{"id":30956,"date":"2025-01-16T12:08:00","date_gmt":"2025-01-16T12:08:00","guid":{"rendered":"https:\/\/peraltafinancing.com\/american-history\/the-business-of-buttons-developing-interpretive-programs-at-the-pembina-state-museum\/"},"modified":"2025-01-16T12:08:00","modified_gmt":"2025-01-16T12:08:00","slug":"the-business-of-buttons-developing-interpretive-programs-at-the-pembina-state-museum","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=30956","title":{"rendered":"The Business of Buttons: Developing Interpretive Programs at the Pembina State Museum"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p>While researching fur trade material culture to develop new programming and interpretation for the <a href=\"https:\/\/www.history.nd.gov\/historicsites\/pembina\" target=\"_blank\">Pembina State Museum<\/a>, I occasionally latch on to smaller details. The past few weeks I\u2019ve been focused on the history of buttons, something most of us rarely think about. But during the 17th and 18th centuries, buttons were big business. Buttons feature prominently in collections from fur trading sites, including at Pembina. Buttons are part of our \u201cRed River Rendezvous\u201d program and will also be showcased in a gallery interactive currently in development.<\/p>\n<p>My fascination with buttons as fur trade material culture comes from my personal experience wearing historical garments at reenactments. Today, if a shirt loses a button, we may choose to get rid of it rather than fix it. Sewing buttons isn\u2019t as common as it once was. At reenactments and living history events, I and many of my colleagues have found buttons to be an omnipresent concern. I have lost at least one button from a coat or trousers at every event I\u2019ve attended. Most reenactors will say the same. Given this frequency, I have learned how to quickly reattach a button between public demonstrations. I rarely read in journals from fur traders or frontier soldiers about losing or sewing buttons, but my experience with historical garments makes me think that it was so commonplace as to not be considered worth mentioning.<\/p>\n<p class=\"nbp\"><img decoding=\"async\" src=\"https:\/\/blog.statemuseum.nd.gov\/sites\/default\/files\/pictures\/2025-01-06-Hardy-BlogImage1-web.jpg\" width=\"100%\" alt=\"Many artifacts including buttons, pottery, etc. sit on a tan cloth in a tray\"\/><\/p>\n<p style=\"font-size:12px;margin-top:0px;padding:5px 10px;\"><em><strong>Artifacts, including dozens of buttons, collected from the Fort Pembina trading post site.<\/strong><\/em><\/p>\n<p>The history of buttons and button manufacturing speaks to their importance. In England, where most of the fur trade buttons for the Pembina region were made, laws were passed in 1699 and 1721 to protect the domestic button industry. Many of the firms listed on fur trade receipts were founded in the 18th century. Several new developments in button manufacturing were also made at the same time. Stamped two-piece buttons and brass gilding were both developed in the mid-18th century. Hundreds of millions of buttons were made every year in the manufacturing centers of England, France, and Italy. The Hudson\u2019s Bay Company and the North West Company each ordered tens of thousands of buttons to be shipped to North America and sold to Indigenous customers. In Europe, buttons were practical fasteners of garments. However, for the Indigenous consumer, buttons were adornments for traditional garments meant to enhance the prestige of the wearer.<\/p>\n<p class=\"nbp\"><img decoding=\"async\" src=\"https:\/\/blog.statemuseum.nd.gov\/sites\/default\/files\/pictures\/2025-01-06-Hardy-BlogImage2-web.jpg\" width=\"100%\" alt=\"Portrait painting of Tchon-su-mons-ka by George Catlin. She has very long dark hair, dark skin, and is wearing a dress with many embellishments on the top\"\/><\/p>\n<p style=\"font-size:12px;margin-top:0px;padding:5px 10px;\"><em><strong>In this 1832 painting by George Catlin, Tch\u00f3n-su-m\u00f3ns-ka, Lakota wife of fur trader Fran\u00e7ois Chardon, wears a shawl festooned with brass gilt buttons. Smithsonian American Art Museum<\/strong><\/em><\/p>\n<p>The value of buttons as trade goods lasted from the 17th through the early 20th century. The \u201cRed River Rendezvous\u201d program interprets the value of different trade goods through the lenses of various local groups and their specific needs during the early fur trade period at Pembina. The new interactive elements that I\u2019m working on for visitors in the museum gallery interprets value based on historical costs. The interactive will consist of a scale. On one side visitors can place weights representing beaver furs or pemmican and on the other side weights representing a variety of purchased trade goods. Guests can press a button to see whether their trade is \u201cbalanced.\u201d If it isn\u2019t, the scale will tip, dumping the weights back into containers.