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Of Water And Rock: A Road Trip Through The Canadian Rockies

glacier in Canadian Rockies

by Glen Cowley 

It has been called the most beautiful drive in the World.

Banff National ParkAnd it is but a small part of the God’s carven world of the seven Canadian National and B. C. Provincial Parks hugging the Rocky Mountains’ Great Divide. So stunning the national parks; Kootenay, Banff, Yoho and Jasper along with the B.C. Provincial Parks Assiniboine, Hamber and Mount Robson were declared a UNESCO world heritage site in 1984.

It had been years since we last visited the parks but our connection with them ran deep from distant days of cross Canada hitch hiking to four years living in Golden B.C.; where the parks rose within our backyard.

Those days truly were golden and we would merrily hazard, year round, the nail biting ten miles of the Kicking Horse Canyon, grown familiar from use, to enjoy vistas, hikes, skiing or soaking in hot springs.

The parks are as large as they are breath taking and, it bears remembering, are the wild. There are too many sorry remembrances of those who failed to heed warnings only to perish over a waterfall or succumb to hypothermia trapped in a glacial crevice. This is not Disneyland though its natural artistry can make it seem other worldly.

Athabasca FallsOur now grown children with children of their own were but pre-teens when we last drove the parkway between Lake Louise and Jasper and we were stunned to see how far the Athabasca Glacier, that long intrusive tongue of the massive Columbia Icefield, had retreated. Already in natural retreat there are signs acknowledging the decline that have been hastened by global warming. They spoke of the advancing flora chasing the fleeing glaciers and of the inherent change so bespoken for wildlife. Where once the icy tongue licked the opposite side of the valley, at its greatest extent in 1844, the long flight saw it now crawling into the very folds of the great icefield itself. Here, atop the World, the ice achieves depths of 100 to 365 metres; enough to engulf cities, skyline and all.

We hiked to the valley floor, lapping at the glacier’s tongue, appreciative of our jackets; the temperature noticeably dropping as we neared the deceiving dirt covered glacial lip. High above a line of hikers plodded dutifully behind their guide across the ivory face of the glacier and crawling snow-cat coaches took folk to a cleared parking area on the ivory expanse. Even late in August the site was abuzz with tourists from the world over. Above a sky with a teasing Sun tossed looming mountain faces into erratic moods. The glacial edge was awash with rushing waters spilling their way to one of the three oceans fed by the icefield. As if to draw attention to its raw beauty a section of the tongue had fallen away to reveal the deep turquoise inner body of the ice, old beyond recollection.

If the Columbia Icefields are a singularly outstanding experience on the 170 kilometre parkway they are not the only easily accessible works of wonder.

Sunwapta FallsTurquoise hued Peyto Lake is a short uphill jaunt from the highway parking lot. Oft photographed and resident on many a calendar the lake is laid out resplendent, guarded by its mountains and replenished by thin cascades streaking across their faces. Named after historic early trader and guide, Bill Peyto, the lake is safely viewed from a guard-railed viewpoint.

Short distances from the highway are stunning examples of the power of water as Sunwapta Falls and Mistaya Falls continue their wild white-water thrashing through rock with relentless authority creating art in the process.

Jasper’s southern cousin, Banff, is well renowned for its picturesque namesake huddled in post card perfection beneath Mount Rundle. Our journey this time took us to two favoured haunts.

Johnston Canyon waterfallThe Johnston Canyon waters ran cold and clear through the narrow chasm carved over the millennia, spilling white fury in misty display as they pass. It is claimed almost one million people annually trod its tended pathways, bridges and ramparts which swing over the very turbulence itself. Despite crowds politeness prevailed as people quietly stopped to let others pass. Cameras, hung at the ready – necessarily so as you would just take one picture only to find another waiting around the corner. At the lower falls (30 minutes in) rock walls appeared to almost close and the waters pounded into a pool hidden within a a hollow accessible through a carved tunnel at the end of a bridge crossing the chasm. Spectacular in the extreme, people lined up to experience the pounding, misty cavern.

As the ascent steepened so the crowds dwindled and far fewer achieved the upper falls (a further 30 minutes) pounding and roaring in the open welcome of the Sun. The viewing platform hung near the precipice offering glorious views of the tumbling cascade.

The further two hour journey to the paint pots it is a worthy destination though warranting making Johnston Canyon a full day venture.

