up against biculturalism. Library and Archives Canada holds archival fonds, such as Jaroslav Bohdan Rudnyckyj fonds, that document how the Commission’s studies and recommendations were received among people of other ethnic backgrounds.

Various congresses and conferences were held across Canada following the publishing of the Commission’s Final Report and Royal Assent to the Official Languages Act in 1969. The Manitoba Mosaic Congress and Canada: Multicultural were two of these conferences. A booklet in the Rudnyckyj fonds, published after a public conference held at University of Toronto in 1970, provides insight into how other ethnic communities viewed the fourth volume of the Commission’s Report. The public debate around biculturalism showed that the participants envisioned a multicultural Canada instead of a bicultural one.

The President of the Ukrainian Canadian University Students’ Union (SUSK), Bohdan Krawchenko, presented a paper at the SUSK Congress of 1973 that showed how the Commission’s two concepts, bilingualism and biculturalism, were perceived differently.

At one extreme, we can think of a country as a homogeneous ethnic group; at the other end, we can think of a country as multi-national. Canada as a multicultural nation falls somewhere in the center. There are many Canadian languages; there are, however, only two working languages, English and French. Canada is not bicultural, it never was, and it never will be. Besides being offensive on moral grounds, as is any effort to regulate cultural norms, a bicultural definition of Canada does not square with reality. Canada is multicultural, as we would expect discussions on the Canadian constitution to recognize.

Discussions about biculturalism were gradually replaced by multiculturalism, which was adopted as policy in 1971 by the government of Pierre E. Trudeau.


Deniz Çevik is a student archivist in the Archives Branch at Library and Archives Canada.

Top 5 topics addressed by our Reference Librarians

By Emily Dingwall

At Library and Archives Canada (LAC), reference librarians respond to requests on a wide variety of interesting topics from clients. This blog post outlines five types of reference questions librarians frequently handle and suggests resources to consult on these subjects.

The cover page from Sessional Papers of the Dominion of Canada with the title “Public Accounts of Canada, for the Fiscal Year ended 30th June, 1884.”

“Public Accounts of Canada” report found in Sessional Papers of the Dominion of Canada, 1885, Vol. 1, No. 1. (OCLC 1007491677, image from Canadiana)

  1. Federal government documents

Annual departmental reports. Clients are often seeking annual departmental reports. Annual reports from Confederation in 1867 to 1925 are printed in the Sessional Papers of the Dominion of Canada. Learn more about the Sessional Papers of the Dominion of Canada, 1867 to 1925. If you are in Ottawa, you can access the Sessional Papers at LAC by requesting them from staff in the 2nd floor reference room. They are also available through these websites:

Departmental reports post–1925 are published separately from other government documents in the Sessional Papers. You can request 1925–1930 annual reports from LAC staff or through the Internet Archive.

After 1930, search our library catalogue Aurora for annual reports by the name of the department as it was known  during that period.

Beginning with 1995, you can find annual reports at the Government of Canada’s Departmental Results Reports. For more recent years, you can search the specific government department website.

Parliamentary documents. We also receive many questions on searching parliamentary debates, journals and committee materials of the House of Commons and the Senate, such as for a speech made by a prime minister in the House. You can find these documents online:

A typewritten page with two columns of text, separated by a crest. The text on the left is in English and the text on the right is in French.

Front page of the Canada Gazette, Part II, Vol. 137, No. 23, November 5, 2003. (OCLC 1082716964, image from Canada Gazette)

  1. Legislative Research

Librarians frequently receive questions about legislation in print or legislation that can be found online through Justice Laws.

You can trace legislation through these main sources:

  • The Statutes of Canada include all acts and amendments to laws passed during each session of Parliament.
  • The Revised Statutes of Canada (R.S.C.) are consolidations of the Statutes of Canada incorporating amendments and acts that have been added since the last revision. The R.S.C have been published for the years 1886, 1906, 1927, 1952, 1970, and 1985.

The Statutes of Canada and the Revised Statutes of Canada are available in print format in our reference collection at LAC, as well as at many public and academic libraries. They are also accessible through the legal database LLMC Digital, which can be searched onsite at LAC.

To learn more about the Statutes and researching legislation, see the blog post Tracing Historical Legislation.

You can find official regulations and statutory instruments in Part II of the Canada Gazette, the official newspaper of the Government of Canada. Published in three parts, the Canada Gazette is searchable by keyword at these sites:

To learn more about the three parts of the Canada Gazette please see Canada Gazette publications.

Readings of bills, such as the First and Third readings, can be found by searching the library catalogue Aurora.

LEGISinfo, the Library of Parliament’s research tool, provides information on all bills considered by the Senate and the House of Commons since the start of the 37th Parliament in 2001.

An image of a four-column newspaper, Courrier canadien.

Courrier canadien, March 11, 1900. (OCLC 109270836)

  1. Newspaper Research

Librarians often assist clients in searching newspapers for information such as local histories, articles on individuals, or references to a past royal visit to Canada.

We hold newspapers in print and microfilm formats, which can be found through the Aurora library catalogue. We also subscribe to several newspaper databases.

The Geographical microform list names all the newspapers that we hold on microfilm (click on the OCLC number), as well as newspapers available online. The list is organized by province/territory, then alphabetically by location.