<\/p>\n<p>By determining the historical prices of items found mostly in fur trade ledgers and journals, the value can be translated into weight as a proportion of their monetary value, with the value of one beaver fur or pemmican pack set at 1 kilogram. I\u2019ve chosen metric measurements to better fine-tune the weights of different items using grams. This leaves some things a bit too heavy. In 1802, a guide in Alexander Henry the Younger\u2019s brigade recorded being paid an annual salary of \u00a315. Compared to the price of a beaver pelt for that same year that would make the weight representing his wages 16.5 kilograms, or about 36 pounds, which is more than a visitor should be expected to lift. A simple solution is to represent the monthly wage instead, which would be \u00a31 and 5 shillings, or a more manageable weight of about 3 pounds. More reworking, as well as designing and prototyping, are required before the interactive is finished. We plan to have it ready by this summer. In the meantime, my fascination with buttons has yielded an enhancement to the \u201cRed River Rendezvous\u201d program.<\/p>\n<p class=\"nbp\"><img decoding=\"async\" src=\"https:\/\/blog.statemuseum.nd.gov\/sites\/default\/files\/pictures\/2025-01-06-Hardy-BlogImage4-web.jpg\" width=\"100%\" alt=\"A man in a blue and tan plaid button up shirt with dark facial hair and glasses is sewing buttons onto a piece of paper\"\/><\/p>\n<p style=\"font-size:12px;margin-top:0px;padding:5px 10px;\"><em><strong>Here, the author puts skills learned while wearing historical garments to work.<\/strong><\/em><\/p>\n<p class=\"nbp\"><img decoding=\"async\" src=\"https:\/\/blog.statemuseum.nd.gov\/sites\/default\/files\/pictures\/2025-01-06-Hardy-BlogImage3-web.jpg\" width=\"100%\" alt=\"Three different sets of buttons are shown sewn onto three separate pieces of paper.\"\/><\/p>\n<p style=\"font-size:12px;margin-top:0px;padding:5px 10px;\"><em><strong>These buttons sewn to hand-drawn cards represent a small but important improvement to the \u201cRed River Rendezvous\u201d program, which resulted from ongoing research for a new interactive element at the Pembina State Museum.<\/strong><\/em><\/p>\n<p>Prior to beginning research for our new interactive, the buttons for the \u201cRed River Rendezvous\u201d were left in loose piles for children to handle. This often meant that the kids, when instructed to buy buttons, would trade for a single button rather than enough to complete a garment. While this offered an opportunity to talk about the historical uses and importance of buttons, our new authentic packaging helps demonstrate the typical quantity of goods directly traded. As in the past, buttons come attached to a card today. While working on the interactive, I took care to attach our buttons to cards with simple hand-drawn labels. This may seem like a trifling detail, but every improvement to the authenticity of the items used in our programs improves the interpretation and creates a more authentic experience. With each new piece of information, existing and new programs become better and better. No detail is too small.<\/p>\n<p class=\"nbp\"><img decoding=\"async\" src=\"https:\/\/blog.statemuseum.nd.gov\/sites\/default\/files\/pictures\/2025-01-06-Hardy-BlogImage6-web.jpg\" width=\"100%\" alt=\"Three different sets of buttons are shown sewn onto three separate pieces of paper.\"\/><\/p>\n<p style=\"font-size:12px;margin-top:0px;padding:5px 10px;\"><em><strong>Our new button cards pictured with the other sewing items in the \u201cRed River Rendezvous\u201d program are now on display for visitors to interact with at the Pembina State Museum. To schedule a tour or an interpretive program, contact us at <\/strong><\/em><a href=\"https:\/\/blog.statemuseum.nd.gov\/mailto:shspembina@nd.gov\" target=\"_blank\"><em><strong>shspembina@nd.gov<\/strong><\/em><\/a><em><strong>.<\/strong><\/em><\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>While researching fur trade material culture to develop new programming and interpretation for the Pembina State Museum, I occasionally latch on to smaller details. The past few weeks I\u2019ve been focused on the history of buttons, something most of us rarely think about. But during the 17th and 18th centuries, buttons were big business. Buttons [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":30957,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12032],"tags":[907,20861,11654,20862,7082,20863,11391,5296],"dealstore":[],"offerexpiration":[],"class_list":["post-30956","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-american-history","tag-business","tag-buttons","tag-developing","tag-interpretive","tag-museum","tag-pembina","tag-programs","tag-state"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Business of Buttons: Developing Interpretive Programs at the Pembina State Museum - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=30956\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Business of Buttons: Developing Interpretive Programs at the Pembina State Museum - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"While researching fur trade material culture to develop new programming and interpretation for the Pembina State Museum, I occasionally latch on to smaller details. 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