{"id":417,"date":"2016-11-15T10:51:07","date_gmt":"2016-11-15T15:51:07","guid":{"rendered":"http:\/\/imagesdanslapierre.mcq.org\/kejimkujik\/"},"modified":"2021-02-09T15:02:26","modified_gmt":"2021-02-09T20:02:26","slug":"kejimkujik","status":"publish","type":"page","link":"https:\/\/imagesdanslapierre.mcq.org\/en\/explore\/kejimkujik\/","title":{"rendered":"Kejimkujik"},"content":{"rendered":"
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Kejimkujik National Park and National Historic Site is located in southwestern Nova Scotia. More than 500 petroglyphs have been found on four different sites around Kejimkujik Lake and George Lake. These carvings created on slate mainly document Mi\u2019gmaq lifestyle between the 17th and 19th centuries. Kejimkujik is situated on the traditional territory of this Indigenous nation.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Environment & History<\/h2>\n

The Bountiful Forest<\/h4>\n

The environment of Kejimkujik unfolds into a multitude of lakes and rivers that wind their way around rolling hills. The area is covered by the Acadian forest interspersed with wetlands: bogs and floodplains. The lush mixed-wood forest is comprised of softwood species, including Eastern hemlock, red spruce and Eastern white pine and hardwood species, including red maple, sugar maple, beech and yellow birch. The wide variety of plant life consists of many fern species such as cinnamon fern, orchids called common lady’s-slippers, and water plants such as fragrant water-lilies. Wildlife is thriving with white-tailed deer, beaver, porcupine, black bear, coyote and three bat species. Some 200 species of birds have been recorded in the park, including common loon, barred owl, Canada warbler and grey jay. This area is also home to a variety of amphibians, reptiles and fish. The exceptionally rich biodiversity of the area and adjoining sectors also includes several threatened species, such as water pennywort, Blanding’s turtle and chimney swift. Owing to its wealth of natural heritage, this part of Nova Scotia was designated Southwest Nova Biosphere Reserve by UNESCO in 2001. The climate is continental, with small variations between summer and winter temperatures due to the influence of the Atlantic Ocean. In summer, the average temperature is 18\u02daC, while in winter, temperatures are around -5\u02daC. Annual average precipitation of rain and snow ranges from 1200 mm to 1400 mm.<\/p>\n

The climate is continental, with small variations between summer and winter temperatures due to the influence of the Atlantic Ocean. In summer, the average temperature is 18\u02daC, while in winter, temperatures are around -5\u02daC. Annual average precipitation of rain and snow ranges from 1200 mm to 1400 mm.<\/p>\n

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An Ambiguous Place Name<\/h4>\n

The exact meaning of this Mi\u2019gmaq place name is ambiguous. The name of Kejimkujik Lake was translated by Reverend Silas Rand in the 19th century as \u201cswelled parts.\u201d Historical novelist Thomas Raddall suggested the translation \u201cthe stricture passage,\u201d referring to the lake outlet where the waters swelled because of stone fish weirs built to catch fish.<\/p>\n

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KEJIMKIJUK<\/dt>\n
According to some Mi\u2019gmaq, including medicine man Jerry Lonecloud, the name Kejimkujik refers to men\u2019s \u201cchapped and swollen testicles\u201d due to strenuous paddling needed to cross this vast lake. From yet another source, this lake was known as Fairy Lake in the 19th century. One of the petroglyph sites is located in Fairy Bay. Based on some Mi\u2019gmaq oral stories, fairies are short beings endowed with supernatural powers who live in the rocks near water. They are said to be the creators of the rock carvings.<\/dd>\n
Kejimkujik, an Ancestral Mi’gmaq Site<\/span><\/dd>\n<\/dl>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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The Kejimkujik rock art sites are linked to the Mi’gmaq. They are hunter-fisher-gatherers of the Algonquian language family. Their traditional territories span the Maritime Provinces and the Gasp\u00e9 Peninsula. Kejimkujik is a cultural landscape of considerable importance for the Mi’gmaq, because their ancestors have lived, hunted and fished on this land since time immemorial. The long-standing significance and use of the land by the Mi\u2019gmaq is documented through oral tradition and the countless archeological sites identified: campsites, fish weirs and burial sites. Traditional hunting grounds and ancestral trails, both on land and water, allowed them to travel the land.<\/p>\n<\/div>\n

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Kejimkujik, as Told by Mi’gmaq Guide Donna Morris<\/h2>\n

