Trip to Another World – Digitalising and Decolonising Thomas Drummond’s ‘Musci Americani’.

Written by Su Liu, BA English Language and Literature student at the University of Sheffield, formerly summer intern (2023) at Amgueddfa Genedlaethol Caerdydd – National Museum Cardiff.

Thomas Drummond, a Scottish naturalist, witnessed the tragedy of his accompanying Native American family – the Iroquois hunters had just lost their beloved and a newborn in the severe winter of Saskatchewan, Canada. Yet their journey had to be continued to collect the 286 specimens in Drummond’s Musci Americani, one of the richest collections of North American mosses.

‘…the whole of the continent of North America has not been known to possess so many Mosses as Mr. Drummond has detected in this single journey.’ – Sir William J. Hooker (1830)

Above is a real event in Drummond’s Sketch of a Journey to the Rocky Mountains and to the Columbia River in North America, which records his excursions during Franklin’s second land expedition. It has been adapted into an interactive digital narrative, Snow, Bonfires and Mosses, in which the reader engages with a combination of novel, visualisations, sound effects and choice-making. Choice-making allows the reader to experience different narratives and explore possibilities amid ambiguities in history.

This browser game is accessible on most devices and comes with an ‘encyclopaedia’ that includes a selection of Drummond’s moss specimens and external links to the biographies of all historical characters.

Figure 1. Representation of Sphagnum acutifolium (image courtesy of Amgueddfa Cymru) in the ‘encyclopaedia’ of the narrative, read on a mobile device. ©Su Liu

Lost stories of a distant adventure and forgotten collectors

The story of Drummond’s adventure began in Saskatchewan, 1825, where he parted ways with Franklin’s party and was joined by Iroquois hunters employed by Hudson’s Bay Company, a dominant fur trading company at the time. Their journey near the Rocky Mountains was an underdeveloped version of Man vs. Wild, surrounded by hunger, blizzards, wildlife, and humans – conflict between different tribes continued regardless of the Europeans’ intrusion.

Drummond made excursions whenever he had the opportunity, followed by sleepless nights when he had to treat his specimens before the fur brigade departed. At times, he failed to follow the fur brigade’s pace and consequently much of his work was lost or destroyed. By the time he was brought back to reality from work, he realised that he had been left ‘alone with the Indians’.

Figure 2. In-game concept art of a common vasculum, where Drummond stored flora before drying them at night. ‘When the boats stopped to breakfast, I immediately went on shore with my vasculum, […] which operation generally occupied me till daybreak, when the boats started. I then went on board and slept till the breakfast hour’ – Thomas Drummond, 1830. ©Su Liu

In contrast with Drummond’s objectives, the emphasis of the expeditions had been more on the exploitation of new trading routes. The capitalist powers were eager to establish colonial influence in North America and appeared to have taken local labour for granted, so the natives were not having a great time either. Drummond sometimes found the ‘fickleness’ in them hard to deal with but nevertheless depended on their work.

My colleague and BA history student Harry Pointon has pointed out the conventionalised indifference towards local hunters in the early 19^th century, whose contributions are acknowledged in Drummond’s Sketch due to the complexity of his journey, as the natives play essential roles in the naturalist’s survival and are experienced guides to the flora in their natural habitat. With that in mind, my digitalisation of the exsiccatae (numbered collections of dried herbarium specimens with a common theme or title) goes in tandem with decolonising the history of the participants, especially the Native Americans.

Behind the scenes of Snow, Bonfires and Mosses

I had a blast writing, drawing and programming to make historical science approachable without being a bore, especially for slightly older children. It was hard to imagine myself working on two-hundred-year-old mosses as an English student, but I was beyond excited to see moss specimens in a great variety of sizes and colours. With the help of the Biodiversity Heritage Library (BHL) and my supervisors, I was able to put together a full timeline of events without much barrier to scientific knowledge.

Figure 3. My presentation on the workflow and preview of results, July 2023. ©Su Liu

The historical accounts were quite a fun read. Early modern science writing (approximately from the 17^th century onwards) consisting of all sorts of information, from each step of the experiments (even if it results in failure) to personal remarks from the researchers. Unlike contemporary science writing which aims to be brief and impersonal, these accounts are vividly descriptive, and they highlight the presence of all participants: naturalists, hunters and fur traders. Drummond’s Sketch is an excellent resource that conveys his passion for botany and has proven itself practical in helping me construct my storytelling of the specimens. It is also proof of Native American involvement in naturalist excursions.

Apart from the emphasis on Drummond’s excursions and specimens, the narrative also presents parts of Native American culture throughout the characters’ dialogues. Iroquois people, for example, tend to have a strong belief in astrology and female leadership. This will hopefully create a fuller image of the Indigenous collectors, their lives, and the ways they were treated by the Europeans.

As a literature student, my understanding of decolonising history is the liberation of artefacts from hidden archives and unravelling the stories of neglected participants in the most accurate detail as possible. Drummond’s Sketch is perhaps a fortunate case for decolonising the archive, considering the common lack of credit for Native Americans. It is encouraging to see readers entertained and captivated by the story, and hopefully this has been an inspiring attempt at digitalising and decolonising museum archives for educational purposes.

Figure 4. In-game illustration of Iroquois characters as a tribute to the agency of neglected Indigenous collectors. ©Su Liu

Further reading

My project was supported by the Transforming and Activating Places (TAP) programme at the University of Sheffield. My colleague Harry Pointon, who worked on the same topic, has written a blog post about the programme and the interdisciplinary aspect of his work as an arts and humanities student: https://tuostap.blogspot.com/2023/10/knowledge-exchange-has-no-boundaries.html

Divorced or Separated? Naming the Specimens on Display at the Zoologisches and Palaontologisches Museum, Zurich.

