Mostrar 319 resultados

Audrey Hawthorn, as the Museum of Anthropology first official Curator, was the person initially responsible for Public Programming and Education. In Hawthorn’s time the function involved mainly exhibitions and the programs surrounding them, as well as raising the profile of the museum. When plans for a new building got underway more formal programming guidelines were developed. A Museum Programming Committee was formed in 1971, charged with the function of suggesting programmes for the new museum, which was at this time still in the planning phase. Along with other museum committees, this committee was given the task of developing programming ideas to help dictate the needs of the new building. Their mandate was to establish policy guidelines for museum programming.

In 1974 the Museum Public Programming Committee decided on two spheres of programming: academic and public programmes. Since this time, these functions have been shared by different positions with various titles. These position titles include Extension Curator, Education Curator, Museum Programme Coordinator, Public Programming Coordinator and Curator of Public Programmes.

Individuals that have been involved in these functions were often employed full time in the Museum, while others were employed part-time as museum curators and part-time as professors in the Department of Anthropology. These curators have traditionally had a very fluid function and their roles have included many additional responsibilities outside of public programming and education. These individuals include:

-Audrey Hawthorn, Curator (1947-1977)
-Elvi Whittaker, Coordinator of Public Programming (1973-1976)
-Hindaleah (Hindy) Ratner, Extension Curator (1978-1995) (on leave May -October 1984, January-July 1985, and September 1986-February 1987)
-Madeline Bronsdon Rowan, Curator of Ethnology and Public Programming and professor of Anthropology (April 1977-December 1986) (on leave 1979 and 1986)
-Margaret Stott, Curator of Ethnology and Education, and Professor of Anthropology (1979-1990)
-Roberta Kremer, Acting Education Curator (July 1989-June 1991) Acting Curator of Education and Volunteer Coordinator (1990-1991) Acting Education/Public Programming Curator (while Jill Baird was on leave January 2007- January 2008)
-Louise Jackson, Curator of Ethnology and Education (July 1991-1995) (on leave 1993-1995)
-Rosa Ho, Curator of Art and Public Programming (January 1988-1999) Curator of Art and Public Programming and Education (1992, 1996-1999)
-Jill Baird, Education/Public Programming Curator (March 1999-present) (on leave January 2007-January 2008)

Graduate students Margaret Holm and Susan Hull coordinated extension duties and programmes in Rowan and Ratners' absence in 1986 and 1987. There was no official replacement for the Extension or Education Curators during the absence of Rowan and Ratner nor with their resignations in 1986. This continued until Rosa Ho was appointed as the full-time Curator of Art and Public Programming in January 1988. She added Education Curator to her title in 1992 and again after the departure of Jackson in 1996. She held the position of Curator of Art, Public Programming and Education until she left in 1999.

Jill Baird took over the position of Education/Public Programming Curator in March 1999. This new position included the majority of the functions of the Art and Public Programming Curator, as well as the traditional functions of both the Extension and Education Curator and some additional responsibilities.

The function of Public Programming and Education has traditionally been responsible for exhibitions, education, public programs, and extension activities at the Museum of Anthropology. The primary function of this area was to locate cultures within the world context of art, to prepare exhibits, including travelling exhibits, to enhance cultural understanding and enjoyment of cultural diversity, and to cut across the disciplinary boundaries of art history, anthropology, and archaeology. These functions were developed in particular ways for specialized audiences through Exhibitions, Education, Public Programmes, and Extension activities.

The Education function has included establishing and supervising school programmes for students and teachers, and training members of the Volunteer Associates to conduct these programmes. Programmed activities included orientation walks, self-guided visits to the museum, cultural performances, and a variety of participatory sessions designed to complement the school curriculum, this included the development of units of curriculum and "touchable" artifact kits. School artifact kits included specially designed information and artifacts that were packaged and lent out to British Columbia schools to further anthropological education outside of the museum setting. The education programming also provided professional development workshops for teachers and students.

Public Programmes included artists' talks and panel discussions, storytelling, music, performances, workshops, lectures, non-credit courses, museum tours, identification clinics and audio-visual presentations.