A Site of National Historic Significance<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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The Dream of the White Robe and the Floating Island<\/h2>\n

[This account of the coming of the white man, revealed to a young woman in a dream, was related to Silas Rand by Josiah Jeremy, a Mi’gmaq, Sept. 26,1869. It is taken from Legends of the Micmacs, by Silas Tertius Rand, edited by Helen L. Webster, New York and London, 1893].<\/p>\n

When there were no people in this country but Indians, and before any others were known, a young woman had a singular dream. She dreamed that a small island came floating in towards the land, with tall trees on it, and living beings, – among whom was a man dressed in rabbit-skin garments. The next day she related her dream, and sought for an interpretation. It was the custom in those days, when any one had a remarkable dream, to consult the wise men, and especially the magicians and soothsayers. These pondered over the girl\u2019s dream, but could make nothing of it.<\/p>\n

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The Meeting of Indigenous and European Cultures<\/h2>\n

The Mi’gmaq have been in contact with Europeans \u2013 Portuguese, French, and then English \u2013 since the 16th century. Their relationships marked by trading and cultural mixing exposed the Mi’gmaq to new philosophical and religious ideas, new techniques and material goods, but also to foreign diseases. The Kejimkujik petroglyphs are historical reminders of the encounter between the Mi’gmaq and Europeans, such as the French who established Port-Royal (the capital of Acadia in the 17th century, now known as Annapolis Royal). Among the depictions of the traditional Mi’gmaq way of life are animals, hunting and fishing scenes, canoes, clothing items, traditional designs and figures from oral stories. Numerous representations of Europeans and their ships and weapons were also found at the site. The carvings can be dated back to the 18th and 19th centuries. However, some of them may have been created by Europeans who had been coming to the region to hunt, fish and harvest wood since the 17th century.<\/p>\n<\/div>\n<\/div>\n<\/figcaption><\/figure>\n<\/div>\n

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Donna Morris on the Banks of Kejimkujik Lake<\/h2>\n

Carvings Revealed by Water<\/p>\n<\/div>\n<\/div>\n<\/figcaption><\/figure>\n<\/div>\n

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As if by Magic<\/h2>\n

The Kejimkujik petroglyphs carved in fine lines on slate tend to fade over time and become very hard for the naked eye to see. However, park guides can \u201cmagically\u201d bring them back to life simply by splashing water over them.<\/p>\n<\/div>\n

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A Place and Its Gamut of Stories<\/h2>\n
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Brian Molyneaux and Kejimkujik Rock Art<\/h4>\n

This heritage site is constantly exposed to changing climatic conditions. Preventative conservation studies are carried out on a regular basis to better preserve it. Through careful and systematic observation of the rock, minor cleaning work can be carried out on the painted surfaces to remove lichen growth. These measures have been implemented to protect the site from any natural or human disturbance.<\/p>\n

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<\/i>EXPLORE THE AUDIO COMPLEMENT<\/p>\n

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00:00<\/em>\/03:56<\/strong><\/div>\n<\/div>\n

Brian Molyneaux is an archaeologist (anthropologist) at the University of South Dakota, United States. He is an expert in prehistoric art and society and human use of the landscape. In his comments, he highlights that several carvings at Kejimkujik date back to the post-contact period and bear witness to the encounter between Indigenous and European cultures. Many of these rock art representations speak clearly of the sharing of cultures: European ships, firearms, Mi\u2019gmaq women\u2019s and men\u2019s clothing made with European fabrics, and visual reminders of Mi\u2019gmaq embracing Christianity.<\/span><\/p>\n<\/div>\n

VIEW TRANSCRIPT<\/div>\n
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Mowiomi<\/h4>\n

This image of complex curvilinear motifs found at the Fairy Bay site, on the shores of Kejimkujik Lake, has been interpreted as being a Mowiomi, a traditional summer gathering. These five carved motifs may represent members of the Wabanaki Confederacy. The Confederacy included Mi’gmaq, Wolastoqiyik (Maliseet), Peskotomuhkati (Passamaquoddy), Waban-Aki (Abenaki) and Penawapskewi (Penobscot). It was created in the 17th century. Its members were involved in wars against the Haudenosaunee (Iroquois) and raids during the American Revolution in the 18th century. Today, the Confederacy also includes the M\u00e9tis Nation. This photograph shows some double-curve motifs that are widely used by northeastern Algonquian-speaking peoples. Two women\u2019s peaked caps are also engraved on the upper right side of the rock.<\/p>\n<\/figcaption><\/figure>\n