Written by Richard Crawford, who has just completed a PhD thesis at the University of the Arts London, entitled ‘Re-presenting taxidermy, Contemporary Art interventions in Natural History Museums’.

Do people read labels in museums? If they do, what do they learn about the object on view? It has been the custom to use labels to give factual names to the things on display in scientific museum displays, but Art curators have taken a different approach and put titles to works that suggest a particular reading of the artwork. These may be suggested by the artist. A good example of this style of labelling is Damien Hirst’s ‘Mother and Child divided’, an artwork that used preserved specimens.

For this work, Damien Hirst famously sawed a cow and a calf in half and exhibited the separate halves in tanks filled with formaldehyde, which he placed apart with sufficient space for a viewer to walk between the two halves of each animal carcass so that they could observe the internal organs of both cow and calf. When it was exhibited at the Tate Gallery in 1995, it helped win him the Turner Prize. The title was ironic. Hirst’s work critiques romantic depictions of the animal as part of harmonious natural order, a place in which mothers protect and nurture their young according to supposedly universal maternal instincts. In place of natural harmony, he presented the viewer with the disjuncture and division brought about by human intervention that brought early death to these two animals, destined for the meat market.

NatSCA Digital Digest – April 2024

Compiled by Milo Phillips, Digitisation Co-ordinator at the Royal Botanic Garden Edinburgh

Welcome to the April edition of NatSCA Digital Digest.

A monthly blog series featuring the latest on where to go, what to see and do in the natural history sector including jobs, exhibitions, conferences, and training opportunities. We are keen to hear from you if you have any top tips and recommendations for our next Digest, please drop an email to blog@natsca.org.

Sector News

NatSCA Annual Conference & AGM 2024

Not long now until the 2024 Annual Conference & AGM of the Natural Sciences Collections Association. Trials and Triumphs: sharing practice across the museum sector will be held next week, Thursday 18th and Friday 19th April 2024, in the Oxford University Museum of Natural History. This practical conference aims to celebrate triumphs and amplify successes in museums, but also highlights pitfalls and lessons learned from situations that didn’t go as planned. 

Find more information, and the programme of talks and events on the event page here.

The Unnatural History Museum

The Unnatural History Museum series of talks brings together museum professionals, creatives and academics across disciplines to platform vital conversations about the museum mediation of the natural world during the sixth mass extinction.

The series unfolds over a series of themed Zoom sessions featuring short presentations, followed by a roundtable discussion. The third session, on “Deep Time”, will feature papers from and discussion with Diana Marsh (University of Maryland), Richard Fallon (Natural History Museum, London), and Shana van Hauwermeiren (Workshop Intangible Heritage).

The talk will be later this month, on Wednesday 24th April at 5pm Irish Standard Time.

Registration is free and more information can be found on the Eventbrite page here.

The Institute of Biology of the National Autonomous University of Mexico Celebrates its 95th Anniversary

Written by Fernando A. Cervantes and Yolanda Hortelano-Moncada, National Mammal Collection, National Biodiversity Pavilion. Institute of Biology, UNAM. Mexico City, Mexico.

The Instituto de Biología (IB) will celebrate its 95th anniversary on November 9, 2024 and is a dependency of the Universidad Nacional Autónoma de México (UNAM) (Fig. 1). This date coincides with the same time that the Mexican government granted “autonomy” to the then National University of Mexico.  

Fig. 1. Central buildings of the Institute of Biology, National Autonomous University of Mexico, Mexico City (Photograph: Institute of Biology, UNAM).

The central buildings of the IB are located in the south of Mexico City, in the area known as Pedregal de San Ángel, which is characterized by a rocky substrate of volcanic origin. Currently, a large part of the IB campus is an ecological reserve that protects the flora, fauna, and fungus of the natural ecosystem of the area, which corresponds to xerophytic scrub (Fig. 2). 

Fig. 2. Xerophytic scrubland growing on volcanic rock in the Ecological Reserve of Pedregal de San Ángel, where the Institute of Biology, UNAM, is located in Ciudad Universitaria, Mexico City (Photograph: Dirección General de Comunicación Social, UNAM).

Taxidermy and the Country House: Where Natural History Meets Social History – a review

Written by Jack Ashby, Assistant Director of the University Museum of Zoology, Cambridge.

Pat Morris is the authority on the history of British taxidermy, and there is arguably no-one better to write an exploration of the specific context of taxidermy collected for and displayed in private country houses. Although their materiality is identical, by their nature, these collections are often conceptually very different – the antithesis, even – to those in public museum. These differences are not the focus of the book, nonetheless this perspective offers great potential to help us consider more roundly the story of taxidermy and those that made and collected it.

The similarities museum and country house collections do share include their origin-stories, and of course the practicalities of preserving specimens. Like museums, these private collections trace their histories back to cabinets of curiosities. Preservability was fundamental to what could be kept, and Morris begins by explaining that early cabinets of curiosities in country houses were mainly items that required no preservation – dry materials like shells and bone. The only skins that were widely kept were those that could be simply dried without being prone to insect attack, which is why durable specimens like taxidermy crocodiles, hollowed-out armadillos and inflated pufferfish were commonplace in these early collections, rather than the birds and mammals which later became the norm.