Major newspaper titles such as Le Devoir, the Montreal Gazette, and the Ottawa Citizen are available in our self-service microform reading room.

These newspaper databases can be accessed on the public workstations in our reference room: The Globe and Mail, Toronto Star, Paper of Record and Newspaper Archive.

Online newspaper resources include:

The cover page of “Official History of the Canadian Army in the Second World War.”

Cover page of Colonel C.P. Stacey’s Official History of the Canadian Army in the Second World War, Volume I: Six Years of War: The Army in Canada, Britain and the Pacific. (OCLC 317352934, image from Government of Canada publications)

  1. Military History Research

Librarians receive military history questions from clients looking for published histories of specific regiments/units, recruitment statistics per year, and locations of Canadian units in Europe during World War II.

Resources for military history research include:

An image of a Grand Trunk Railway timetable from 1922.

Timetable of the Ontario lines of the Grand Trunk Railway from 1922. (e011297622)

  1. Railway Histories

Many clients contact Reference Services about railway history research. Examples of questions we receive include the histories of specific train stations, the histories of railway companies (Canadian Pacific Railway, Canadian National Railways, Grand Trunk, etc.), and routes of particular railway lines.

We hold railway maps, as well as passenger and employee timetables in print format that can be located by searching Aurora. Many timetables are part of the Merrilees Transportation Collection, which contains about 5,000 publications including books, trade literature, technical manuals, timetables, broadsides, periodicals and pamphlets.

An Ontario railway historian has made rail timetables available on Charles Cooper’s Railway Pages.

Canadian Pacific Railway timetables from 1930–1985 are available through the Chung Collection at the University of British Columbia Library.

These are two excellent print publications to consult on railway history:

  • Andreae, C., & Matthews, G. Lines of Country: An Atlas of Railway and Waterway History in Canada. Erin, Ont.: Boston Mills Press, 1997. This publication is a comprehensive outline of railway and waterway history in Canada and includes maps of railways in Canada from early days to the present. It can be accessed in our reference room.
  • Ballantyne, B., and Bytown Railway Society. Canadian Railway Station Guide. Ottawa: Bytown Railway Society, 1998. This publication lists stations, plans and pictures.

 I hope that these resources will help you with your research on these subjects. Of course feel free to ask us a question on any topic, and a reference librarian will be happy to assist you!


Emily Dingwall is a Reference Librarian in the Reference Services Division at Library and Archives Canada.

Sheet Music from Canada’s Past: The Great War

By Emilie Gin

Did you know that you can view, download and print digitized versions of sheet music from LAC’s collection? A portion of the collection—including pieces from the First World War—has been digitized and can be accessed online from LAC’s library catalogue, Aurora. Here’s how to search special collections using Aurora.

Sheet Music from Canada’s Past provides a rich opportunity to dive deeper into the sounds and lyrics that punctuated the Canadian experience of the First World War or “the Great War.” Canadians at home and those fighting abroad found comfort, courage and a sense of patriotism in music.

What is sheet music?

Sheet music typically refers to individual popular music pieces that were printed on one or more folding sheets of paper. Both professional composers and amateur songwriters published and distributed sheet music for sale. These musical scores were unbound and inexpensive for publishers to produce and relatively affordable for consumers as well.

Sheet music played an important role in the musical lives of Canadians. While some upper class households of the early 20th century had phonographs or gramophones to play recorded music, many could not afford these new technologies. For many, the only way to enjoy music was to hear it live, either at a concert hall or by playing music themselves using sheet music.

Music and the national narrative

While music functioned as entertainment and a form of catharsis during the complicated and tumultuous time of the Great War, it was also a medium ripe for the promotion of a government-approved national narrative.

A colour drawing of a soldier with a rifle standing in front of the British flag, a war medal and a portrait of a H.W. Ellerton in uniform.

Cover art for “The Khaki Lads” (OCLC 25442742)

The War Measures Act of 1914 required that all publications (including sheet music and other forms of media such as novels and posters) be approved by the Department of Militia and Defence. Although it is difficult to assess the true impact of music and its messages, sheet music does gives us a window into the everyday life of Canadians during the First World War.

Canadian identity—The Maple Leaf and Britannia

Expressions of Canadian patriotism and allegiance to Britain were extremely prevalent themes in published sheet music during the First World War. This is no surprise—these types of pieces boosted morale by supporting a national narrative of unity through patriotism among soldiers and those at home. They instilled courage and reminded soldiers in the fray of their duty and purpose. These pieces presented a narrative of Canadian identity that was nearly exclusively Anglophone and still fervently tied to Britain.

A colour drawing of a soldier holding a rifle, with a green maple leaf in the background.

Cover art for “They Heard the Call of the Motherland (The Men of the Maple Leaf)” by Edward W. Miller (OCLC 123910582)

Following Canada’s involvement in important battles such as Vimy Ridge, the Somme and Passchendale, the First World War marked an important shift in Canada’s self-awareness from a colony to a nation. However, the Conscription Crisis of 1917 brought up significant and important questions about Canada’s ties to Britain, as well as about the relationship between French and Anglophone Canadians.

A black and white image where the words The King Will Be Proud of Canada are surrounded in a wreath of leaves and a beaver.

