For the summer months, we are thrilled to present a series of blog posts by Collections Intern Rebeka Beganova. Rebeka (she/her) is a post-secondary student with a passion for research, literature, and history. Having completed an Associate of Arts Degree at Okanagan College, she is glad to be joining the MAV team during her last summer in Vernon before heading off to UBC Vancouver. There is no better way to say goodbye to her hometown than to explore its local history!

A young woman wearing a necklace of bear claws and a traditional Indigenous outfit is staring away from the camera.
E. Pauline Johnson, photographed ca. 1895. Image courtesy of Wikimedia Commons (Public Domain).

“Unforeseen audacities”

In April of 1899, a shining star passed through Vernon that turned many curious heads. Emily Pauline Johnson, Indigenous poet and reciter, came to town for a week of performance and thrilling sensation. Her appearances quickly became the center of local attention. Johnson was indeed already a figure of well-known talent. Her stay in Vernon earned her a spotlight in the papers and praise from an audience self-reportedly “not the easiest persons in the world to please.” Her likeableness stemmed – for this city’s folk – from her eloquence, captivation, humour, and humility. In one sitting, she could put her audience in stitches, then minutes later mesmerize them with heart-stopping lyrics.

Her popularity may be surprising to us now, knowing what we do about the social dynamics in 1899. We may wonder what it was like for Johnson, as an Indigenous woman, to stand alone before an overwhelmingly white audience holding, at best, thinly-veiled racist attitudes. Reports about Johnson bear the mark of white bias; her style is described as “full of unforeseen audacities” and at the same time, “a lofty strain of the purest patriotism.” Especially compared to Johnson’s own self-image, these interpretations call into question whether the audience, who so adored E. Pauline Johnson, really understood her messages at all.

Tekahionwake

Johnson was half Indigenous and half English. Her father, G.H.M. Johnson, was Chief of the Mohawk Tribe, part of the Iroquois Six Nations. Her mother, Emily S. Howell, hailed from Bristol. Much of Pauline Johnson’s writing centered around her Indigenous background and emphasized the relationship – the violence and disrespect – spearheaded by white settlers toward her people. She went by her Mohawk name, Tekahionwake, just as her father had his: Onwanonsyshon.

Her pride in her Indigenous identity further muddles Vernon’s reaction to her performances. It is hard to imagine the population of 1899 welcoming with open arms a public figure that challenged so many of their social, political, and religious convictions. Much of her poetry was not subtle, either. “A Cry from an Indian Wife,” for example, concludes with the lines: “By right, by birth we Indians own these lands, / Though starved, crushed, plundered, lies our nation low. / Perhaps the white man’s God has willed it so.” Her meaning is unmistakable.

Message not received

The prolific poet passed away in Vancouver in 1913 after battling cancer. News of her death reached Vernon to much despair and grief. An article was published in the Vernon News detailing her passing, an article that spanned two entire page-long columns. The account included a short description of her early life as well as her accomplishments as an artist. It was undeniably a heart-felt tribute.

It is left for us to ponder, then, the paradox of E. Pauline Johnson’s impact and the simultaneous persistence of unchecked anti-Indigenous racism in Vernon. Her words pierced so deeply, yet her message was somehow lost in translation – ignored, as is very likely the case. Johnson’s denunciation of colonialism must be remembered now, even if it was not then. The introduction to her book, The Shagganappi, quotes of her: “Never let anyone call me a white woman. There are those who think they pay me a compliment in saying that I am just like a white woman. My aim, my joy, my pride is to sing the glories of my own people.”

 

To explore more of Vernon’s history, check out our other blog posts!

Rebeka Beganova, Collections Intern

 

 

 

A black-and-white photos of a group of men leaning against, or standing between, two ladders.
Japanese orchard labourers circa 1943 in Vernon. Makoto Kawamoto, standing in the between the two ladders, willingly took up work in a Vernon Orchard after being forcibly removed from the “protected zone” to Lillooet, B.C. He and his family later moved to Vernon and became champions of Japanese culture and tradition.

Asian History Month

May is Asian History Month in Canada, and this year’s theme is “Stories of Determination,” in acknowledgement of the challenges overcome by Asian communities in Canada over the last two centuries. One local community who exemplifies this story of triumph-over-adversity is Vernon’s Japanese-Canadian population.