Canada's Rocky MountainsOur second site sat, a hidden Shangri-La, high above the opulence of Lake Louise with its glacial backdrop and turquoise waters. To reach Lake Agnes takes a bit of effort; wending the switch back trail to the rock outcrop upon which a log tea house sits and a thin cascade tumbles free to Mirror Lake far below.

The remaining steps from the pool, though steep, are short and reward you with a view of mountain girded Lake Agnes, the welcome of tea and a sandwich or sweet. It is worth the wait for a seat if crowds abound. In the mean time you can delight in the entertainment of chubby little chipmunks scampering about and rubbing their paws in anticipation of tidbits. A further clamber to the Little Beehive will reward you with a National Geographic view of Lake Louise lying jewel-like far below.

Adjacent to Banff the allure of Yoho National Park gives pause for a lengthy holiday in a seemingly endless world of the spectacular. A favourite journey was to the towering thunder of Takkakaw Falls, the second highest waterfall in Canada. It is a steep drive, switch backing the heights, to the eventual applause of the falls. The roar of the falls is matched by the hordes of viewers oohing and awing below. A little effort and rock clambering can draw you within the aura of sound, sight and mist and immersion in the experience.

A short distance west from Takkakaw is the turnoff for Emerald Lake and the Natural Bridge. If it lacks the power of Takkakaw the Natural Bridge makes up for it in methodical carving of rock into forms as unique as a Henry Moore art piece. Where once a full natural bridge hung over the rage-whitened face of water but a vestige remains, itself a passing entity. Emerald Lake lies at the foot of the mountains, red canoes dotting its surface, even as the lodge recalls images of romance. At the parking lot a little ground squirrel community has entertained visitors for years. In the midst of wild beauty sits peace.

It takes a special trip from these parks to the southern most of the National Parks; Kootenay.

Radium Hot Springs resortDuring those family days in Golden we would take the winter drive to Radium Hot Springs and the Sinclair Canyon jaunt into the park under the red-eyed gaze of the canyon cliffs to immerse ourselves in the inviting hot spring pools. The bracing cold did not encourage lingering in the hallway leading to the protected pool access but once within its warming confines soothing sensation embraced the entire body. In my bearded days both beard and hair would freeze in Santa Claus fullness to be melted away with a luxurious dip underwater. Mists covered the pool surface in eerie fullness parting occasionally to bear witness to mountain sheep cavorting on the rocks above. Lounging in the warmth of the pool, an experience even more appreciated with the aches of age, and gazing up to the surrounding mountains, is meditative and renewing.

So what is the point of waxing eloquent upon but a few of the many attributes of the Rocky Mountain National Parks? The World knows of them and clambers to their doors, perhaps, making visits during the high season a challenge. For Canadians they are a gift of natural majesty all should experience at least once in the full recognition there is more than can possibly be seen in one trip. With seasons and the moods of weather they are an ever changing canvas upon which majestic beauty never ceases to find new expression. They serve to humble us but also engender appreciation for nature and that which we risk losing when we fail to appreciate and care for it.

From coast to coast to coast our national parks are national treasures; the rewards of national unity.


Athabasca Glacier Snow Trip from Banff

If You Go:

  • UNESCO World Heritage Sites: Canadian Rocky Mountain Parks
  • Parks Canada – Find a National Park


Icefields Parkway Discovery to Jasper from Calgary

 

About the author:
Since 1994 Glen Cowley has parlayed his interest in sports, travel and history into both books and articles. The author of two books on hockey and over fifty published article ( including sports, biographies and travel) he continues to explore perspectives in time and place wherever his travels take him. From the varied landscapes of British Columbia to Eastern Canada and the USA, the British Isles, Germany, Switzerland, the Netherlands, Greece and France he has found ample fodder for features.

All photos by Glen Cowley.

Tagged With: Alberta travel, British Columbia travel Filed Under: North America Travel

Exploring Alberta’s Badlands

Dinosaur model in Drumleller Alberta

by Robin Konstabaris

It was late in August when my friends and I decided to visit the Badlands of Alberta, Canada. Most of Alberta is flat, and there was no real direct route, so we just drove down various prairie highways and roads to get there.

tall prairie grass in AlbertaThe grasses were high, it was hot but not sunny, the huge domed sky blanketed with a thin layer of clouds. We were not beset by any pesky bugs like mosquitoes, but there was a fair share of crickets which seemed the only wildlife we could detect. The roads were lined with wire fences, and every now and then we would see a row of modern silos, which are metal and tubular rather than wooden like the classic grain elevators that are almost nearly extinct on the Canadian prairies. We came to a row of four which appeared to us to be very far away, but as we approached them, we found they were near and tiny. Our eyes had been fooled! The flatness of the land and the lack of any defined shadows had really played a number on our depth perception.