Cover art for “The King Will Be Proud of Canada: Canadian Military Song” by S.G. Smith and Frank Eborall (OCLC 123910650)

Here are a few examples of patriotic sheet music that can be downloaded from LAC’s collection:

Everyone’s doing their bit: The home front

Music was an important part of everyday life on the home front. Volunteerism was an especially common message found in popular sheet music. Knitting garments for soldiers, donating money, buying war bonds or volunteering for nursing efforts were all suggested activities that would contribute to the war effort. Pieces such as “He’s Doing His Bit, Are You?” reinforced citizens’ duties to Canada and the Crown, stating “If we cannot do the fighting—we can pay.”

A colour drawing of a soldier dressed in a tan uniform holding a rifle above his head.

Cover art for “He’s Doing His Bit, Are You? If We Cannot Do the Fighting—We Can Pay” by W. St.J. Miller (OCLC 1007491809)

Here are a few pieces that illustrate messages encountered by Canadians on the home front:

The Duality of Music in Wartime

Sheet music occupied somewhat of a double life in public consciousness in wartime. Acting as both entertainment and a form of governmental subliminal messaging, it is difficult to ascertain exactly how Canadians might have felt about popular music. Music likely offered a welcome break from atrocities and troubling news from the front, however there is no denying that sheet music publishers published materials that supported a government-approved national narrative.

An colour image comprised of a large ship, a dove, a woman welcoming the ship and a portrait of S. M. Hallam.

Cover art for “When Jack Comes Back” by Gordon V. Thompson (OCLC 1007593602)

Nevertheless, this note found on the cover illustration for the piece “The Canadian War Song: When Jack Comes Back,” by Gordon V. Thompson, surely rang true for many Canadians during the First World War:

                “We all need good music these war days. It makes the wheels of life turn smoothly and helps to dry the tears.”

To learn more about Canadian sheet music, check out our podcast “Between the Sheets”.


Emilie Gin is a student acquisitions librarian working in the Published Heritage Branch at Library and Archives Canada.

New Books in the Genealogy Services Collection

By Emily Potter

A colour photograph of two shelves of multi-coloured hardcover books.

A sample of the variety of books held in the Genealogy Services Collection at 395 Wellington Street in Ottawa. Photo credit: Emily Potter

We’re excited to announce recently acquired genealogy publications, which you can consult in the Genealogy and Family History Room on the 3rd floor of the Library and Archives Canada building at 395 Wellington Street in Ottawa.

Check out the list below. After each title, you will find a call number, which will help you find the book on our shelves. The OCLC number links to the record in our new library catalogue Aurora providing additional information. First time using it? See Aurora help.

If you are just starting out in genealogy, visit the Genealogy and Family History section of our website on how to begin your research.

Also visit What’s new in the collection, for highlights of selected new acquisitions and archives now open for consultation.

Happy exploring!

Church, cemetery and newspaper indexes

Baptêmes et sépultures des quatre voisines de Saint-Clément de Beauharnois by Société du patrimoine de Sainte-Martine. CS88 QC43 B42 2017 (OCLC Number: 1032020299)

Flamborough Obituary Slips, 1883–1891 by the Waterdown-East Flamborough Heritage Society. CS88 ON35 F53 1999b (OCLC Number: 62927324)

Massey, Ontario, Massey Grandview Protestant Cemetery by the Sudbury District Branch, Ontario Genealogical Society. CS88 ON31 M47 2016 (OCLC Number: 1082503187)

Massey, Ontario, Massey Immaculate Conception Roman Catholic Cemetery by the Sudbury District Branch, Ontario Genealogical Society. CS88 ON31 M47 2016b (OCLC Number: 1082504357)

Family histories

Ainslie (Volumes 1 & 2) by John Stuart Ainslie. CS90 .A43 2016 (OCLC Number: 1103323498)

My Writings on the Audet-Lapointes by Guy Saint-Hilaire. CS90 A935 2017 (OCLC Number: 1019429805)

La famille Berthiaume: cent vingt-cinq ans d’histoire (1892–2016) by François-Xavier Simard. CS90 B4274 2016 (OCLC Number: 1032012228)

La famille Boily au XVIII : de Saint-Jouin-de-Marnes à la Baie Saint-Paul by Raymond Boily. CS90 B56 2013 (OCLC Number: 937871289)

The Bonhomme family, 1632 to 2015 by Joseph Bonhomme. CS90 B642 2017 (OCLC Number: 1082496422)

The Stalwart Brydons: from Scotland to Galt to Manitoba: a History of 100 Years in Canada by James Emerson Brydon, Dianne Brydon. CS90 B8 2016 (OCLC Number: 1082476540)

The Descendants of John Archelaus Carpenter of Weston, New Brunswick, Canada by Miles Ludlow Carpenter. CS90 C288 2016 (OCLC Number: 1018310137)

Famille Chatel by Charles G. Clermont. CS90 C476 2016 (OCLC Number: 947133998)

The Clark and Simonite Saga: Where Past and Present Meet by Carolyn Gillanders Loveless. CS90 C538 2016 (OCLC Number: 1036081812)

Angus MacLean: a Genealogy by Marleen MacDonald-Hubley. CS90 Mc69 2012 (OCLC Number: 907028372)

The Dickinson Men of Manotick by William and Georgina Tupper. CS90 D498 2015 (OCLC Number: 927183619)

