Monday, January 20, 2014
How to Clean Your Well
Last summer I did a lot of work on wells and springs here in Newfoundland, and one question that I asking myself in the beginning was how people managed to clean their wells over the years. It's something that I had no previous knowledge about prior to beginning the project, and something that I found zero information about online. It seemed weird to me, because I thought I would find tons of resources and methods for cleaning wells, considering so many people use them*.
However, once I started asking people in my interviews how wells were cleaned, I heard the same method, or variations of it, time and time again. It seemed to me that although I couldn't find it online, it was a practice that had been long done across the province in a very similar fashion, and a tradition that was passed by word of mouth, through transmission, or through generations of learned behaviour.
I wanted to take what I learned and make it easily accessible to the public, so that in the future anyone needing to clean an old forgotten well would have a place to start, with an easy to follow step by step guide!
I first recommend getting the water tested, both before and after the cleaning. Water test kits can be picked up and dropped off at the Public Health Laboratory at the Dr. L.A. Miller Centre in St. John's, or the Service NL Centre in your area if you are outside the city. Specimens can't be older than 30 hours, so make sure you get these samples in ASAP. Once submitted, you will get both a phone call and mailed results, with a detailed explanation of what that means.
In order to clean your well you first need to drain it. Depending on the depth of your well and how quickly it fills, this can either be done by hand or with a pump. Once the water has been drained, you can begin cleaning. In the past, lime was used to scrub the sides, but a switch to Javex is more contemporary, and what is currently used today. Scrub the sides with a Javex and water solution thoroughly with a scrub or loofah, and then let the well fill back up with water.
Once the first scrub has been done and the well has filled, you need to drain and fill the well once or twice more. Many people suggested pouring a bottle of Javex into one of these refills - if you do decide to do that, then make sure you drain and fill the well at least once more to make sure that the bleach has worked its way out. Some well owners recommended running taps for a few hours afterwards as well, in order to both clear out the Javex as well as clean the pipes that lead into the house. Some also recommended dumping some Javex into the well at the end and leaving it in - but this is really up to you.
A second test is an important step, to make sure that the water is indeed cleaned and ready to drink, especially if the first test was questionable, or the well hasn't been cleaned or used in a while. Make sure to wait 48 hours after cleaning before you test, though!
It's a pretty straightforward process:
1. Test
2. Drain
3. Scrub
4. Rinse (and repeat as needed)
5. Test again!
If you use this guide to clean your well, or have a different method you would love to share, please feel free to contact me at sarah@heritagefoundation.ca, or by calling 1 (709) 739-1892 ext 5.
*After publishing this article, I was contacted by a couple people telling me that this process is called 'shock chlorination' or 'shocking a well' - a term that never came up in my interviews! However, once I knew the term I found some info on the internet, including a great guide found here. Thanks for the tips Andrea and Jane!
Friday, January 17, 2014
The Work and Mission of Folklorists: 4 rules for ICH Brokers and Mediators
I've been doing some research for an article on Intangible Cultural Heritage brokers, facilitators and mediators, which I'm writing for Marc Jacobs, the director of FARO in Flanders. My neighbour and colleague, Jillian Gould, recently leant me her copy of Public Folklore, and this morning, I was reading the chapter by Bess Lomax Hawes, the American folklorist, researcher and folk musician.
Here she is, hanging out with the Clintons in 1993, like you would, if you were a kick-ass and award-winning folklorist:
In the book, Hawes gives some advice to members of the American Folklore Society, the discipline of folklore, and every folklorist under the sun. But her advice is pretty applicable to any anyone in a research-based field.
Here are her rules* for being a good folklorist:
1. Don't get lazy.
2. Teach as much as you can when you can - broadcast.
3. Recognize that the job is as yet unfinished and likely never will be.
4. Get out there and do some good hard fieldwork. That is where all your best ideas and your most important knowledge are waiting for you. If you do your work well, folks will teach you back.