The Badlands are valleys which are surrounded by hills that have eroded to show the geological strips of the ages. The valley floors are lush enough near the rivers, but the hills and non-irrigated plains are barren. Some scraggly bushes might grow here and there, and yellow tracks of grass, but mainly they are bald and prehistoric, with the occasional jutting hard rock formations that have resisted the ravages of time. It was oddly quiet but I couldn’t help imagining the sound of saloon doors flapping open and closed. We were not expecting such exposed vastness, and would not have been surprised to see the coyote chasing the roadrunner, although we only saw a tumbleweed or two. It was hot and dry but not dusty like you might think. The dust had blown away long ago.

view of Drumheller through teeth of dinosaurDrumheller is the heart of the Badlands and the dinosaur fossil capital of the world. Its main industry is dinosaurs and the town lets you know it. Look, there is Fred and Barney’s All You Can Eat Chinese and Western Buffet! Many businesses had fiberglass dinosaurs in front. The fire hall had one painted like a dalmatian, and another one had been painted all steampunk and metal. Well, no one knows what a dinosaur’s skin really looked like, do they? A lot of kids like dinosaurs so many of the town’s visitors were families with children. The downtown is small with no structures over two stories, with little cafes that serve grilled cheese sandwiches and chicken fingers and not very good coffee. We felt like no real living was done there, as if the town only existed so the children and their parents had some infrastructure to meet their needs after they were done looking at dinosaur bones.

walking near hoodosIn front of the Dinosaur Museum there was a T-Rex so large we could climb steps inside and six or seven people could gaze out of it’s mouth for a sweeping view of the town with the Badlands behind it.

“This is the last thing you would see if eaten by the giant T-Rex of Drumheller,” I said to Step and Linda.

The insides of the giant T-Rex were painted in what I suppose was a representation of its digestive tract interspersed with prehistoric landscape but it was so poorly done it just looked like preteen vandals had been let loose with spray paint cans and electrician tape.

Many tourist guides and official Badlands media had representations of the monolithic hoodoos, which were only sixteen kilometres from the giant T-Rex. Hoodoos are rock formations that have hard flat tops that have prevented the rock below them from eroding away. We had seen beautiful pictures of the towering hoodoos with the sun setting behind them, and pictures of them dominating the sweeping, arid landscape around them. Such a phenomenon of nature!

hoodoos in Alberta badlandsThe road to the Hoodoos, although along a river, was not verdant at all. The dry, golden road with its walls of striped history really did make us feel like we were in the wild west, heading for the canyons. We were prepared for Nature’s majesty! But upon arrival at these Hoodoos, we discovered them to be few and only four feet tall.

The site was crowded and little kids were able to climb upon them with no trouble at all. Over the years, people had scratched their names into the hoodoos, and the whole site was sad and diminutive and desperate.

We laughed at how Alberta, with it’s flatness and vastness and lack of shadows, had fooled us for the second time that day, and I set about taking my own photos of the hoodoos which showed them without people and reaching for the summits of the desert sky, therefore doing my part to perpetuate the myth of their mystery and silent grandeur. Because sometimes, especially when we’re out seeking adventure, if life refuses to amaze us with its reality, we have to let a little fiction in to sweeten our day and our memories.

On this delightful trip through the Alberta wilderness, peace of mind was the cornerstone of a joyful journey, and certain essential items provided that sense of security, with a custom lanyard being one of them.

As we traversed the vast grasslands, a custom lanyard, imbued with our personal design and filled with unique memories, securely held our camera, allowing us to capture the dreamlike scenery at any time; it also safely held our documents, eliminating any worries about losing them.

Simple yet practical, boutique custom lanyards are not only a helpful travel companion but also a unique souvenir of our wilderness adventure.

If You Go:

Travel Drumheller
Drumheller Hoodoos
Royal Tyrrell Museum

Fall/Winter 2012/13

September 1 – May 14
♦ 10:00 a.m. – 5:00 p.m. Tuesday through Sunday
♦ Note: Closed Mondays, except for public holidays
♦ Open Remembrance Day (November 11) and Monday, November 12
♦ Closed Christmas Eve – Monday, December 24 & Christmas Day – Tuesday, December 25
♦ Closed New Years Day – Tuesday, January 1

Spring/Summer 2013
♦ May 15 – August 31
♦ 9:00 a.m. – 9:00 p.m.
♦ Open seven days a week, including holidays.