The Grandmother & Grandfather’s Story: Lewis and Mary Fisher, Loyalists in the American Revolution and New Brunswick Settlers by Robert C. Fisher. CS90 F574 2017 (OCLC Number: 1082478346)

The Griersons of Torbolton Township by Doris Grierson Hope. CS90 G725 2016 (OCLC Number: 1036095475)

New France Descendants of Leduc Families: History and Genealogy Repertory by Adrienne Leduc. CS90 L44 2017 (OCLC Number: 1033521074)

Les Pellerin du Québec, 1722–1916 by Jacques Gagnon. CS90 P43 2017 (OCLC Number: 1032011484)

Pommainville d’Amérique : Henri Brault dit Pomainville et ses descendants by Edgar Pommainville. CS90 P63 2017 (OCLC Number: 976416112)

Antoine, first Theroux in Canada by Mary Jeannette Hounsome. CS90 T4869 2016 (OCLC Number: 1082503547)

Descendants of Johann Christian Schell and Johannes Schell by J.P. Schell. CS90 S4213 2004 (OCLC Number: 1082497015)

St-Cyr in North America, 1624–2016: the Descendants of Pierre Deshaies St-Cyr and Marguerite Guillet and Mathieu Rouillard St-Cyr and Jeanne Guillet by François St-Cyr. CS90 S233613 2016 (OCLC Number: 952211418)

Mountain Romantics: The Whytes of Banff by Chic Scott. CS90 W458 2014 (OCLC Number: 883939953)

Local Histories and Biographies

 Before Surveyors’ Line was Run: the History of Simon Orchard and Samuel Rowe, the First Settlers to Paisley, Ontario in the Queen’s Bush by Marguerite Ann Caldwell. CS88 ON32 P34 2013 (OCLC Number: 1036198843)

My Creignish Hills by Floyd MacDonald. CS88 NS69 C74 2015 (OCLC Number: 1019413004)

Cypress Hills Metis Hunting Brigade Petition of 1878 for a Metis Reserve: History of the Cypress Hills Hunting Brigade: Biographies of Petitioners by Lawrence Barkwell. E99 M47 B37 2015 (OCLC Number: 1032013125)

Les familles pionnières de la seigneurie de La Prairie, 1667 à 1687 by Stéphane Tremblay. CS88 QC43 R68 2017 (OCLC Number: 1033510580)

A Glance Backward by Ray Johnson. CS90 A715 1988 (OCLC Number: 1082475369)

Jewish Papineau: an Account of the People and Places of the Montreal Neighbourhood Known as “Papinyu” as Recounted by Philip Teitelbaum and Other Contributors by Peter Teitelbaum. CS88 QC42 M65 2015b (OCLC Number: 1007771024)

Prairie Pioneers: Schönthal Revisited by Mary Neufeld. CS88 MB274 A48 2016 (OCLC Number: 945781920)

La Reine: 100 ans d’histoire by Gérald Doré, Marie-Claire Piché-Doré and Victorin Doré. CS88 QC41 L35 2017 (OCLC Number: 1032010291)

Remember Me: Manitoulin Military by the Manitoulin Genealogy Club. CS88 O6 R46 2015 (OCLC Number: 919340193)

The Settlers of Monckton Township by Les Bowser. CS88 NB52 M66 2016 (OCLC Number: 962852120)

Visages estriens: hommage à nos gens by La Société de généalogie des Cantons de l’Est. CS88 QC46 A1 2017 (OCLC Number: 1032018896)


Emily Potter is a Genealogy Consultant in the Public Services Branch of Library and Archives Canada

Inuit soldiers of the First World War: Lance Corporal John Shiwak

On the left of the graphic, Tatânga Mânî [Chief Walking Buffalo] [George McLean] in traditional regalia on horse. In the middle, Iggi and girl engaging in a “kunik”, a traditional greeting in Inuit culture. On the right, Maxime Marion, a Métis guide stands holding a rifle. In the background, there is a map of Upper and Lower Canada, and text from the Red River Settlement collection.

by Heather Campbell

A black and white photograph of a young Inuk man in a military uniform staring towards the camera.

Lance Corporal John Shiwak, First Royal Newfoundland Regiment, c. 1915. Courtesy of Veteran’s Affairs Canada

As we remember the sacrifices of the soldiers who fought in the First and Second World Wars, many of us are aware of the First Nations and Métis soldiers who fought for our country. But only a few of us may know about the Inuit soldiers who also fought alongside Indigenous and non-Indigenous alike. My great-great-uncle, Lance Corporal John Shiwak, was one of those men. Due to his skills as a hunter, he became a sniper—“one of the best in the British Army,” according to a fellow officer.

My uncle hailed from Nunatsiavut, the Inuit region in northern and central Labrador, which was part of the British Dominion of Newfoundland in 1914. When the call came for Newfoundland men to enlist, it also made its way up the north coast of Labrador to the Inuit men of these settlements. Inuit culture was, and still is, largely a non-confrontational culture. Many of these young Inuit men were encouraged to enlist by people in positions of authority, such as Dr. Harry Paddon, a physician for the International Grenfell Association. Regardless of their motivations, approximately fifteen Inuit men enlisted and set sail for England in the summer of 1915.

A black and white photograph of two Inuit women and an Inuit child standing beside a wooden house.