Extension activities included the loaning out of exhibit materials and creation of travelling exhibitions. This included coordinating the development of in-house exhibitions, special events and lectures in conjunction with exhibits, exhibits in office spaces, and installations in off-campus locations.

The Museum's current public programming mandate, as of 1999, seeks to provide a forum for cultural expression, experimentation, and exchange of views. This is done through a variety of programs, including public talks, demonstration, guided gallery tours, lectures, hands-on workshops, artist talks, music, performances, film viewing and educational programs.

The Museum's current educational programming mandate is to develop and deliver quality programs to elementary and secondary school students that introduces them to other cultures and makes innovative use of the Museum's collections, exhibitions, and other resources. These programs include elementary and secondary classes, special programs developed in conjunction with temporary exhibitions, the Musqueam School, and summer day camps. Many of the educational programs are jointly developed with artists and other institutions.

According to his obituary (from the Vernon News, February 19 1953), Francis Edward Richmond Wollasten was an English immigrant who arrived in the Okanagan in the 1890’s. He started work at the Coldstream Ranch in Vernon, B.C. in 1914, and held the position of manager of the Ranch from 1918 until 1939. He passed away in Victoria B.C. in 1953.

Alexander Frederick Richmond Wollaston (1875-1930) was a doctor, naturalist, explorer, and member of the Royal Geographical Society in London. A.F.R. Wollaston went on numerous expeditions between 1905-1925, including trips to Uganda, the Congo, Dutch New Guinea, and Mt. Everest. A.F.R. Wollaston was killed on June 3, 1930 at King’s College in Cambridge, England.

Born Evelyn Sheasgreen, Evelyn Goddard was a young teacher in Kitzegukla, BC in the early 1920s.

Gordon Miller is a freelance artist who currently lives and works in Vancouver, BC. Miller was born in Winnipeg in 1932 and attended the Vancouver School of Art from 1950 to 1955. In 1977 he began working as a freelance artist, illustrator, and graphic designer, completing major contracts for the UBC Museum of Anthropology, Royal British Columbia Museum, and National Film Board. He also produced illustrations for the UBC Press, Canadian Geographic, Readers Digest, Historical Atlas of Canada, Parks Canada, and the Canadian Museum of Civilization. An avid sailor since his youth, historical sailing ships and maritime scenes are the subject of much of Miller’s artwork.

Gordon Miller has completed a number of commissions for the UBC Museum of Anthropology including contracts for creating large watercolour illustrative panels, many of which were meant to recontextualize material objects from the museum’s collection by showing them in their historical context being used for their original functions.

Nadia Abu-Zahra was appointed an anthropologist in the Anthropology/Sociology Department of the University of British Columbia by Director Cyril Belshaw in the late 1960s or early 1970s. She graduated from Oxford with a PhD in social anthropology, and later lived and taught at Oxford.

No biographical information available.

Harlan Ingersoll Smith was born in 1872 in East Saginaw, Michigan. He joined the Geological Survey of Canada as head of the Archaeology Division (now part of the Canadian Museum of Civilization) in 1911. His early work concentrated on excavating archaeological sites in Eastern Canada, and on Vancouver Island and the Queen Charlotte Islands. Returning to British Columbia in 1920, Smith began ethnographic fieldwork among the Bella Coola (including the Nuxalk, Carrier and Chilcotin communities), concentrating on their use of plant and animal materials, social organization and ritual traditions. Smith was also a pioneering ethnographic filmmaker and photographer documenting Plains, Plateau and Northwest Coast Aboriginal people. He wrote and published many articles throughout his career. Smith retired from the Canadian Museum of Civilization in 1936 and died in 1940.

Lieutenant Colonel Eric Parker was born on June 16, 1896, in London, England. He was a British military Commander with the Indian government who led a little known expedition of approximately 200 Punjabi soldiers from Calcutta to Tibet in November 1921. In addition, Lt. Col. Parker conducted basic and advanced infantry training of Tibetan soldiers from January to March 1923 at the request of the Tibetan military. During his military career, Lt. Col. Parker corresponded with British diplomat, Sir Charles Bell, and various members of the Tibetan government, including the 13th Dalai Lama.