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Snakes and Sailing Vessels<\/h4>\n

Images of watercrafts abound at Kejimkijik, whether traditional birchbark canoes or European vessels. The number of European sailing vessels depicted reveals their importance to the Mi’gmaq people and the newcomers. They are actually more represented than canoes. As highly skilled sailors, the Mi’gmaq could easily manoeuvre these boats. Their prowess on water was well known in the 17th and 18th centuries. They were tough adversaries in naval battles against the British.<\/p>\n

Due to their importance, European sailing vessels became part of the Mi’gmaq’s set of traditional beliefs. At this George Lake site, a schooner and a snake were engraved in a similar crosshatching style suggesting the work of a single author. Many other images at Kejimkujik feature the same theme of snake and boat. Snakes were often linked to the underwater world; those who ventured onto the water were aware of the power and dangers associated with these ominous beings. Despite European presence and the spread of Christianity, the Mi’gmaq people have preserved the link with their ancestral heritage.<\/p>\n<\/figcaption><\/figure>\n

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Sailing Vessel and Men in Military Uniform<\/h4>\n

These representations, located at the Peter Point site on Kejimkujik Lake, likely date to the period of British colonial rule (end of the 18th and beginning of 19th centuries). The scene features a sailing vessel and two Mi’gmaq men wearing tricorne (triangular) hats, with their brim turned up and decorated with feathers. One man is wearing a tailcoat and carrying a cutlass, a type of sabre popular among sailors.<\/p>\n<\/figcaption><\/figure>\n

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Peaked Cap Worn by Mi’gmaq Women<\/h4>\n

Mi\u2019gmaq attire is often included in representations of human figures. Some clothing items are also depicted separately, like this woman\u2019s peaked cap.<\/p>\n

These caps, worn in the 18th and 19th centuries, indicated the social status of individuals. Their origin is uncertain. Perhaps they existed prior to European contact or French or Basque hats inspired their design. New materials introduced after European contact, such as wool and cotton, were used to make these caps, while decorations of glass beads and silk ribbons were added to recreate traditional geometric motifs.<\/p>\n

This image of a woman\u2019s peaked cap, located at the Fairy Bay site, is among some sixty similar representations incised on the shores of Kejimkujik Lake. The size of these representations varies generally between two centimetres and about half a metre. This is the largest one in the Park. It features the double-curve motif. Numerous lines form the feather or evergreen twig decorating the central part of the cap. This representation associated with women was very likely engraved by a woman.<\/p>\n<\/figcaption><\/figure>\n

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Human Figure<\/h4>\n

This human figure engraved on the rocks at Fairy Bay has a somewhat mysterious appearance. This individual has been described as a medicine man in the past, although it may be a woman wearing a traditional dress and a top hat decorated with motifs and feathers.<\/p>\n<\/figcaption><\/figure>\n

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Date, Writing and a Pipe-Smoking Figure<\/h4>\n

These petroglyphs are located at Fairy Bay, within Kejimkujik Lake. Some of these carvings date back as far as 1708; however, the year 1877 seems to bear a particular significance. This date is reproduced sixteen times at Fairy Bay on sites with hunting scenes, sailing vessels, names or footprints. Sometimes, it is found alone. Mi\u2019gmaq writing was developed from mnemonic characters and pictographs used by medicine men who would draw them on birch bark or animal skins. It was expanded and widely used by missionaries to teach the new Christian faith. This writing system is known as komkwejwika’sikl, or \u201csturgeon writing\u201d, because the characters look like the traces left by sturgeons in the mud. At Kejimkijik, both Mi\u2019gmaq and English inscriptions are found on rock art sites. Most often, they are the names of either Indigenous or Euro-Canadian individuals. Featured in this image, the name \u201cJim\u201d is also carved at a few other sites across Fairy Bay. \u201cJim\u201d is most likely the person smoking the clay pipe, which became widely used after European contact.<\/p>\n<\/figcaption><\/figure>\n

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The Crosses<\/h4>\n

The adoption of the new Catholic faith by the Mi\u2019gmaq is also represented on the rocks at Fairy Bay featuring depictions of crosses, altars and churches. The cross has a deeper significance for the Mi\u2019gmaq people, and its symbolic use predates the arrival of Europeans. In the seventeenth century, French missionary LeClercq related that the cross was used as an emblem by the Mi\u2019gmaq of Miramichi (New Brunswick). This symbol was found on clothes, wigwams and snowshoes. Crosses were erected during councils or placed in canoes on journeys. They were also used to mark places favourable for hunting and fishing. Today, the flag of the Mi\u2019gmaq Grand Council includes a cross symbolizing the Christian faith as well as the four cardinal directions that are sacred to many Indigenous peoples across North America.<\/p>\n<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n