An online exhibit from the University of Victoria’s Centre for Asia-Pacific Initiatives, titled “Landscapes of Injustice,” starkly reveals the role Vernon played during the dispossession of Japanese Canadians as part of their forced displacement and internment in the 1940s.

World War Two

In 1942, following the attack on Pearl Harbour, the Federal Government called for the removal of Japanese Canadian men between the ages of 18 to 45 from a “protected zone” along the B.C. coast. A few months later, this order was expanded to include all Japanese men, women, and children living within this zone, despite the fact that over 75% of them were Canadian-born or naturalized citizens.

After first being sent to makeshift holding centres in Vancouver’s Hastings Park (where the celebrated PNE is now held), most were sent to internment camps in B.C.’s Interior. The men were often separated from their wives and children in these camps, and forced to complete roadwork and other physical labour.

Forced relocation

Vernon was not the site of an internment camp during the Second World War, unlike the First World War, which saw 1100 individuals of mostly Austro-Hungarian and German descent interned on the site of what is now MacDonald Park. However, hundreds of Japanese Canadians were forcibly uprooted to Vernon during this time, in part due to the fact that the Okanagan Security Committee was pushing for the use of interned Japanese as involuntary orchard labourers.

Edith Nishikawa came to Canada as a young child with her parents Usaburo and Tora, and later became a naturalized citizen. At the age of 17, while attending high school in Vancouver, she was forcibly uprooted, along with Usaboro and Tora, and sent to Vernon.

Born in Canada in 1921, 21-year-old Suyeo Kawamoto was sent to Vernon in 1943; his removal occurred despite evidence that he was not living within the “protected zone,” since he was working as a farmer in Maple Ridge.

Japanese national Chikao Yamamoto, born in 1888, was working for the B.C. Fir and Cedar Company in Vancouver when he, his wife Etsu, and children Masao (11), Kazuko (9) and Tsugiwo (7), were sent to Vernon in 1942; in 1946, a year after the war ended, they were exiled to Japan.

Stories of Determination 

Unfortunately, these are just a few stories among many. But despite this opposition, many Japanese Canadians, both those who were forcibly removed to Vernon and those who moved here willingly over the years, were determined to carve a space for themselves, and contributed to the forming of a rich local Japanese community.

To celebrate Asian History Month, the Vernon Museum is hosting a special exhibit. Learn about the richness and diversity of Asian Canadian heritage in the Okanagan. Chinese, Filipino, Japanese, and South Asian cultures will be represented in this exhibition. Interpretative panels and tri-folds explore each community as unique and integral parts of Okanagan culture. Traditional clothing and cultural objects, both part of Vernon Museum’s collection, and on loan from Okanagan residents, will be on display as well. 

 

To explore more of Vernon’s history, check out our other blog posts

Gwyneth Evans, Head of Archives

 

 

 

 

A black and white image of a float moving through Vernon's main street. The float is decorated with union jacks and chinese regalia and several women and girls in traditional dress are seated on the back.
The Chinese community’s float during the 1937 Coronation Parade in Vernon.

King Charles’ Grandfather

Before yesterday, the last time a king was crowned was May 12, 1937, when George VI and his wife Elizabeth ascended to the throne of the United Kingdom and the Dominions of the British Commonwealth. In Vernon, as was the case across the Commonwealth, the day was met with much pomp and circumstance, with festivities taking place from noon until the wee hours of the following morning.

An estimated 3,000 people thronged downtown for the occasion. Businesses were decorated with flags, bunting, and other special coronation decorations, set off nicely by large displays of spring flowers. The chief feature of the day was a parade through Vernon’s main streets, which was under the supervision and direction of celebrated teacher H. K. Beairsto.

Parade

The parade formed up on 27th Street, and then was lead by Chief of Police R. N. Clerke, mounted and in uniform, down 30th Avenue. The contingent eventually made their way to Polson Park, where a program began with the unfurling of the Union Jack by a group of boy scouts. The crowd was then welcomed by Mayor E. W. Prowse, saying “I have no doubt that when you saw the glorious sunshine early this morning your hearts swelled in thankfulness.”

In between recitations of the National Anthem, hymns, and prayers, the Japanese community set off a series of daylight fireworks, the first of which was a large Union Jack. A gun salute was also performed by the B.C. Dragoons under the watchful eye of Captain J. Stamer.