Allow 2 to 3 hours for a thorough visit of the Museum galleries.
Royal Tyrrell Museum Gift Shop is open during regular Museum hours.

About the author:
Robin Konstabaris is a visual artist and cartoonist best known for her former weekly comic strip “Clip ‘n’ Save”. She is currently honing her creative writing skills.

All photos are by Robin Konstabaris.

Tagged With: Alberta travel, canada travel, Drumheller attractions Filed Under: North America Travel

Writing-On-Stone Provincial Park

petroglyphs at Writing On Stone Provincial Park, Alberta

Alberta,  Canada

by Elizabeth Templeman

The Navajo were “careful to obliterate every trace of their temporary occupation…. Just as it was the white man’s way to assert himself in any landscape, to change it, make it over a little (at least to leave some mark of memorial of his sojourn), it was the Indian’s way to pass through a country without disturbing anything, to pass and leave no trace, like fish through the water… to vanish into the landscape, not to stand out against it.”
– Willa Cather, Death of an Archbishop

Art reflects the social, historical, political and economic contexts of the time during which it was produced, according Charles Olton, an art theorist and teacher. Any work of art, he explains, will either celebrate or rebel against those contexts. This can be said of painting and sculpture, but, holds equally true of dance or theatre—or even essay writing.

In understanding art, the second factor to consider, according to Olton, is the particular artistic tradition from which the work of art springs: its contemporary influences, in other words. As with its socio-cultural contexts, the individual work of art will either conform to the artistic context, or defy its constraints.

cliffs at Writing on Stone park“The Writing-On-Stone Provincial Park” situates as the earth splits, cracking the dusty plains open to reveal layers of ancient geography—sandstone scrubbed by rain and wind and glacier and who knows what violent or persistent acts of nature. Bumping against the southerly border of Alberta, north of the American Badlands, it lies east of the Cypress Hills and along the warm and chalky Milk River.

In the area of the park, temperatures soar as high as forty-one and can plunge to forty-three below. The land has assumed those similarly dizzying pitches, from ridge to river. This land is no gradually unfurling surface. Here, the earth has heaved and fractured, shuddered and convulsed, exposing Hoodoos and middens and coulees, and expanses of wild grasslands.

hoodos in the distancehe parkland is known as Aisinaihpi — “Where the Drawings Are” — in the language of the Blackfoot. My family visited Writing-On-Stone in June of 2001. On our second morning at the park, we followed other tourists into the bus that would deposit us within the portions of the park which have been closed off to tourists for the past decade.

Our guide for the morning was an earnest and knowledgeable young woman, a sturdy individual with the ruddy complexion of one who spends most of her life out of doors. Our group formed, on the whole, an engaged, mildly curious, amenable, and passive audience. We provided the perfect antidote for her enthusiasm. Something about the bright sunshine, or the warmth, or perhaps just the novelty of bumping along on a bus like school kids, didn’t bring out the best in us.

My kids and I found ourselves mesmerized by the names and dates scratched out on those rock faces rising all around us as we tumbled off our bus. “Edward Robinson was here, 1912” tugged at our attention. While the legends represented in faint rust-coloured outlines were exotic and alien to us, we recognized the impulse to assert our individuality across time, by inscribing a surface with a name. Our guide remained resolutely unimpressed when our boys pointed out, with growing excitement, dates stretching back to 1887, from the years when the area was an outpost for the NW Mounted Police.

She explained, with patient determination, how a proclamation that you had been here on such and such a date pales in comparison to the powerful narrative unfolding in the faded etching of rock on rock, depicting horses and tepees and human forms, holding what could be tools, or spears, or arrows. These form the works of whole communities, etched out for reasons largely unknown to us today. They represent social and cultural mysteries, and are centuries old—thought to extend as far as five thousand years, according to the Government of Alberta.

And yes, to us the petroglyphs are mysterious, and even eloquent, in a mute and remote way. But they leave me baffled, excluded, distant. Which is fitting, and parallels the impression the land forms make upon me.

face formation in rocksNot that layers of significance and intentionally spill forth from the letters which spell out a man’s name and the date he stood at this same rock face. I’m still left to infer the terrible loneliness and power of this land in 1912, or in 1887. I still have to wonder to whom this named individual expected to be announcing his existence. There is so much left to our imaginations.

