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Monday, July 14, 1997

Finding Lisette's Grave


Yesterday we found Lisette’s grave. Helen Meredith had wanted to help me look from the beginning, and having a Montreal native along really smoothed the way. I had written to Mount Royal Cemetery before and gotten a location number, G-11, which as it turned out wasn’t much help. We went in to the office and asked for Elizabeth Harmon d. 1862 and Abby Maria Harmon d. 1904, and the woman at the desk went in the back and came back in five minutes with a Xerox of two index cards. Yes, she was there, all right, and so were Mary and Calvin and their son Andy and a few others as well. Calvin Ladd had purchased the plot, but didn’t appear to be buried there. She gave us a plot map of that section of the cemetery, marking it on the main map. So off we went to G-1, Lot number 11.

Helen had done this before with her friend Jill’s relatives, so she knew how hard it was going to be. And we walked all around the edges of the section, which joins G-2 with just a dotted line between them. We parked at the top of a long grassy strip and hunted for about 45 minutes with no success. I was sure by now that either the family had died too poor for a stone or that there was a flat marker that had been grassed over. Poor Lisette, buried in an unmarked grave.


I went back to the car to check the order people had been buried. The first was a little girl, aged 4, in 1854. Was this why Calvin had bought the plot? She would probably only have a tiny marker. Next was Mary, Calvin’s beloved wife, in September of 1861. Surely she would have a gravestone? He was a well-to-do blacksmith, and had had enough money and connections to petition the courts on Lisette’s behalf in the 1840s. Had he come down in the world in twenty years? Hardly, because his son was listed in the 1870s as buried here, “brought from New York.” If they had had money to transport a body, surely there would be a marker. And the last one in 1904, Abby Maria, her daughter a suicide by drowning? We could hardly expect much of a marker for her, even though I knew she’d been brought here from Hull for burial. Someone must have cared, but how much? We weren’t finding them. I lined up the north arrows on the two maps for about the fourth time and tried to see where we could be going wrong. Helen was by now convinced we were in the wrong section and was methodically quartering the neighboring areas.


“Let’s go back to the office before they close and get the names of the other plots around her,” I said. “At least that way we can narrow it down.” So back we tooled to the office, where she obligingly gave us the family names of every plot surrounding the Harmons/Ladds. This time we took a different route, and were certain we had found G-1. I determined to walk all the way around the section, looking for any name we’d now got. Helen worked across the road, finding some Hollands (one of the names we’d got) but not any other neighbors. Probably not the right Hollands, we agreed, and moved on.


The edges of the G-1 section were clearly mapped out, and it didn’t match the line of the road on the main map. Could the roads have changed? I found myself at the top of the grassy ride we’d parked at earlier. Was this a “road” on the map? It certainly fit the shape of the section better than the asphalt one. I decided to walk down its edge to hunt for names. Here was the convex, then the concave curve: and right where it was supposed to be was a large, sarcophagus-style monument sporting a turbaned wasp’s nest and the name Holland. There were Hollands to the right of the Harmon plot, all right. I looked to the left.


And glory be, there she was. “Yeeeeee-HOUP!” My whoop of triumph would have done justice to a canoe arrival, but probably shocked the cemetery. I was standing in front of a polished red granite marker “in memorial to Daniel Williams Harmon, died at Sault-au-Recollet, Que, ##, 1843, to his wife, Elizabeth Laval, ##, and to their daughter Abby Maria, d. ## 1904.”

Saturday, October 01, 1988

GOING UPRIVER: Interpretive Program Workshops

GOING UPRIVER included two workshops as part of the summer tour: "Citizen Action for River Conservation" and "Music and Folklore in Environmental Education." The first, developed and presented by Teresa Garen to resource professionals at Aullwood Audubon Center and Farm, Dayton, Ohio, was drawn from Eugster and Diamant's text of the same name. It included icebreakers (building a "river" of river-related words and images), a review of tools and techniques available to citizen activists, and a role-play "town meeting" developing a conservation plan for a hypothetical river. This admittedly simplistic example stimulated an excellent discussion, and facilitation of the workshop itself was a learning experience for a young professional.