Multiculturalism 

A new May Queen was crowned (Marion Baverstock) and a number of young ladies entertained the crown with maypole dances. Members of the Ukrainian community also performed a series of dances. The program ended with sporting events, including races for children of various ages. These children had travelled from several neighbouring communities and after this busy and exciting day, were served dinner by the Vernon Women’s Institute and the Scottish’ Daughters League.

One other cultural group who made a strong appearance during the Coronation Day festivities was the local Chinese community. While it is unknown whether or not this community felt a particular connection to the new monarchs, they were certainly proud to represent their culture with perhaps the most ornate float of the day, upon which sat a number of young girls and women dressed in traditional regalia. 

May is Asian History Month, and to celebrate the occasion, the Vernon Museum is hosting a special exhibit. Learn about the richness and diversity of Asian Canadian heritage in the Okanagan. Chinese, Filipino, Japanese, and South Asian cultures will be represented in this exhibition. Interpretative panels and tri-folds explore each community as unique and integral parts of Okanagan culture. Traditional clothing and cultural objects, both part of Vernon Museum’s collection, and on loan from Okanagan residents, will be on display as well.

Amazingly, we actually have footage from the 1937 coronation day festivities! This footage was digitized by one of our wonderful volunteers, Francois Arseneault. Content warning: At timestamp 1:53, this footage shows a group of Indigenous children in the parade, likely residential school students. The school is not identified. Some may find this triggering. 

To explore more of Vernon’s history, check out our other blog posts

Gwyneth Evans, Head of Archives

 

 

 

 

Two black and white images. One shows a classroom with five girls seated at desks working on artwork. Artwork is also hung up on the walls. The other photo shows Miss Jessie Topham Brown. She has white hair and glass with thick black frames and she is wearing a striped collar shirt with pearls.
An undated photo of a class at Miss Jessie’s art studio; (inset) a portrait of Miss Jessie in the 1970s.

International Women’s Day

March 8 was International Women’s Day. One woman who had a particularly important influence on the local art scene was Miss Jessie Topham Brown.

Miss Jessie immigrated to Canada from England in 1909, and later arrived in Vernon in 1916. She began working at the St. Michael’s Boarding School for Girls, located on East Hill, as a cook, coach, and art teacher. After World War One, she started teaching at the Vernon Preparatory School, and in the summers, offered art classes for both children and adults from a camp on Okanagan Lake near the Killiney Wharf.

Summer Art Camps

Those who attended these camps would pack out their supplies on horseback, and spend several days sleeping beneath the stars and painting during waking hours. The groups would sometimes venture to other locations, including the Mara and Shuswap Lakes, to capture different landscapes.

Described as a “paragon of the arts,” Miss Jessie had been exposed to creative pursuits since childhood, having spent three years at the Slade School of Art at University College, and although she did not paint much herself, loved cultivating the talents of others.

Art Studio and Art Gallery

Miss Jessie later opened her own studio on 32nd Street, which she then moved to the former Post Office building at 30th Avenue and 30th Street. Besides drawing and painting, she also taught pottery, weaving and silk screening until her retirement in 1967. Many of Miss Jessie’s former students went on to be accomplished artists, one of whom was Joan Heriot, good friend to fellow artist Sveva Caetani.

Miss Jessie was also integral in creating a facility to house a permanent collection of local artwork. The Topham Brown Public Art Gallery was originally located in the top floor of the Vernon Museum (now used as a storage space for artifacts); it later moved to its current location at 3228 31st Avenue, around the same time as its name was changed to the Vernon Public Art Gallery. To honour Miss Jessie’s contribution, the main gallery at the VPAG continues to be known as the Topham Brown Memorial Gallery.

In 1971, “in recognition of her service, contribution, influence and encouragement in the field of the arts to all residents,” Miss Jessie was granted Freedom of the City. She passed away a few years later, in 1974, at the age of 92.

 

To explore more of Vernon’s history, check out our other blog posts

Gwyneth Evans, Head of Archives

 

 

 

 

A group of young women in dresses, a blue-and-white jester, and three young pages seated on chairs beneath blue banners with large white snowflakes.
The Vernon Winter Carnival’s proclamation of Queen Silver Star XIV in 1974. Retiring Queen Karen Collingwood is seated in the middle with incoming Queen Charlotte Thompson standing beside her. Candidate Darlene Wright is wearing the green dress and the tiara she donated to the Vernon Museum.
A pyramidal-shaped tiara displayed on white tissue paper.
A tiara recently donated to the Vernon Museum which was worn by contestant Darlene Wright in 1973/’74.