Hopedale, Newfoundland and Labrador, 1913. Credit: Edith S. Watson (e010791418)

What a culture shock it must have been for these men who, like my uncle, were all from tiny, isolated communities of a few hundred people at most. In addition to the size, hustle and bustle of European towns and cities, the worldview was very different. Although Inuit hunt for survival, we respect each life we take and are taught from a young age to not cause an animal pain or distress. When we take a shot, we want to be certain it is precise and effective. Especially during the early 20th century, when the cost and scarcity of ammunition meant that every bullet had to count. Sometimes that meant going home empty handed.

I imagine those Inuit soldiers felt exactly the same way when they discharged their firearms in war. It must have been a huge adjustment for them to fire in haste, knowing they may have wounded someone. However, they knew that the men on the other side of the trenches had to be stopped for others to live, just as animals in Labrador had to die for their families to live. I imagine it was the only way to reconcile themselves with the horrors of war.

A black and white photograph of trees and white houses with black roofs. In the background, there is a boat on the water.

Hudson’s Bay Company Buildings, Rigolet, Labrador, September 1926. Photo Credit: L.T. Burwash (a099501)

The story of my great-great-uncle Lance Corporal John Shiwak is unique because in addition to his traditional activities as a hunter, trapper and fisherman, he was also a writer, poet and artist. He wrote many letters from the front lines to his friend Lacey Amy, a journalist and author from Ontario. Mr. Amy wrote the article “An Eskimo Patriot” in the July 1918 issue of The Canadian Magazine, telling of their friendship and some of Uncle John’s feelings during the war.

The duration of the war was wearing on him. He had no close friends, none to keep warm the link with his distant home. In September he lamented: “I have no letters from home since July. There will be no more now till the ice breaks”. And in his last he longed again for the old hunting days. Labrador, that had never satisfied his ambitions, looked warm and friendly to him now… That was in mid-November. A month later an official envelope came to me. Inside was my last letter. On its face was the soulless stamp. “Deceased”.

Every year on Remembrance Day, our family would talk about Uncle John with a quiet reverence, remembering the deep grief experienced when he did not return home. I have yet to meet a Labradorian living elsewhere who does not long to return to Labrador. The connection that we have to the land is difficult to express. We see firsthand how the land provides us with everything that we need to survive. Many generations of history are embedded in not only the community, but also each fishing spot, trapline, woodcutting path, hunting ground and berry-picking spot. This creates a special bond between people and the land. To be away from Labrador is to be disconnected from a piece of ourselves.

When I first visited the Canadian War Museum, I was drawn to the recreation of a First World War trench. Visitors can walk through it and put themselves in the shoes of soldiers on the front lines. As I slowly made my way through the trench, it affected me deeply. Tears streamed down my face as I imagined Uncle John huddled in the mud, writing in his journal or sketching images of the land and animals, longing for the peace and solitude of his ancestral home. A home that he would never see again.

A black and white photograph of a cemetery behind a fence and small leafless trees near Cambrai, France. There is a house and a farm in the background.

Raillencourt British Cemetery near Cambrai. Shiwak was not buried in this cemetery, but was equally far from home. (a004409-v8)

During the battle of Cambrai on November 20, 1917, an exploding shell killed Uncle John and six other soldiers. Eighty-eight years later, in 2005, my cousin, Jason Sikoak (formerly written as Shiwak), took part in the Aboriginal Spiritual Journey. In this journey, a group of Indigenous people travelled to Europe to honour Indigenous soldiers. Jason told me that during this journey, Uncle John’s spirit visited him in a dream. We hope that he followed Jason back to the shores of Rigolet and that he is at peace.

A black and white photograph of ships in body of water. There are trees in the foreground of the photo.

A point of land seen from a distance with Hudson’s Bay Company buildings along the shoreline and boats anchored in the cove. Rigolet, c.1930. Photo credit: Fred. C. Sears (e010771588)

This blog is part of a series related to the Indigenous Documentary Heritage Initiatives. Learn how Library and Archives Canada (LAC) increases access to First Nations, Inuit and Métis Nation collections and supports communities in the preservation of Indigenous language recordings.


Heather Campbell is an archivist in  the Public Services Branch at Library and Archives Canada.

Recognition and Remembrance: A Métis soldier in the Canadian Expeditionary Force, 1917–1918

On the left of the graphic, Tatânga Mânî [Chief Walking Buffalo] [George McLean] in traditional regalia on horse. In the middle, Iggi and girl engaging in a “kunik”, a traditional greeting in Inuit culture. On the right, Maxime Marion, a Métis guide stands holding a rifle. In the background, there is a map of Upper and Lower Canada, and text from the Red River Settlement collection.

By David Horky

The Gabriel Dumont Institute (GDI) maintains a list of over 5,000 individuals whose names are engraved on the National Métis Veterans’ Memorial Monument in Batoche, Saskatchewan. Unveiled in 2014, the monument serves to recognize, remember and honour veterans from across the Métis Nation Homeland who have served Canada throughout history. The list of Métis veterans (PDF) provides the veteran’s name, service number, enlistment (the war or activity), and the location of their inscription on the monument (by column and row).

The GDI list has been invaluable for my own personal research about one of my distant relatives who fought and died in the First World War. I recently discovered Métis branches on my own family tree on the Métis Genealogy section of the Library and Archives Canada (LAC) website, and it was while doing this research that I found the digitized military service file of a distant relative, Private Arthur Carriere.

