(as originally published via CultKW)

I am writing to you from what has been my perch, my coop for more than nine weeks now: from my apartment on the third floor of an industrial heritage building in the original part of downtown Kitchener.  

That’s the part of the city that goes back to when Kitchener was still Berlin, Canada; when Queen Victoria was on her throne, and when the sun never set on her domains. 

I hope your Victoria Day weekend was a joyous one.  

Victoria’s actual birthday – her 201^st – is this Sunday, so this celebration opportunity is still open. 

Monday was damp and gloomy, so I have a mind to go up the street to her statue in her park and pay my respects later in the week, in a solitary, silent and properly masked for the pandemic kind of way.  

I love Victoria Day for all its quaint peculiarities. In her time, she was a global presence (check out this Wikipedia list of statues of her imperial majesty in locations worldwide). Today, Canada is the only place where Victoria and her long, long reign are still celebrated with a statutory holiday.  

Even though it has become an almost meaningless vestige of a time gone by, Victoria Day in Canada is part of what makes us distinct.  

It is worth noting, especially since it is THEMUSEUM that is hosting these musings, that this holiday Monday that just went by was also International Museum Day.  
 
The theme this year was “Museum for Equality: Diversity and Inclusion”.   

That Victorian Empire of old is not something we associate with equality; that’s a specialty of revolutionary France. In terms of diversity and broad inclusion, however, there has never been a political configuration that comes close to matching the cultural breadth and variety of that vast global empire we were once part of.  

The museum connection brings to mind the Record column I wrote for Victoria Day last year, which included a mention of a small exhibit dedicated to the 200^th anniversary of the birth of Queen Victoria at the Fashion History Museum in Hespeler, Cambridge. 

The “Victoria 200” exhibit included one of Victoria’s personal garments — a linen chemise — on loan from the Jordan Historical Museum of the Twenty in the Town of Lincoln, out in Niagara. 

This year, of course, the Fashion History Museum and every other museum, gallery, theatre, concert hall, community art centre and library are shut tight. 

Writing as an arts advocate, I have to say something about how grave the current situation has become for organizations like the Fashion History Museum, and for people working in culture-related endeavours of all kinds. 

Things look worse with every passing day. We can no longer just hope for the best and wait for things to return to some semblance of normal. 

This is where another aspect of what Victoria Day signifies comes into the picture: May 2-4 in these parts is the culmination of a long arc of spring observances, from Groundhog Day to the vernal equinox through Earth Day, Arbour Week, Easter, May Day, Mothers Day, to now, when we can finally plant without fear of frost and begin the turn towards summer. 

More than any other time of the year, this is the season to honour and to treasure our earthly home. 

When we consider the future of museums, galleries, archives, libraries, and conservatories, and think about how music, theatre, dance, literary, visual arts, and media, new and old, will evolve, what we’re really thinking about is the future of work.  

And any way you look at it, in 2020 the future of work means finding ways to do things for one another in more sustainable ways — all 8 billion of us alive today around this globe where the sun is always rising and always setting.  

We’ve reached the point where the ecological balance sheet is of far greater consequence than anything that can be measured in terms of dollars and cents.  

My Victoria Day 2020 wish is that we take advantage of this break from the normal and use the time to work on updating our conception of what prosperity means.  

My sense is, if culture-related work, culture-related exchange, the immeasurable value of arts-related production, and the ever-increasing riches of our shared cultural inheritance are not at the very centre of an evolved conception of true prosperity, the future starts to look hopeless and impoverished.