Queen Silver Star Excellence Program

Today is the last day of this year’s Vernon Winter Carnival and it is therefore fitting to discuss a new donation to the Vernon Museum’s collection: the tiara of a former candidate in the Queen Silver Star Excellence Program. Thank you to Darlene Wright for sharing the following story.

When Darlene was 17 years old, she was approached by the Kinsmen Club of Vernon who asked her to compete as their contestant in the 1974 Queen Silver Star season. She agreed right away, since many of her friends were also competing. Her father had been a Karnival Kop, and was exited for her to participate.

A photo of Darlene Wright in the 1974 Winter Carnival souvenir brochure.

Glitz and Glam

Darlene’s work as a contestant started in the fall of 1973, and one of her first events was a fashion show. She recalled being glammed up with big hair and fancy clothing, which she found very exciting. She wore the tiara in question to a number of events, including a “meet the contestants” night.

Overall, Darlene enjoyed participating in the program, but found some elements challenging, such as learning to give speeches in front of large crowds. She was not bothered, however, when she did not win, and the title of Queen Silver Star XIV instead went to Charlotte Tompson Robb. Charlotte was crowned on February 1, 1974, at an Ice Palace in the Civic Complex.

The Vernon Museum’s Tiara Collection

Darlene passed the tiara along to her own daughter to use for dress-up before she donated it to the museum. Although she now lives in Victoria, she stays up-to-date with the goings-on of the Vernon Winter Carnival from afar.  The museum has several crowns and tiaras that belonged to other past program participants in their collection, including that worn by Queen Silver Star I Rhondda Oliver Briggs, each with its own distinct story.

 

To explore more of Vernon’s history, check out our other blog posts

Gwyneth Evans, Head of Archives

 

 

 

 

Two photos. On the left is a black and white image of a woman who is a member of the Kalamalka Weavers and Spinners working on a loom. The right photo is a closeup of blue and yellow textiles.
(Left) Sandra Jung, a member of the Kalamalka Weavers and Spinners Guild, in 1991; (Right) Examples of the guild’s textile creations for sale at Artsolutely. Courtesy Facebook.

An Ancient Craft

One local organization that is keeping an ancient tradition alive is the Kalamalka Weavers and Spinners.

The guild was formed in Vernon in 1972 with the goal of promoting weaving and spinning, crafts which are acknowledged as among the oldest in the world. They can be traced back to the Neolithic Period, when plant fibers where twisted together to create string. This progressed to the use of stones and sticks to wind the twine, and then to the first spindles roughly 7000 years ago.  

Branching off

While the Kalamalka Weavers and Spinners mainly focus on fiber creations, including those produced through knitting, crocheting, dying, and felting, in the 1970s some members were also avid basket weavers.

The baskets were made from locally-harvested ponderosa pine needles that were bunched together and held together with raffia from Madagascar. One former president of the guild, Bea Sworder, described basketry as “one of nature’s gifts to mankind.”

The members of the guild who took up this craft were modeling their creations off of the traditions of Indigenous communities in B.C., who created—and continue to create—baskets using a variety of natural materials, including pine needles, birch bark, and cedar roots.

In fact, it was a Secwepemc Elder, Dr. Mary Thomas, who first taught the group how to basket weave in the mid-1970s. Thomas was a celebrated ethnobotanist, and an advocate for the protection and promotion of Indigenous language, culture, and traditions. She hosted several workshops for the guild, and was selfless in her willingness to share the teachings of her own Elders.

Passion, success, and Artsolutely

The more recent history of the Kalamalka Weavers and Spinners is one of ongoing passion and success. In September of this year, a team from the guild placed second at the Sheep to Shawl competition of the Salmon Arm Fall Fair, and they are aiming for first place in next year’s event. You can find some of their beautiful creations, alongside those of other talented local artisans, at the Vernon Community Art Centre’s Artsolutely. You can also keep up with the activities of the group on Facebook

 

To explore more of Vernon’s history, check out our other blog posts

Gwyneth Evans, Research and Communications Coordinator

 

 

 

 

Two women seated smiling at the camera. The woman on the white is wearing a white shirt and a pink coverall dress. Next to here is a woman in a white dress with blue and green flowers on it.
Joan Heriot (right) with friend Sveva Caetani circa 1990.