Searching the GDI list, I was proud to find an entry for a Private Arthur Carriere, confirming that he was indeed among the many names engraved on the National Métis Veterans’ Memorial Monument. I realized in the process that the service number on the GDI list—2293697—corresponded to the regimental number referring to the same soldier on the LAC website. This simple example demonstrates the great value of the GDI list to relatives and researchers interested in identifying Métis veterans from the 600,000 digitized service files in the Personnel Records of the First World War database.

Being able to access a digital copy of Arthur’s First World War service file—a tangible record of his involvement in the war—was a very personal way for me to pay my respects to one of my kin in remembrance of his service and sacrifice to our country. Despite the brevity of much of the information recorded on the various forms and documents in the file, they collectively provide a story, impressionistic to be sure, about Arthur’s brief and tragic wartime experience.

A typed page with the title, Particulars of Recruit, Drafted under Military Service Act, 1917. There are also stamps and handwriting on the page.

The Attestation Paper from Arthur Carriere’s digitized service file. (Library and Archives Canada, CEF 2293697)

Although there weren’t any explicit references to Arthur’s Métis heritage recorded in the file, I thought I could detect traces or clues in some of the records, especially the Attestation Paper, which provides basic information about his background at the time of his enlistment—age, occupation, residence, name and address of next of kin, etc. Born in 1893 in St. Adolphe, Manitoba, Arthur was 24 years old, single, and a farmer living in St. Vital, Manitoba at the time of his enlistment. His next of kin is his mother, A. (Angèle) Carriere, of Ste. Rose, Manitoba. The communities in particular struck my attention—all are Franco-Manitoban with strong and continuing Métis roots. The next of kin information is often very useful to trace Métis roots, as ethnic origin is not usually stated in the file.

The Attestation Paper also indicates the circumstances of Arthur’s enlistment—the most obvious being that he did not volunteer, but was drafted under the provisions of the Military Service Act. He reported for medical examination on November 14, 1917 in Fort Frances, Ontario, and was called up on January 11, 1918 in Winnipeg for active service as a private with the Lord Strathcona Horse (Royal Canadians), a regiment of mounted rifles.

A typed and handwritten form with the title “Casualty Form—Active Service.” The regimental number, rank and name of the soldier is typed underneath in blue ink along with handwritten notations.

The casualty form from Arthur Carriere’s digitized service file. (Library and Archives Canada, CEF 2293697)

The Casualty Form—Active Service record provides us with a very brief outline of Arthur’s activities following his enlistment. Leaving Halifax on April 15, 1918 on the S.S. Melita, the Lord Strathcona Horse (Royal Canadians) arrived in Liverpool, England on April 28, 1918. On August 20, 1918, shortly after arriving in France), Arthur joined the Canadian Corps Reinforcement Centre where troops were held before being sent to reinforce existing units. A couple of weeks later on September 13, 1918, he was transferred to the Royal Canadian Dragoons (RCD), a regiment assigned to the Canadian Cavalry Brigade but that mainly played an infantry role throughout the war. Less than a month after joining the RCD, Arthur’s life was tragically cut short. On October 10, 1918, he is simply reported as “killed in action.” This is one month and a day short of the signing of the Armistice on November 11, 1918 that ended the First World War.

A few more details about Arthur’s death is provided by another military record, the Circumstances of Death Registers, First World War, which the Canadian Expeditionary Forces (CEF) used to report the cause of a soldier’s death, where and when it occurred, and the soldier’s final resting place. The entry for Private Arthur Carriere indicates that on October 10, 1918 “while acting as a medical orderly at Brigade Headquarters in Troisvilles, he was killed by an enemy shell.” The location of his final resting place is given as Grave 8, Plot 11, Row C in the Highland British Cemetery, recorded in the Commonwealth War Graves Commission Register as being one mile south of Le Coteau, France.

Too many to list here, there are other First World War records held at LAC, as well as external sources of information that can provide valuable additional details about WWI soldiers and the various CEF units serving overseas in France and Flanders.

An index card listing the regimental number, rank, surname, Christian name, unit, theatre of war, date of service, remarks and latest address of a soldier. In the top right corner the letters “B” and “V” are written, with a blue checkmark through them.

The medal card from Arthur Carriere’s digitized service file. (Library and Archives Canada, CEF 2293697)

An index card with the name “Carriere, Pte. Arthur,” “649-C25592” and a checkmark written at the top. There is also a large “M” written in blue ink.

The Memorial Cross card from Arthur Carriere’s digitized service file. (Library and Archives Canada, CEF 2293697)

Arthur’s story does not end simply with his death. The medals he garnered, such as the British War Medal and the Victory Medal, indicated by crossed-out capital letters “B” and “V” on the medal card along with the Memorial Cross, Scroll and Plaque, were dutifully given by a grateful nation to his mother in mourning.

The Franco-Manitoban Métis community of St. Norbert also felt the loss of Arthur’s death. Shortly after the end of war, they erected the St. Norbert War Memorial in recognition of the ultimate sacrifice paid by Arthur and 12 other local residents.