Now, let's get out there, and do some work!
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* taken from: Hawes, Bess Lomax. "Happy Birthday, Dear American Folklore Society: The Work and Mission of Folklorists" in "Public Folklore" edited by R. Baron and N. Spitzer. Washington: Smithsonian Institution P, 1992. p. 65-73.
Tuesday, January 14, 2014
Tuesday's Folklore Photo: Construction During Winter
Pictured above is the Port Union salt fish plant and retail store during construction. Though the photograph is undated, Edith Samson from the Sir William Coaker Foundation noted that the retail store (on the left) is shown here as a 4 story building indicating that this photo was taken at the time of the original construction project. In 1945 this building was rebuilt but only as a 3 story structure.
This photograph was donated to the Heritage Foundation of Newfoundland and Labrador and will be added to the Port Union collection on MUN's Digital Archives Initiative.
-Lisa
Wednesday, January 8, 2014
New one day workshop: How to create a GPS- triggered smartphone app
How to create a GPS- triggered smartphone app for walkers without having to be a technical genius. A 1-day WORKSHOP for heritage workers, community groups, oral historians, museum & tourism professionals, writers, artists, sound designers.
• Bring sounds, voices, memories, to the place where they happen • Take oral histories off the shelf and place them in a landscape. • Create location-based history, fiction, short stories, dramas. • Create a soundwalk in any location. • Place-based interpretation
Organizers Chris Brookes and Annie McEwan launched Inside/Outside Battery in October as a free smartphone app "walkers companion" to the Battery area of St. John's. You may have seen it on Here & Now, The Telegram or The Scope. Using GPS, it triggers sounds and stories as the walker passes different locations in the community. You can get an impression of how it works by watching a short video on our website: www.insideoutsidebattery.ca
One Day, One App: We can show you how to make this kind of app without being a computer wizard. You don't have to know html coding. You don't have to be techno-expert. We're not. We created Inside/Outside Battery using user-friendly web-based tools. We're offering a one-day weekend workshop that will guide you through the hands-on experience of making your own location-based app, using the methods we employed. You'll leave the workshop with a basic app that you've created yourself - something that you can continue to build and offer to your community. The heritage, tourism, and artistic uses of such an app are limited only by your imagination.
Workshop leaders: Independent radio producers Chris Brookes and Annie McEwen. Brookes' radio documentary features have won over forty international awards including the Peabody Award and the Prix Italia, and have been broadcast around the world. McEwen holds an MA in Folklore from Memorial University and has been working in the field of folklore and oral history for four years. Her work has aired on CBC Radio, PRX Remix, and Cowbird.com.
Date: Sunday, January 26th Time: 9am – 5pm Fee: $100 preregistration required (there are 8 spots available)
Location: 29 Outer Battery Road, St. John’s To register call Annie at 709-770-3201, or email annierosamcewen@gmail.com
Registration deadline January 22
• Bring sounds, voices, memories, to the place where they happen • Take oral histories off the shelf and place them in a landscape. • Create location-based history, fiction, short stories, dramas. • Create a soundwalk in any location. • Place-based interpretation
Organizers Chris Brookes and Annie McEwan launched Inside/Outside Battery in October as a free smartphone app "walkers companion" to the Battery area of St. John's. You may have seen it on Here & Now, The Telegram or The Scope. Using GPS, it triggers sounds and stories as the walker passes different locations in the community. You can get an impression of how it works by watching a short video on our website: www.insideoutsidebattery.ca
One Day, One App: We can show you how to make this kind of app without being a computer wizard. You don't have to know html coding. You don't have to be techno-expert. We're not. We created Inside/Outside Battery using user-friendly web-based tools. We're offering a one-day weekend workshop that will guide you through the hands-on experience of making your own location-based app, using the methods we employed. You'll leave the workshop with a basic app that you've created yourself - something that you can continue to build and offer to your community. The heritage, tourism, and artistic uses of such an app are limited only by your imagination.