Canada History Week

Nov. 20 to 26 is Canada History Week, and this year’s theme is Arts, Culture, and Creators.

Although the name of her close friend, Sveva Caetani, might be more well-known, Joan Heriot was also a talented artist whose gift to Vernon was a series of beautiful creations.

Joan Heriot was born in Vernon on January 7, 1911, and lived with her parents Allan and Jessie in Coldstream. Allan worked as an entomologist, but both he and Jessie were also amateur artists. Joan was fascinated with her father’s work, and decided to pursue her own career as an entomologist when she was only six-years-old.

Entomologist by trade, artist by passion

Joan went on to complete a science degree at UBC, but was told she would never find employment as a female entomologist in Canada, and so departed for England. She completed a Master’s degree at the University of Liverpool, and then taught as a lecturer at the Brighton Technical College for around 30 years.

After her retirement in 1966, Joan returned to Coldstream. With a renewed reminder of the beauty of the Okanagan’s scenery, Joan decided she wanted to start painting again, a hobby she had not indulged since her childhood. She tracked down her former art teacher, Miss Topham Brown, who was then in her nineties, and took a series of art classes with her, but it was in working with pastels that Joan found her calling.

She went on to create a series of beautiful pastel landscapes, and was particularly fascinated with trying to capture light and form. Her artwork was in high-demand, and although she did not paint on commission, she did have a waiting list of people to whom she would offer her new creations.

A Lasting Legacy

 

Joan Heriot’s circa 1930 watercolour depiction of Miss Topham Brown’s drawing camp near Killiney Beach on Okanagan Lake.

Joan was also an active community member and supporter of several local organizations, including the

Allan Brooks Nature Centre

and the North Okanagan Naturalists Club. She maintained an interest in biology, geology and archeology throughout her life, and was always ready for an adventure; when she was in her 70s, Joan went white-water rafting for the first time. 

Joan passed away on July 29, 2012, but her legacy lives on. The Joan Heriot Studio at the Caetani Centre and the Joan Heriot Centre for Environmental Studies at the Mackie Lake House serve as reminders of her dedication to both organizations. The Vernon Public Art Gallery has exhibited her artwork on several occasions, and a series of her personal records are held at the Vernon Archives. A tree was also planted in her memory at the Bishop Wild Bird Sanctuary.

 

To explore more of Vernon’s history, check out our other blog posts

Gwyneth Evans, Research and Communications Coordinator

 

 

 

 

 

A view down a street over the rooftops of houses. A green hillside is visible in the background. A double rainbow is also visible, with the bottom one being much stronger and the top one quite faint.
View of a double rainbow over the rooftops of Vernon’s Foothills development in 2014. Photo by F. Arseneault.

LGBTQ+ History Month

October is LGBTQ+ History Month in Canada, the United States, and Australia. Meanwhile, one local organization that fought against discrimination of the 2SLGBTQIA+ community members was the North Okanagan Gay and Lesbian Organization (NOGLO).

Socializing without fear

NOGLO was founded by Arne Kirkeby and his partner Chris, who arrived in Vernon in the 1990s. They wanted to become part of a community, and so through word-of-mouth organized a dance with other LGBTQ+ couples. The event provided a place for Vernonites to socialize without fear and was a major success, with around 300 attendees. More events would follow in the coming years.

In 2013, NOLGO embarked on a number of projects to raise funds for community events, including a garage sale and the production of a business directory. These projects helped support events like a Halloween Howl later that year, hosted in memory of Chris and other NOGLO members who had passed away. Prizes were offered for the most creative individual and group costumes.

YouthGlo

Brian Webb, a former North Okanagan resident and board member of NOGLO, received the People Choice’s award in the 2012 competition of Mr. Gay Canada. Webb also served as a peer counsellor at YouthGlo, an organization dedicated to helping LGBTQ+ youth in the North Okanagan. In 2013, he founded HomoCulture, a leading online resource that attempts to increase awareness of the interests and values of the LGBTQ+ community across North America.

As for NOGLO, the organization later disbanded, but others have emerged to fill its void, including the Vernon Pride Community who worked tirelessly to host their first Pride event earlier this year. Two former NOGLO members, Dawn Tucker and Susan Armstrong, alongside Madeline Terbasket, will present how the lived experiences of the historically underrepresented 2SLGBTQIA+ community can have more Pride in Place in local museums, archives and other cultural institutions at the Vernon Museum on October 13. Click here to learn more. 