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Technique and Conservation<\/h2>\n
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A Talk on Conservation at Kejimkujik<\/h4>\n

Recording and Archiving a Fragile Heritage<\/p>\n

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<\/i>EXPLORE THE AUDIO COMPLEMENT<\/p>\n

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00:00<\/em>\/03:56<\/strong><\/div>\n<\/div>\n

In this recording, Brian Molyneaux tells us about his research in Kejimkujik. He also describes the techniques he used to record a fragile heritage.<\/span><\/p>\n<\/div>\n

AFFICHER LA TRANSCRIPTION<\/div>\n<\/div>\n<\/div>\n
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A Talk on Conservation at Kejimkujik<\/h2>\n

Recording and Archiving a Fragile Heritage<\/p>\n<\/figcaption><\/figure>\n<\/div>\n

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Colleen Day’s Conservation Instruments<\/h4>\n
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MYLAR FILM TRACING OF ONE OF THE KEJIMKUJIK PETROGLYPHS<\/h5>\n

Direct tracings of petroglyphs were done in 1988 and 1989 on a durable, transparent plastic sheet commonly known as “Mylar film.”<\/p>\n<\/figcaption><\/figure>\n

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SILICONE MOULDS<\/h5>\n

Sometimes, tracing petroglyphs involves making a decision: is a line part of the image or a natural feature of the rock? To record the images and avoid uncertainty, white silicone moulds of images were made in 1992 and 1993. Silicone moulds create a direct copy of the rock surface. This silicone mould and the associated painted cast preserve the image of a porpoise hunt.<\/p>\n<\/figcaption><\/figure>\n

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SILICONE CASTINGS<\/h5>\n

The moulds are used to create silicone casts that are then painted to reproduce the rock surface and better enhance the faint lines. Guides at Kejimkujik Park use these casts to show the faint petroglyphs to the public. This painted cast with two canoes corresponds to those drawn on Mylar film.<\/p>\n<\/figcaption><\/figure>\n

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COPPER PLATE WITH A PETROGLYPH<\/h5>\n

Silicon moulds shrink over time and they are negative images (reversed) of the petroglyphs. To create permanent records of the images and positive images of the petroglyphs (same as on the rock surface), copper plates were created from the moulds. These plates are archived. This is a copper plate of the faint image of the two canoes.<\/p>\n<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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The Legacy of George Creed<\/h2>\n

A few carvings on the shores of Kejimkujik Lake were identified in 1873 by Joseph More, who reported them in his book History of Queens County. More\u2019s brief descriptions and a keen interest in Mi\u2019gmaq culture inspired George Creed (1829-1899), a postmaster living in South Rawdon. Creed decided to visit the site and draft the first detailed records of the carvings along the shores of Kejimkujik Lake and McGowan Lake (a lake east of the National Park). He completed his work in 1887-1888.<\/p>\n

Creed used a special method by tracing the outline of the petroglyphs with an aniline pencil and pressing moist paper against them. Moisture helped transfer the pencil ink onto the paper. This technique created a mirror \u2013 or inverted \u2013 image of the carvings. Creed was the first to document rock art in Nova Scotia. Compelled by his desire to preserve those fragile depictions from harsh weather conditions and vandalism, Creed created a work of legacy. The McGowan Lake carvings are now under water due to a hydroelectric dam built in the 1940s. Creed\u2019s invaluable tracings are kept at the Nova Scotia Museum.<\/p>\n