Workshop leaders: Independent radio producers Chris Brookes and Annie McEwen. Brookes' radio documentary features have won over forty international awards including the Peabody Award and the Prix Italia, and have been broadcast around the world. McEwen holds an MA in Folklore from Memorial University and has been working in the field of folklore and oral history for four years. Her work has aired on CBC Radio, PRX Remix, and Cowbird.com.
Date: Sunday, January 26th Time: 9am – 5pm Fee: $100 preregistration required (there are 8 spots available)
Location: 29 Outer Battery Road, St. John’s To register call Annie at 709-770-3201, or email annierosamcewen@gmail.com
Registration deadline January 22
Tuesday, January 7, 2014
Tuesday's Folklore Photo: Burning the Clavie
Burning the Clavie is a Scottish fire festival observed on January 11th (the first day of the Julian Calender) at Burghead, a fishing village on the Moray Firth. The clavie is a peat and wood filled herring barrel which is set ablaze and carried on a pole though the village. The fiery procession is led by the Clavie King and his crew of about ten men, traditionally fishermen.
The burning clavie is paraded though the streets (sometimes on the back of the Clavie King!) and onlookers rush to grab the smoldering pieces, which are believed to bring good luck. The barrel eventually crumbles and the blazing embers are strewn over the summit of Doorie Hill before being shared among the townspeople.
Clergymen in the 18th century condemned this fire festival as "an abominable, heathenish practice" and tried to put a stop to it. This tradition used to be more widespread but now only survives in Burghead in the northeast of Scotland.
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"Clavie King Hopping About the Flames" Courtesy of: Yewtreenights.blogspot.com |
Clergymen in the 18th century condemned this fire festival as "an abominable, heathenish practice" and tried to put a stop to it. This tradition used to be more widespread but now only survives in Burghead in the northeast of Scotland.
Friday, January 3, 2014
Snowy Days Gone By: St. John's Winter Scenes
With a blizzard on the way and rolling blackouts effecting the province, I thought I'd share some pictures of past snowy days, when snow clearing was not what it is today. We'll get though this together, like we have so many times before. Just remember to shut off those Christmas lights, drive safe, stay warm, bring in your pets and hug your babies!
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Courtesy of: Memorial University's Digital Archives Initiative East End, St. John's. Temperance Street and Battery Road in winter. Print developed from glass negative in the Geography Department, Memorial University of Newfoundland Geography Collection, Historical Photographs of Newfoundland and Labrador. Original repository Memorial University of Newfoundland and Labrador Archives and Special Collections Division |
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Courtesy of: Memorial university's Digital Archives Initiative Winter, Waterford Bridge Road, ca. 1905 John Job Collection, Maritime History Archive |
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Courtesy of: Memorial University's Digital Archive Government House, St. John's. "New Willys Car". Car with chains on wheels, ready for winter. 1932 Print developed from glass negative in the Geography Department, Memorial University of Newfoundland Geography Collection, Historical Photographs of Newfoundland and Labrador. Original repository Memorial University of Newfoundland and Labrador Archives and Special Collections Division |
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Courtesy of: Memorial University's Digital Archives Initiative.
New Gower Street, St. John's. View looking east; snow covered street with horse and cart, ca. 1925
Print developed from glass negative in the Geography Department, Memorial University of Newfoundland Geography Collection, Historical Photographs of Newfoundland and Labrador. Original repository Memorial University of Newfoundland and Labrador Archives and Special Collections Division
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Tuesday, December 17, 2013
Tuesday's Folklore Photo: Did Labrador have the first Christmas tree in North America?
Larry Dohey, the local archivist who runs the fabulous Archival Moments blog, posted this photo today, from The Rooms Provincial Archives: VA 118-48.2: Grenfell Mission Staff Photograph Album, of a miniature Christmas tree.
Larry argues that while the oldest documented Christmas tree in North America is from 1781 in Sorel, Quebec, the Moravian settlements in Labrador date to 1771, and that they quite possibly had the tradition there first.
