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David Dunnett Cunningham held the position of Projects Manager -Design, Exhibitions, and Facility Planning at the University of British Columbia’s Museum of Anthropology (MOA) since 1988. In 2006 he was made Renewal Building Lead. In 2009 he was designated Manager, Design/Production/Renewal Building Lead. In 2010, Cunningham returned to his design role. His education includes undergraduate studies in Engineering and Geography, and graduate studies in Industrial Design at the University of Calgary, as well as technical training in cabinet making and photography.

Cunningham was responsible for managing all aspects of exhibition production at the Museum of Anthropology. This included the conceptualization and implementation of two and three-dimensional exhibits, long-term collection installations, signage, and other visual presentations. He directed and guided the design, production and installation of exhibits; provided cost estimates and production budgets; and prepared drawings, specifications and tender documents for exhibit installations, furniture, and modifications. Cunningham’s responsibilities also included the overall management of the museum as a member of the Executive Ways and Means Committee, Teaching and Curriculum Committee, Renewal Team, Building Team, and Research Centre Working Group; and facility-planning management, through liaison with the architect and the university for gallery and building renovation, and expansion plans. In this latter capacity, he was involved with renovations and modifications to Galleries 5 and 10, the Theatre, the Ethnology Lab, and the MOA renewal project.

He also taught exhibit design and museum architecture to undergraduate and graduate students in UBC’s Department of Anthropology. Working with the Museum’s collections and existing exhibits, course assignments included design and installation of small displays in node and other cases in Museum’s galleries.

Cunningham has been involved with the production of many exhibits, including A Rare Flower: A Century of Cantonese Opera in Canada (1993-95), which also travelled to Victoria, Kelowna, Calgary, Edmonton, Manitoba, and Montreal, The Abstract Edge: Recent Works by Robert Davidson (2004-2005), and Mehodihi: Well-Known Traditions of Tahltan People (2003-2005), among others. He has received awards from the Canadian Museums Association (CMA) relating to his work at the Museum, for Facility and Exhibition Design (1999), and for Outstanding Achievement in the Museum Management Category (1997). He has also published articles relating to his work.

Cunningham retired form the museum in 2015.

Audrey Patricia MacKay Shane was born on August 27, 1922 in Milwaukee, Wisconsin. She received a diploma in Interior Design from the University of Manitoba in 1942 and worked for the Department of Architecture and Fine Arts at the University for the next three years. In the period between 1962 and 1970, she served in voluntary roles such as secretary of the Winnipeg Symphony Orchestra and treasurer of the Manitoba Archaeological Society. In 1974, Shane received her Bachelor of Arts in Anthropology from the University of British Columbia (UBC). A year later, she was hired as Archivist/Librarian at the Museum of Anthropology, a position she held until she was appointed Curator of Documentation in 1979. As Archivist/Librarian, Shane was responsible for the documentation of the Museum’s collections for inclusion in the National Inventory of Canada as well as for the cataloguing of the collections.

Shane completed her M.A. in Anthropology in UBC in 1978. Her primary interest was in the art and material culture of the northern Northwest Coast, China, Japan and the Insular Pacific before the 20th century. As the Curator of Documentation, Shane’s responsibilities included ensuring the accurate permanent catalogue records were created and maintained for the Museum’s collections, interpreting the Museum’s collections to the public and students through exhibits, publications, university and community teaching, and representing the museum on a local and international level. She taught a series of laboratory sessions in the Anthropology course, Museum Principles and Methods, a course offered by UBC’s Department of Anthropology and also conducted lectures and seminars for the Museum’s volunteers. Shane has written various scholarly articles and presented many papers in numerous conferences. Her published articles include “Sensibilities: Unsuspected Multicultural Harmonies” which appeared in the March/April 1983 issue of Canadian Collector, “Power in Their Hands: the Gitsontk,” which was published in The Tsimshian: Images of the Past Views for the Present and “Networking: the Canadian Experience,” a paper published for the Western Museum Conference in 1983. Shane has also curated a number of exhibitions and served on the Acquisitions and Collections Committees within the Museum. In addition, she was active in committees formed by professional associations such as the British Columbia Museum Association Committee on Legal and Ethical Questions. She also assumed the role of Signing Expert Examiner in Ethnography for the Canadian Cultural Property Export and Import Board. Shane retired from her position at the Museum in 1987.

Skooker Broome received an undergraduate degree in Anthropology from the University of British Columbia (UBC). Also at UBC, he took graduate courses in Museum Studies. His other educational pursuits include the study of German and French architecture, computer sciences, lighting design, web publishing, structural drafting, and the French language.