In this light, one can see in Arthur’s story a tradition of recognition and remembrance of the services rendered to Canada by veterans of Métis Nation communities that stretches back from the memorial erected in St. Norbert at the end of the Great War all the way to the present-day National Métis Veterans’ Memorial Monument in Batoche. The GDI acknowledges that there are probably many unknown Métis veterans who deserve our recognition and remembrance. Using the GDI form, you can submit the names and military service information of additional Métis veterans to engrave on the National Métis Veterans Historic Monument and ensure that they receive the recognition and honour due them from Canada and the Métis Nation.


David Horky is a senior archivist at Library and Archives Canada, Winnipeg office.

Mighty Indigenous Warriors: From Egypt to the First World War

On the left of the graphic, Tatânga Mânî [Chief Walking Buffalo] [George McLean] in traditional regalia on horse. In the middle, Iggi and girl engaging in a “kunik”, a traditional greeting in Inuit culture. On the right, Maxime Marion, a Métis guide stands holding a rifle. In the background, there is a map of Upper and Lower Canada, and text from the Red River Settlement collection.

By Elizabeth Kawenaa Montour and Sara Chatfield

When First Nations, Inuit and Métis Nation were recruited in 1914 to fight in the First World War, enlistees were not aware of the new reality of 20th-century warfare. As a prelude to the First World War, in 1884, approximately 56 Kanienkenha:ka (Mohawk), 30 Ojibway and 19 Métis men were recruited for Britain’s six-month Nile expedition in Egypt totalling 400 men. The men were chosen for their strength, endurance, and skill in handling boats and rafts—qualities that were needed to navigate up the numerous cataracts and rapids of the Nile River. They did not see active battle, as they arrived two days after the city of Khartoum, Sudan had fallen, and British Major Charles G. Gordon had been killed. The expedition returned with the loss of 16 men and stories of what they had seen. Along their journey on the Nile, they saw monolithic temples and statues carved out of hillsides at Abu Simbel, the Sphinx of Giza, the pyramids, exotic markets and Egyptian life in Cairo.

A black-and-white photograph of a large group of men standing in front of the Parliament buildings.

Canadian voyageurs in front of the Parliament Buildings, a detail from the “Canadian Nile Contingent,” 1884. (c002877)

Three decades later, their next involvement in an overseas military expedition was with the Canadian Expeditionary Forces (CEF) in the First World War. It was an opportunity for First Nations, Inuit and Métis Nation soldiers to see the world, and to prove their courage and combat skills. Soldiers were facing a major change in combat style and warfare. The new reality of war involved the use of chemical warfare, machine guns, fighter aircraft, armoured vehicles, and trench warfare.

Our latest Co-lab challenge, Correspondence regarding First Nations veterans returning after the First World War, illustrates some Indigenous peoples’ experiences during the war, touches upon how their communities coped during their absence, and gives information about their lives after they returned home. These documents provide us with information that the Personnel Records of the First World War may not. They offer information such as what the solider planned to do after the war, if he owned land or farm animals, or if he was suited to farming. There is also information about whether the soldier suffered any lingering disabilities, who they lived with, and if they had any dependants.

Created by the former Department of Indian Affairs, these records are unique in that an overseeing federal “Indian Agent” included personal information and comments on the returning First Nations soldiers. In contrast, this was not the case for non-Indigenous soldiers, as no similar sets of records exist for the rest of the CEF.

A page from the “Indian Agent’s Office,” Chippewa Hill, Saugeen Agency, February 14, 1919.

Document from RG10 Vol 6771 file 452-30 sent to Duncan Campbell Scott from T.A. Stout on February 14, 1919, providing information about John Besito. (Image found on Canadiana)

This personal information became part of the federal government files in Ottawa. The records are also unique in that the “Indian Agents” delved into the soldier’s post-service life. The information that was collected included gratuitous private information and personal judgements about the veterans and the civilian lives they returned to. For example, the “Indian Agent’s Office” notes dated February 1919 for Private John Besito from Saugeen Agency, Ontario, state, “He has a location of fifty acres in the Reserve. He has a house and some improvements on his location.”

As well as administrative information, such as CEF regimental numbers and membership in First Nation agencies and bands, these records also give us genealogical information. For example, the names of three deceased soldiers are listed in a letter to the Department of Indian Affairs dated February 12, 1919, written by the “Indian Agent” of the Griswold Agency in Manitoba. The letter states that the deceased soldiers are from Oak River and Oak Lake Reserves. The letter also includes the CEF regimental number of one of the deceased, Private John Taylor, and that the Department of Indian Affairs paid a pension to his wife and two children. Other correspondence informs us that Private Gilbert Moore, who was killed in action on March 24, 1918, left behind parents in poor circumstances and that they applied for a pension; and that Private Thomas Kasto left a mother who received a pension.

A black-and-white studio portrait of a First World War soldier in uniform and holding a rifle.

Photograph of Canadian Expeditionary Forces soldier Michael Ackabee. (e005176082)

As well as providing information about the soldiers who fought with the CEF, these files make reference to women in First Nation communities who provided funds to help with the war effort to organizations such as the Red Cross, the Girls Overseas Comfort Club, and the Canadian Patriotic Fund. Women in the communities knitted socks and made shirts to add to the “comfort boxes” that were mailed to the men overseas. They also fundraised by making beadwork, woven baskets, and quilts to sell at box socials and fairs.