Read the full blog post here.
Thursday, December 12, 2013
What's happening Thursday-Saturday in Intangible Cultural Heritage
It is going to be a busy three days! Buckle up, fans of folklore!
Thursday, 12 December, 2013
12:30pm - Mummering Crosstalk on CBC Radio noon with folklorist Dale Jarvis with the Heritage Foundation of NL, and Dara Valelly, with the Armagh Rhymers. Listen online here or phone in with your memories of janneys, mummers, hobby horses, wren boys, and nalujuit!
2:30pm - Mumming in Northern Ireland: a documentary and talk with the Armagh Rhymers at The Rooms
8:00pm - Armagh Rhymers at the Inne of Olde, Quidi Vidi: an evening of traditional fireside entertainment with Northern Ireland's Armagh Rhymers. Come for a drink and a session of Irish songs, tunes and poetry. Facebook event listing. $10 at the door
Friday, 13 December, 2013
1:00pm - ICH Mini Forum, MMaP, Arts and Culture Centre: come see what work is happening in our community related to folklore, oral history, and intangible cultural heritage. Free, and open to the public, but you can RSVP and find more detail here.
7:00pm - Lighting of the Boats in Port de Grave: one of the province's new, brilliant Christmas traditions. Like them on Facebook!
Saturday, 14 December, 2013 - Mummers Parade!
1:00pm - Rig up at Bishop Feild School
2:00pm - Parade Starts
3:00pm - Scoff and Scuff outside The Rooms, with The Concert Crowd and the Armagh Rhymers!
Thursday, December 5, 2013
Eleven new inscriptions on the Representative List of the Intangible Heritage of Humanity
Baku, Azerbaijan, 05 December—The Intergovernmental Committee for the Safeguarding of Intangible Heritage, holding its 8th session until 7 December, today inscribed 11 elements on the Representative List of the Intangible Cultural Heritage of Humanity. This marks the end of this year’s inscriptions.
The Representative List of the Intangible Cultural Heritage of Humanity serves to raise awareness of intangible heritage and provide recognition to communities’ traditions and know-how that reflect their cultural diversity. The List does not attribute or recognize any standard of excellence or exclusivity.
The titles of the newly inscribed elements below (in chronological order of inscription) lead to web pages with information, pictures and videos:
Traditional craftsmanship of the Mongol Ger and its associated customs—Mongolia
The Mongol Ger is a round structure comprising walls, poles and a ceiling covered with canvas and felt, and tightened with ropes. It is light enough for nomads to carry; flexible enough to fold and pack; and sturdy enough to be dismantled and reassembled. Craftsmanship of the traditional Mongol Ger is a communal enterprise, with men carving the wood and both women and men engaged in painting, sewing and stitching, and felt-making. Traditional craftsmanship is taught through mentoring by a senior craftsperson.
Knowledge, skills and rituals related to the annual renewal of the Q’eswachaka bridge—Peru
The Q’eswachaka rope suspension bridge crosses a gorge of the Apurimac River in the southern Andes. Four Quechua-speaking peasant communities assemble annually to renew it, using traditional Inca techniques and materials. The three-day process involves repeatedly braiding straw into thick ropes, which are then woven together to form the bridge. The process structures the life of the participating communities, strengthens centuries-old bonds and reaffirms their cultural identity. When the bridge is finished, the communities hold a celebratory festival.
Kimjang, making and sharing kimchi in the Republic of Korea
Kimchi is a name for preserved vegetables seasoned with spices and fermented seafood, an essential part of Korean meals. Late autumn is Kimjang season, when communities collectively make and share large quantities of kimchi to ensure that every household has enough to sustain it through the winter. The custom emphasizes the importance of sharing and is a reminder of the need to live in harmony with nature. The collective practice of Kimjang reaffirms Korean identity and is an excellent opportunity for strengthening family cooperation.