On January 2, 1923, Lt. Col Parker married in Calcutta and, with his wife, travelled back to Tibet on horseback where his training of Tibetan soldiers would begin. After his initial British disapproval, Lt. Col. Parker became accepting of the Tibetan culture and during this period of his life learned to speak in Tibetan, Urdu, Tamil, and Punjabi. The Parkers adapted to Tibet, living in both Yutang and Ganze. After Lt. Col. Parker was released from the military, the couple tried to stay on and establish a trading station, but lasted only one year. During their stay in Tibet the Parkers collected numerous objects, letters, and photographs that provide rare documentation of this period in Tibet’s history (i.e., before the Chinese invasion in 1950). Lt. Col. Parker died in 1988.

Lt. Col. Parker was in the Indian military at a significant time in Tibetan history. From 1918-1921, evidence suggests the Dalai Lama continued to forge closer ties to the British. Since the Simla Convention in 1914, Britain and Tibet had agreed to Chinese ‘suzerainty’ over Tibet, but China refused to ratify the pact and agree to the territorial divisions established. In 1918, fighting broke out between British-trained Tibetan troops and the Chinese, and was later followed by British attempts to mediate and discuss a Tibetan autonomy settlement. In 1920 to 1921, Sir Charles Bell went to Lhasa to urge better relations between Tibet and Britain. Despite Tibetan reluctance to accept further British influence, Charles Bell suggested increasing military aid to Tibet, and it was in 1923 that Lt. Col. Parker arrived to train the soldiers. In 1924-25, pressure from the monks caused the Dalai Lama to dismiss his British-trained officers. Tibetan independence lasted until the overthrow of the Republic of China by the Communists in 1949, and the establishment of the People's Republic of China.

In 2005, photographs and textual records, along with several objects, were donated to the Museum of Anthropology by Lt. Col. Parker’s daughter, Mrs. Mary Noble. Lt. Col. Parker’s grandson, Father Harry Donald, provided valuable contextual information and is currently preparing to write a history of his grandfather’s time in Tibet.

Victor Othello dos Remedios was born in Macau in 1893. He spent most of his life in Shanghai, China until 1951. He was trained as an accountant and worked for most of his adult years at the Hong Kong & Shanghai Bank of Commerce and at an American-owned pulp and paper mill. He married his first wife at the age of twenty-four and had a son who developed polio and was sent to Switzerland for schooling and health care. He married again at about the age of forty and had a daughter in 1938. At age fourteen he registered in the Shanghai Volunteer Corps and served until 1942 when war broke out. He took photographs of two bombing incidents in Shanghai in the 30s as a member of the Corps. In 1942, Victor along with his wife Valentina and daughter Elizabeth were interned at one of many of the camps set up by the occupying Japanese forces in Shanghai for expatriates. They were released in April 1945 and had no place to live as their house was occupied by Korean allies of the Japanese, so they remained for another year in the camp.
The family eventually repossessed their home and Victor resumed work at his previous job as a manager of the pulp and paper mill. With the impending threat of invasion by the recently formed Red Army, his wife and daughter were sent to Hong Kong to live with relatives. Victor stayed in Shanghai until he had trained a Chinese replacement to manage the mill. In 1950, he was able to join his family and after a short stay in Hong Kong the family immigrated to Canada. In 1981, Victor passed away in a care facility in Victoria, BC. As of March 2014, his wife Valentina still lives in Victoria.