WORKSHOP COMMENTS

Citizen Action for River Conservation: Aullwood Audubon Center, Dayton, Ohio, July 22, 1988

"Program was enjoyable. Solutions to Clearwater project were unrealistic: not showing economics and realistic demands detracts from the solution's credibility."
"River example used in presentation is very realistic -- i.e., canoeists, development, communities, etc. Need a little more time for presentation."
The second workshop was developed in 1987 (see "The CROSSCURRENTS Concert Series," page 18) for professionals in interpretation and education. This summer's presentation to the staff of Sault Ste. Marie Heritage Locks (Canadian Parks Service, Ontario) focused on the role of the storyteller/singer as steward and interpreter of cultural heritage. Participants chanted, drummed, sang, and acted out native folktales. The workshop concluded with a discussion of cultural heritage resources (primarily music and folktales) and of the legal considerations (copyright, etc.) involved in the use of recorded music and folklore in National Parks and sites.
WORKSHOP COMMENTS: Music and Folklore in Environmental Education

Citizen Action for River Conservation: Sault Ste. Marie Heritage Locks, Ontario, August 10, 1988

I enjoyed the part about the singing of "Hey Hey Watenay" (Indian chant). It was lots of fun and I think you're doing a great job. Keep it up."
"The workshop was incredibly inspiring. It showed what could be done to greatly improve interpretive programs with the little talent (musical or otherwise) that the average summer interpreter has. What struck me most is that even one song or story will create a lasting memory for a child or adult, whereas a lecture rarely does this. I hope to see the program back at the Sault Canal next summer."
"Lynn's presentations were inspiring and educational. I particularly liked the participatory nature of both the public performances and the interpretive workshops."
-- Sally Gibson, Visitor Services Co-ordinator, Sault Ste. Marie Heritage Locks
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LEFT: A member of the "planning board" presents their recommendations for management of the Clearwater River at the "Citizen Action for River Conservation" workshop in Dayton.
PHOTO: Lynn Noel

GOING UPRIVER: Background

GOING UPRIVER animated a touring exhibit for the Canadian Heritage Rivers System in the summer of 1988 with special interpretive programs presented at parks, historic sites, museums, and other venues. Bilingual (English/French) programs included CROSSCURRENTS, a series of illustrated concerts based on regional Great Lakes/St. Lawrence river themes, and WATERWATCH, a young audiences' program on stream ecology, as well as two training workshops.

The goal of this unique international co-operative effort was the promotion of awareness and stewardship of North America's river heritage, by sharing the social, cultural, and historical value of rivers as expressed in music, literature, folklore, and visual images.

Project staff traveled up the St. Lawrence from "Saint Croix to Saint Croix" (Saint Croix River, New Brunswick/Maine, to Lower St. Croix River, Wisconsin/Minnesota), crossing the U.S./Canadian border six times, to present a total of 77 public programs and eleven exhibit displays at 26 program sites. This report highlights the summer tour, describes and evaluates programs, and offers some reflections on the meaning of the journey.

GOING UPRIVER was bound together by several underlying themes and symbols:
  • • the geographical fact of the Great Lakes
  • • water transportation as a symbol of regional trade, natural resources and communication
  • • the confluence of individual lives into the river of history, as expressed in the stream of culture that is folklore
  • • the essence of rivers and of music: stillness in motion
  • • the spirit of the voyageur: adventure, wilderness, exploration and freedom in the path of the paddle
  • • heritage conservation as the nexus of natural and cultural landscapes in the uniqueness of place.

It was a remarkable project for several reasons: its international, transboundary scope; the collaboration of Federal and nonprofit organizations, supported by a coalition of public and private agencies; its use of music and folklore to communicate heritage values; and finally, the way in which the literal journey became an example of regional unity. Such a project can serve as a model for international, interagency co-operation, and catalyze exchange of ideas and technical expertise in education for river conservation.

GOING UPRIVER was sponsored by the Atlantic Center for the Environment, a division of the Quebec-Labrador Foundation. The Atlantic Center for the Environment promotes environmental understanding and encourages public involvement in resolving resource issues in Atlantic Canada, eastern Quebec and northern New England: the Atlantic Region. This interregional exchange and education project is a centerpiece of the Atlantic Center's new rivers initative.
Support for GOING UPRIVER was provided by The George Gund and William H. Donner foundations; the Canadian Heritage Rivers System; the U.S. National Park Service; and program sites.

For more information on this and other Atlantic Center programs, please contact:


QLF/Atlantic Center for the Environment
39 South Main Street
Ipswich, MA 01938-2321
(508) 356-0038