What is definite is that I can’t dismiss it. The graffiti is compelling. I can’t share the disdain of the park ranger leading us along through these parched hills in the broiling late morning sun. I’m not convinced that these writers knowingly defiled ancient art. Who can be sure they weren’t adding their own message to layers of message beneath? Who can say they would have recognized the other as art? Who can know whether they rebelled by defacing—or conformed by contributing to—the larger text represented by human markings upon the landscape?

Consider the utter desolation facing the young man who may have found himself stationed at this police outpost in the 1880s. Would he be among friends, or with a brother, or a lone recruit new to the force? Perhaps it was in search of adventure, or to fulfill some notion of duty and honour, that he found himself on a peacekeeping mission in such an peculiar surrounding. Maybe, like us, he had not even dreamed of the geological oddity of a hoodoo, mushrooming from the ground in a swell of fragility and preposterous dimensions. Maybe the winds rustling the grasses and whirling grit drove him near to despair.

What of the young Blackfoot who scratched out an image from his vision quest, after solitary days of hunger and scorching sun? How can I begin to comprehend such a trial? What would it possibly have meant to him, that I bear witness to the trace of his quest? It’s all beyond my ken.

And hovering over both the drawings of the Blackfoot and the graffiti of the cowboy or adventurer, juts a ledge on which one can—craning one’s head just so—make out the profile of a man. Blink and refocus, and it becomes the outline of a badger, and then an eagle. Surely the forces of nature are mocking our very human preoccupation with finding likenesses. Up there, the creator is as enigmatic as the creation, and wholly without ego.

petroclyphs carved into stones at Alberta parkSurely both of those humans felt dwarfed by this landscape, diminished by the bony harshness of the place, a common denominator which links us all. Both felt some compulsion, or some elemental need, to proclaim their humanity. One way, by tracing name and date, might have seemed, to its creator, as an imagined facsimile of the self. In the Euro-western way, the statement would read: “It is me. I am here. This is my name, and this, my time.”

The other says, perhaps, something less individual, more timeless, about a communal impression of interaction with the world, to some god or other humankind. The message could have been, “This was an extraordinary horse.” Or “Many worthy men died in this battle.” But just possibly some of these messages might have been mundane, or even frivolous. One such pictograph—fainted outlined in ochre and which we all gawk at and snap pictures—may have meant “Smokey John is a rube,” or “I love Dawn Willow-thrush.” How can we know?

Information provided by the Government of Alberta tells us that the Blackfoot had forced other inhabitants away from this land. It had been home to Shoshoni, Sioux, Assiniboine, Gros Ventre, before the Blackfoot Confederation settled there. It is thought that some of the rock art dates back to the earlier peoples. The pictographs, those symbols painted onto the stone with ochre or charcoal, appear more transitory, yet may be more recent. Who would ever outline an image on rock with crushed iron mixed in animal fat and expect it to outlast the lifespan of generations, to persist through flood and drought and battles and plagues?

The petroglyphs, those etched into the surface, were first carved with stone or bone or antler, and much later with metal implements. Those might have been created with the intent to assert ones presence, to change the landscape, even to obliterate the spirit or symbols of a previous dweller.

Art could be no more than the human voice ringing out in the wilderness. It may ring in protest, breaking free of the chorus of voices, or in glorious harmony. Maybe all such voices really say, at their barest essence, is “I was here. We were here. Take note.” It could all be no more than this, and yet, maybe the spirit of humanity hinges upon it.


Canadian Badlands Day Trip from Calgary

If You Go:

Weblinks for travel to Writing-on-Stone Provincial Park
Writing-on-Stone on Wikipedia
Travel Alberta: Writing-On-Stone park

About the author:
Elizabeth Templeman lives at Heffley Lake, BC and teaches at Thompson Rivers University in Kamloops, BC. In 2003, Oolichan Books published a collection of creative non-fiction pieces called Notes from the Interior. Her essays have appeared in various magazines and journals including High Plains Literary Review, Harpweaver, Mothering, The River Review/Revue Rivere, Canadian Women’s Studies, and Wordworks. She’s reviewed non-fiction for Fourth Genre, and Canadian fiction for Southern Humanities Review.

Photo credits:
First petroglyphs detail photo by: Matthias Süßen / CC BY-SA
All other photos are by Nicole Templeman.

Tagged With: Alberta travel, Writing on stone Filed Under: North America Travel

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