William Ronald Reid (Q'adasru qiirawaay, Raven Clan of T'anuu) was born in 1920 in Victoria, B.C. His mother, Sophie Gladstone, was from the Kaadaas gaah Kiiguwaay, Raven-Wolf Clan of T'anuu (Haida), but she was educated at the Coqualeetza Residential School. His father was an American of Scottish-German descent. At twenty Reid began his career in broadcasting, as a radio announcer. From 1948 to 1958 he worked for the CBC in Toronto and Vancouver. Also, while in his twenties, he decided to emulate his maternal grandfather, Charles Gladstone and become a silver and goldsmith. Gladstone was trained by Charles Edenshaw, a master Haida artist. In conjunction with his grandfather's training, Reid analyzed many pieces held in museum collections. He also trained in traditional European jewellery techniques in Toronto, Ontario and London, England and applied those techniques (eg. repousse) to Northwest Coast metal work. When Reid returned to the West Coast he began seriously to pursue Haida imagery in both jewelry and sculpture. His works, known for their superb craftsmanship, range from exquisite carvings in precious metals and argillite to monumental sculptures in bronze and cedar. They have been collected and exhibited all over the world. Some of his most acclaimed sculptures include The Raven and the First Men at the Museum of Anthropology, and The Spirit of Haida Gwaii (1991), castings of which are located at the Canadian Embassy in Washington, D.C., and the Vancouver Airport. Other celebrated pieces include Chief of the Undersea World at the Vancouver Aquarium, and Lootaas (Wave Eater), a cedar canoe that has been shown in Paris, and is now at home in Haida Gwaii. Bill Reid was the first living artist to have his work displayed in the Musée de l'Homme in Paris, in an exhibition celebrating the works of ethnologist Claude Lévi-Strauss. It can be said that Bill Reid's work forms a link between ancient and contemporary artistic styles, and was instrumental in the revitalization of the northern Northwest Coast artistic tradition. Reid received many awards in his lifetime, including the Canada Council Molson Award, the Bronfman Award for Excellence in Crafts, the Vancouver Lifetime Achievement Award, the Royal Bank Award for Outstanding Canadian Achievement, and the National Aboriginal Achievement Award for Lifetime Achievement. UBC awarded Bill Reid an Honorary degree in 1976 for his contribution to the cultural life of Canada. He died on March 13, 1998 after a 30-year battle with Parkinson's disease.

Doug Cranmer was born in Alert Bay, son of Chief Dan Cranmer and Agnes Hunt Cranmer. He set the standard of innovation for Kwakwaka'wakw art. His first formal instruction was in Victoria under Mungo Martin, in 1959. He worked with Bill Reid on UBC's Haida Village project c. 1959-62, and on the restoration of totem poles in Vancouver's Stanley Park. After completing the UBC project in 1962, Cranmer (with A.J. Scow and Dick Bird) founded a retail gallery, The Talking Stick. This was one of the few initiatives at the time through which First Nations art was marketed by First Nations people. Cranmer had totem pole commissions from around the world, and is considered an innovative master of flat design. His exhibitions include, Arts of the Raven, 1967, and the B.C. Pavillion at Expo '70, in Osaka Japan. His influence as a teacher was also significant, he taught at 'Ksan, the Vancouver Museum, and at Alert Bay, since 1977. He worked as an artist in residence at MOA in 1995. Doug was a hereditary chief of the 'Namgis band, and had also worked as a fisherman and a hand logger. He was an inspiration to his home community, contributing extensively to the construction of the U'mista Cultural Centre and the Bighouse at Alert Bay.

Reverend Basil Shakespeare Sutherland Hartley was ordained by the BC Conference of the United Church of Canada in 1939. Accompanied by his wife Edythe, Hartley worked in communities throughout BC, including Skidegate (1939-1940), Kitimaat (1941-1943), Windermere Valley (1944-1945), Greenwood (1946-1947), Nakusp (1948-1950). In 1951 he retired to Vancouver, and later lived in Nanaimo (1953), Castor, Alberta (1945-1955), and Rockey Mountain House (1956-1957). He died in 1973. Edythe Hartley later remarried, becoming Edythe McClure.

Edyth McClure was the wife of the former United Church missionary, Rev. Basil Hartley, who served in the Kitimat area.

Chief Dan George, was a Tsleil-Waututh actor, poet, writer, activist, and public speaker who was chief of the Tsleil-Waututh Nation from 1951 to 1963. Born Geswanouth Slahoot, Dan George was raised on the Burrard reserve in North Vancouver. He received his English name, Dan George, at St. Paul’s residential school, where he was sent when he was five years old. Before he started acting at the age of 60, George had worked as longshoreman, construction worker, school-bus driver, logger and itinerant musician. By his film roles and personal appearances, Dan George helped improve the popular image of Indigenous people, often represented in stereotypical ways. George earned an Academy Award nomination for best supporting actor for his role in Little Big Man (1970) and won other awards for this role, including from the National Society of Film Critics and the New York Film Critics Circle. He was married to his wife, Amy George, for 51 years and was father to six: Amy Marie, Ann, Irene, Rose, Leonard, and Robert.