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GEORGE CREED, 1888.<\/h3>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Kejimkujik National Park and National Historic Site is located in southwestern Nova Scotia. More than 500 petroglyphs have been found on four different sites around Kejimkujik Lake and George Lake. These carvings created on slate mainly document Mi\u2019gmaq lifestyle between the 17th and 19th centuries. Kejimkujik is situated on the traditional territory of this Indigenous … Continue reading Kejimkujik<\/span><\/a><\/p>\n","protected":false},"author":5,"featured_media":0,"parent":431,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-kejimkujik.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-417","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nKejimkujik - Images on Stone<\/title>\n<meta name=\"description\" content=\"The meeting of cultures and carved images at Kejimkujik, in Nova Scotia\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/imagesdanslapierre.mcq.org\/en\/explore\/kejimkujik\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kejimkujik |\u00a0Images on Stone\" \/>\n<meta property=\"og:description\" content=\"Kejimkujik National Park and National Historic Site is located in southwestern Nova Scotia. More than 500 petroglyphs have been found on four different sites around Kejimkujik Lake and George Lake. These carvings created on slate mainly document Mi\u2019kmaq lifestyle between the 17th and 19th centuries. 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More than 500 petroglyphs have been found on four different sites around Kejimkujik Lake and George Lake. These carvings created on slate mainly document Mi\u2019kmaq lifestyle between the 17th and 19th centuries. Kejimkujik is situated on the traditional territory of this Indigenous nation.","og_url":"https:\/\/imagesdanslapierre.mcq.org\/en\/explore\/kejimkujik\/","og_site_name":"MCQ","article_publisher":"https:\/\/facebook.com\/mcqorg","article_modified_time":"2021-02-09T20:02:26+00:00","og_image":[{"url":"https:\/\/imagesdanslapierre.mcq.org\/wp-content\/uploads\/2019\/01\/kejimkujik.jpg","type":"","width":"","height":""}],"twitter_card":"summary_large_image","twitter_title":"Kejimkujik |\u00a0Images on Stone","twitter_description":"Kejimkujik National Park and National Historic Site is located in southwestern Nova Scotia. More than 500 petroglyphs have been found on four different sites around Kejimkujik Lake and George Lake. These carvings created on slate mainly document Mi\u2019kmaq lifestyle between the 17th and 19th centuries. Kejimkujik is situated on the traditional territory of this Indigenous nation.","twitter_image":"https:\/\/imagesdanslapierre.mcq.org\/wp-content\/uploads\/2019\/01\/kejimkujik.jpg","twitter_site":"@mcqorg","twitter_misc":{"Est. reading time":"13 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/imagesdanslapierre.mcq.org\/en\/explore\/kejimkujik\/","url":"https:\/\/imagesdanslapierre.mcq.org\/en\/explore\/kejimkujik\/","name":"Kejimkujik - Images on Stone","isPartOf":{"@id":"https:\/\/imagesdanslapierre.mcq.org\/#website"},"datePublished":"2016-11-15T15:51:07+00:00","dateModified":"2021-02-09T20:02:26+00:00","description":"The meeting of cultures and carved images at Kejimkujik, in Nova Scotia","breadcrumb":{"@id":"https:\/\/imagesdanslapierre.mcq.org\/en\/explore\/kejimkujik\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/imagesdanslapierre.mcq.org\/en\/explore\/kejimkujik\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/imagesdanslapierre.mcq.org\/en\/explore\/kejimkujik\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/imagesdanslapierre.mcq.org\/en\/"},{"@type":"ListItem","position":2,"name":"Explore","item":"https:\/\/imagesdanslapierre.mcq.org\/en\/explore\/"},{"@type":"ListItem","position":3,"name":"Kejimkujik"}]},{"@type":"WebSite","@id":"https:\/\/imagesdanslapierre.mcq.org\/#website","url":"https:\/\/imagesdanslapierre.mcq.org\/","name":"MCQ","description":"Des images dans la pierre, Mus\u00e9e de la civilisation","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/imagesdanslapierre.mcq.org\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/imagesdanslapierre.mcq.org\/en\/wp-json\/wp\/v2\/pages\/417","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imagesdanslapierre.mcq.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/imagesdanslapierre.mcq.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/imagesdanslapierre.mcq.org\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/imagesdanslapierre.mcq.org\/en\/wp-json\/wp\/v2\/comments?post=417"}],"version-history":[{"count":6,"href":"https:\/\/imagesdanslapierre.mcq.org\/en\/wp-json\/wp\/v2\/pages\/417\/revisions"}],"predecessor-version":[{"id":2131,"href":"https:\/\/imagesdanslapierre.mcq.org\/en\/wp-json\/wp\/v2\/pages\/417\/revisions\/2131"}],"up":[{"embeddable":true,"href":"https:\/\/imagesdanslapierre.mcq.org\/en\/wp-json\/wp\/v2\/pages\/431"}],"wp:attachment":[{"href":"https:\/\/imagesdanslapierre.mcq.org\/en\/wp-json\/wp\/v2\/media?parent=417"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}