Men’s group Colindat, Christmas-time ritual---Romania-Republic of Moldova
On Christmas Eve, groups of young men in villages throughout Romania and the Republic of Moldova go from house to house performing festive songs. The songs have an epic content, which is adapted to each host’s individual circumstances. The performers also sing special, auspicious songs for unmarried girls, to help them find a husband within the next year. After the performance, the hosts offer the singers ritual gifts and money. Colindat plays an important role in preserving social identity and cohesion.
Xooy, a divination ceremony among the Serer of Senegal
The Xooy is a traditional divination ceremony among the Serer community, organized prior to the rainy season. During this long nocturnal gathering, master seers known as Saltigues step into a circle and deliver predictions before a rapturous audience. The combination of their vibrant clothing, songs and dances creates a colourful, dramatic ceremony and the seers hold the audience in suspense until daybreak. The Saltigues are the living mediums of the Xooy and preserve and transmit the knowledge that is vital to the ceremony.
Music of Terchová—Slovakia
The village of Terchová in north-west Slovakia is renowned for its collective vocal and instrumental music, performed by three-, four- or five-member string ensembles with a small two-string bass or diatonic button accordion, combined with polyphonic singing and folk dances. Performances take place at anniversaries, festivals and, most importantly, the Jánošík’s Days International Festival. Transmitted orally, the traditional music culture is a matter of pride and a marker of identity among the inhabitants of Terchová and the surrounding areas.
Feast of the Holy Forty Martyrs in Štip—Former Yugoslav Republic of Macedonia
The Feast of the Holy Forty Martyrs is celebrated each 22 March to honour the martyrs of Sebaste and to mark the beginning of spring. Participants hike up the Isar hill, stopping at the church to pay tribute to the martyrs. This event requires the selfless cooperation of many people from all age groups, social classes and backgrounds, thus promoting and encouraging teamwork and solidarity. Grandparents, parents and children all hike together, while the climb also unites people from different ethnic groups and religions.
Turkish coffee culture and tradition—Turkey
Turkish coffee combines special preparation techniques with a rich communal traditional culture. It is mainly drunk in coffee-houses, where people meet to converse, share news and read books. The tradition itself is a symbol of hospitality, friendship, refinement and entertainment, permeating all walks of life. Turkish coffee also plays an important role on social occasions such as engagement ceremonies and holidays; its knowledge and rituals are transmitted in an informal way by family members through observation and participation.
Petrykivka decorative painting as a phenomenon of the Ukrainian ornamental folk art—Ukraine
The people of the village of Petrykivka decorate their living quarters, household belongings and musical instruments with a richly symbolic style of ornamental painting, characterized by fantastic flowers and other natural elements. In folk belief, the paintings protect people from sorrow and evil. Every family has at least one practitioner and the tradition is taught at all levels in the local schools, making Petrykivka painting an integral part of daily existence in the community.
La Parranda de San Pedro de Guarenas y Guatire—Venezuela (Bolivarian Republic of)
In the towns of Guarenas and Guatire, devotees celebrate the Day of San Pedro with a series of popular festivities and rituals. Venerated images of the saint, accompanied by flags, banners, musicians, dancers and troubadours, are paraded through the streets to re-enact the story of San Pedro’s healing of the daughter of a slave. Women decorate the churches, dress images of the saint and cook traditional dishes. Adults and children in the community all celebrate a vital tradition that symbolizes and reasserts the struggle against injustice and inequality.
Art of Đờn ca tài tử music and song in southern Viet Nam
Performed at festivals, death anniversary rituals and celebrations, Đờn ca tài tử is a musical art that evokes the people’s life and work on the land and rivers of southern Viet Nam. Instrumentalists and singers express their feelings by improvising, ornamenting and varying the ‘skeletal melody’ and main rhythmic patterns of these pieces, based on twenty principal songs and seventy-two classical songs. Đờn ca tài tử is handed down through oral transmission, based on imitation, from master to student.
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