 

To explore more of Vernon’s history, check out our other blog posts

Gwyneth Evans, Research and Communications Coordinator

 

 

 

 

Do you have memories of winter carnivals past?

The Vernon Winter Carnival logo. The word Vernon is written in a straight font while Winter Carnival is written in cursive. To the left of the words are two baby blue snowflakes.

Vernon Winter Carnival will be creating a series of videos – engaging local residents to tell their stories of past Vernon Winter Carnivals – allowing us to share knowledge and past experiences to future generations, thereby engaging seniors in the community through the mentoring of others. The videos will be edited and shared with the community through social media and possibly featured in schools and at an event during Vernon Winter Carnival 2023. This project is funded through the Government of Canada – New Horizons Seniors Program.

The video interviews will be conducted in mid-late August with a focus on three main questions:
  1. Tell us your memories of Vernon Winter Carnival…
  2. How has VWC impacted our community
  3. What would you like to share to our future generations about the importance of community events like Vernon Winter Carnival?
Residents wishing to be interviewed should meet the following requirements:
  • Over the age of 60
  • Lived in Vernon for at least 10 years
  • Must sign a media release allowing VWC to use their interview and image for promotional purposes
  • Must be available in August to be interviewed
  • Must have a strong, positive, connection to Vernon Winter Carnival and the Vernon Community
If you or someone you know might be interested in participating contact the Winter Carnival Society today by emailing INFO@VERNONWINTERCARNIVAL.COM or calling 250-545-2236.​

In the meantime, take a trip back in past to the 1964 Vernon Winter Carnival. 

First Stop: Winter Carnival Parade

We’re not sure what those Vikings from the Revelstoke float are doing would go over very well today, that spider float is a bit horrifying, and at least one small child is not impressed! Nonetheless, it’s a charming and entertaining journey back to a parade of the past.

Next Stop: Silver Star Mountain

This appears to be a slalom competition. We’re fairly certain those were the alpine downhill skis of the day, but it looks like people are competing downhill on Nordic cross-country skis — and admirably so! 

 

Happy Father’s day!

An Indigenous man wearing a blue ball cap is looking off to the left. He is wearing a black shirt and camouflage jacket. The background shows a wintery landscape.
Frank Marchand. Photo by Athena Bonneau, courtesy of https://thediscourse.ca/okanagan/frank-marchand-okanagan-changemaker.

Traditional and contemporary Indigenous culture emphasizes the importance of learning from one’s elders and passing along knowledge to younger generations. Frank Marchand, a member of the Okanagan Indian Band, epitomizes this cultural value in both the relationship he shared with his father and Elders, and in the role he has played as an educator to dozens of local students.

From Father to son

Frank Marchand’s late father, Gordon Marchand, was a Master Carver, a practice and designation he passed along to his son. Now, Frank has followed in Gordon’s footsteps in emphasizing the importance of dugout canoes and traditional waterways to the syilx and secwepemc people through public education.

A large trunk of a tree which is half-carved into a rounded, dugout shape. The legs of two people standing nearby are also visible, as well as a red chain saw. Wood chips cover the floor, but the far background shows that it is a winter's day.
A photo of the in-progress canoe constructed by Frank and students from SD22 in 2022. 

CANOE CULTURE REVITALIZED

In 2020, Frank and his apprentice William Poitras spent the summer working with youth from the Westbank First Nation. Together, the group took 21-days to construct a dugout canoe, which was inaugurated at a blessing ceremony at kłlilx’w (Spotted Lake), located near Osoyoos. Frank also worked with students in Kamloops’ School District 73 to create three other canoes.

That same year, Frank was nominated as a community changemaker, one of several individuals identified by IndigiNews as having a positive impact on his or her community.

Now, in 2022, Frank has spent several months working with students from Vernon’s Alternate Learning Program, Open Door Education Center, and Kal Secondary School to create another dugout canoe which will be unveiled at a ceremony at Canoe Beach. The canoe will then be on display at the Vernon Museum for summer 2022. 

In addition to revitalizing canoe culture across the Valley, Frank is also a member of the Okanagan Nation Response Team, a group of community members with extensive training in suicide education, community mobilization, and critical incident response.

FOOTAGE OF FRANK AND STUDENTS WORKING ON A CANOE IN 2018

To explore more of Vernon’s history, check out our other blog posts

Gwyneth Evans, Research and Communications Coordinator