Indigenous soldiers who survived the war often returned home changed, both positively and negatively. Sapper Peter Taylor, a Kahnawake soldier, suffered the rest of his life with complications from mustard gas poisoning until he passed away in 1955. Private Tom Longboat, the Olympic long distance runner from Six Nations of the Grand River reserve, returned home from his duty overseas in France to find his wife had remarried after receiving word that he had been killed.

A black-and-white photograph of two men in First World War military uniforms smiling and buying a newspaper from a young boy. The man on the right is accepting a newspaper from the boy and giving him money in exchange.

Private Tom Longboat, the Onondaga long distance runner, buying a newspaper from a French boy, June 1917. (a001479)

Many who returned home were affected mentally and physically. We give our gratitude for their sacrifices and service, and they will be forever acknowledged, honoured, and respected.

This blog is part of a series related to the Indigenous Documentary Heritage Initiatives. Learn how Library and Archives Canada (LAC) increases access to First Nations, Inuit and Métis Nation collections and supports communities in the preservation of Indigenous language recordings.


Elizabeth Kawenaa Montour is a project archivist and Sara Chatfield is a project manager in the Exhibitions and Online Content Division of the Public Service Branch at Library and Archives Canada.

Highlights of Hayward’s photos for companies

By Olivia Chlebicki

As a summer student in the Private Specialized Media section of Social Life and Culture Private Archives, I was tasked with the project of describing a group of photographs from the Hayward Studios fonds. Samuel J. Hayward, a photographer born in the United Kingdom, moved to Canada and made an imprint on our history by capturing moments, people and places.

Hayward began his career working for advertising and photoengraving firms. In the early 1920s, he became the official photographer for Canada Steamship Lines. His career also took him to other companies, like Canadian Vickers Ltd., an aircraft and shipbuilding company, and Steinberg’s Ltd., a grocery company. Hayward documented events at such companies as well as their products. For example, his fonds includes photos of architectural subjects, locomotives, aircraft and ships. These are all very much documentary photos, but after sifting through the collection, I found many shots that caught my eye because they were artistic and visually captivating.

The photos I worked with were mainly taken in Montréal between 1920 and 1970; Hayward captured scenes of society and pieces of history there throughout the years. Showcased here are a few that stood out, both visually and through the histories encapsulated in them.

A black-and-white photo of a woman in a grocery story wearing a white dress and pouring a liquid from a can into a glass. She is standing behind a bin of canned drinks and two shopping carts with signs that read “Now in Cans.”

A promotion in a grocery story for the Continental Can Co.’s soft drinks in cans (a085192)

The first photo shows an employee in a grocery store advertising a (presumably) new product, “Soft Drinks now in Cans!” As the ad states, soft drinks are being introduced in cans, a product that we are very familiar with today. Hayward’s photo provides viewers with a glimpse of this moment in social history.

A black-and-white photo of a man standing on a telephone pole and working on the wires. It is snowing, and he is wearing a winter coat, gloves and hat.

A Bell Telephone Company electrician (a069351)

Hayward took many photos for the Bell Telephone Company, particularly ones featuring workers. The second photo depicts a hard-working, committed employee on the job during a snowstorm. The man is strapped to the pole and attending to the cables as the snow blows by.

A black-and-white photo of men and women watching a champagne bottle being broken against the hull of a large ship. A man is holding his hat over the face of a woman wearing a fur coat.

Christening a Canadian Vickers ship (a085036)

The third photo captures the moment of breaking a champagne bottle against the bow of a new ship. This common naval tradition of christening a ship invites good luck. A sponsor usually announces the name of the ship as the bottle is smashed, and the ship is then launched. Hayward shows this tradition in his photo: a newly built Canadian Vickers ship is christened. A woman in a large fur coat stands front and centre with a microphone, likely the sponsor. It is a somewhat comical scene, as a man uses his hat to protect her face as the champagne bottle smashes against the hull.

A black-and-white photo of the launching of a ship into the water, surrounded by logs and other debris.

The moment when the Canada Steamship Lines ship Canadian Forester was launched. (a059444)

The fourth photo depicts the launching part of this same naval tradition. The Canada Steamship Lines ship Canadian Forester is captured at the exact moment of its launch. As the ship lands in the water, the waves rise as high as the top of the ship. Working with Canada Steamship Lines, Hayward photographed the journeys and lives of many ships.

A black-and-white photo of the front of a large ship. There is a dent on the side of the hull that is furthest from the dock.

The SS Ikala after a collision (a059755)

The ship pictured in the fifth photo is the SS Ikala, a New Zealand freighter docked in Montréal. When I researched the ship, I came across an article in the Montréal Gazette, Friday, May 13, 1927, describing the ship’s encounter with a tank vessel called the James McGee, which resulted in a small collision. In Hayward’s photo, the result of the accident can be seen on the front left side of the ship, documenting evidence of that event.

Photography is an artistic resource for Canadian history. Moments are documented, time and history are captured visually. These highlights from Hayward’s collection depict such instances, providing viewers with insight into the social life and culture of the time and place. The photos that Hayward took for Canadian companies help to enrich the collection at Library and Archives Canada by illustrating aspects of our history and society.


Olivia Chlebicki worked as a summer student in the Private Specialized Media section of the Social Life and Culture Private Archives Division at Library and Archives Canada.