Meredith Leonard

aMUSE: Fashion pop-up exhibit held in November 2013 at Mahtay Café and Lounge in downtown St. Catharines.
Since 2012 the St. Catherines Museum & Welland Canals Centre has engaged in pop-up style programing as a vehicle through which to reach out to an under-served population in our community – millennials[1]
While doing quite well with tourists, older adults and young families, has difficulty attracting and engaging new generations of visitors and supporters. This challenge isn’t unique to the St. Catherines Museum or even museums in Canada – in the United States, studies by the National Endowment for the Arts identified young adult audiences as being regularly under-served by traditional museums. Many museums around the world have been working to address this problem by developing specialized programming aimed at engaging younger audiences.[2]
Staff at the St. Catharines Museum grappled with our own unique set of challenges in creating programming for millennial audiences. The physical location of the Museum is a major challenge; located beyond the City’s core and not accessible via public transit, getting young adults out to the site can be difficult – especially when many are unaware that a museum even exists in the City. In order to raise our profile, dispel the perception of the “dusty, old, irrelevant museum” and reach new audiences, museum staff concluded we would have to take the Museum and its collection into the community.
Inspired by pop-up shops, flash mobs, music festivals and other social museum experiences, such as Friday Night Live at the ROM and the Nature Nocturne at the Canadian Museum of Nature, the St. Catharines Museum set out to inject the community with artifacts and stories through aMUSE, our curated “pop-up museum experience”. Continue reading





More surprising is the way a second newly erected monument, located across the lawn from the Garden (and in the shadow of the War Museum), that also remembers blacks who died in the camps contradicts the Garden’s focus on national unity and nation building, at least if the nation being referred to is South Africa and not the Afrikaner nation.
I don’t think anyone is going to claim that Neil Young is a philosopher. If he himself is to be believed, his turn to prose as a medium of expression is the result of dope. Or, more exactly, his decision to quit smoking dope which has, he says, had an effect on his ability to write music. And, like many aging — or, at times not aging — pop music icons, his subject is himself. Young’s Waging Heavy Peace (2012) came to me as a gift bought because it was so widely acclaimed. In short, if Young had turned to prose as a way to replace music, his transition had been successful. What interests me about the book, however, is not its snappy title, Canadian content (and Young is all about Canada), or the supposed insight into the rock-folk/country world he crafted over the span of fifty years. What interested me was how Young remembers the 1960s, what he does with those memories and what they might tell us about how the hippie generation has located itself in time. The text is, after all, subtitled “A Hippie Dream.” What was that dream about? And, where did it lead? 
If there is anything more boring than the history of Canadian tariffs, I would chew my own leg off in an attempt to escape from it. Yet from Confederation to the National Policy to Prairie populism to the Maritimes Rights movement to the Auto Pact to NAFTA and the Trans-Pacific Partnership, fights over tariffs have been at the centre of Canadian politics and economics. Is there a way to help students appreciate this part of Canadian history?