From 1986 to 1990, Broome worked at UBC's Museum of Anthropology (MOA) as an Assistant Designer. His duties included participating in the designing, production, and installation of a number of exhibits held at the Museum, teaching design principles to the Anthropology “Museum Principles and Practices” class, and producing & designing museum catalogues, brochures, invitations, and program schedules.

From 1990 to the present, Broome has been working as a Designer on a number of exhibits at the Museum of Anthropology. Broome’s tasks include designing, developing, planning, and installing museum exhibits and displays, teaching design principles to Anthropology students, and managing projects. His other duties include the management of the Museum’s building facilities and service, and he further works as a computer specialist and coordinator of computer technologies. In addition to his work at the Museum of Anthropology, Broome works as a contract designer for Third Eye Design, where he designs, develops, plans, installs, and consults on commercial projects.

Fuyubi Nakamura (中村冬日) is a socio-cultural anthropologist trained at Oxford. She is cross appointed with the Department of Asian Studies as Assistant Professor and with the Museum of Anthropology (MOA) where she works as Curator, Asia (as of June 9, 2023). She is also Associate Member in the Department of Anthropology. Fuyubi specializes in the anthropology of art, museum studies, and material and visual culture studies. She has taught in these fields in the graduate school at the Australian National University (2007-2010) and University of Tokyo (2012-2013), and curated exhibitions internationally prior to joining the Museum of Anthropology in 2014.

Her long-term research since 1998 is an anthropological study of contemporary Japanese calligraphy. In addition to her fieldwork in Japan, she also carried out a research project that investigated the world of Japanese calligraphy in South American countries with large Japanese immigrant communities such as Argentina and Brazil. She took a leave from academia following the triple disaster in Japan in 2011 or 3.11, and was involved in relief and recovery activities in Miyagi Prefecture, and continues to do research about the aftermath of 3.11.

Fuyubi was an associate researcher with the Institute for Art Anthropology at Tama Art University, Tokyo (2010-2015), a guest curator at the National Museum of Oriental Art in Buenos Aires (2010-11) and the producer/curator of the Tokunoshima island art project, Japan (2013-2014). Outside academia and museums, she has worked as a project coordinator for film festivals organized by NHK (Japan’s public broadcaster) and also in business in Tokyo between her degrees and also as a freelance translator for a number of years. Born in Tokyo, Fuyubi grew up in different parts of Japan and spent a year as an AFS intercultural programs exchange studen t in New Zealand before moving to England in 1992. She has travelled widely, especially in India and Europe and has spent several months in South America (Argentina, Brazil and Peru).

While her primary expertise lies in Japan, Fuyubi has also studied Indian art and worked on collaborations on Himalaya-related projects. Her work as a curator responsible for the entire Asia collection at MOA requires her to continuously expand the breadth of her knowledge of Asian cultures. Her research interests include material and visual cultures with special interest in Japan and its diasporas in Argentina and Brazil; Indigenous cultures; India and Tibet; contemporary art, photography and the relation between memory and objects, especially within the context of the 3.11 disaster in Japan.

Her projects around Indigeneity in Japan include:

• Recasting Ainu Indigeneity in Museums Through Performing Arts, August 2022.
• Ainu, Okinawa and Indigeneity Series, February – March 2021.
• Hokkaidō 150: Settler Colonialism and Indigeneity in Modern Japan and Beyond/北海道150年：近現代日本と世界における殖民・植民地主義と先住民性, March 2019

Her publications include:
• A Future for Memory: Art and Life after the Great East Japan Earthquake/記憶のための未来―東日本大震災後のアートと暮らし, Vancouver: The Museum of Anthropology at UBC, 2021.
• “Hokkaidō 150: Settler Colonialism and Indigeneity in modern Japan and Beyond” with Tristan R. Grunow et al. Critical Asian Studies, Vol. 51, No. 4, 2019.
• Traces of Words: Art and Calligraphy from Asia, Vancouver: Vancouver: Figure 1 Publishing and MOA, 2017.
• Asia through Art and Anthropology: Cultural Translation across Borders. Edited with Morgan Perkins and Olivier Krischer. London and New York: Bloomsbury Academic, 2013.
• Trazos del Tiempo, Trazos de Palabras: Obras de Artistas Japoneses/Traces of Time, Traces of Words: Works by Japanese Artists, Buenos Aires: The National Museum of Oriental Art, 2011.
• Ephemeral but Eternal Words: Traces of Asia, Canberra: The Australian National University School of Art Gallery, 2010.
• “Memory in the debris: The 3/11 Great East Japan earthquake and tsunami.” Anthropology Today, Vol.28, Issue 3, 2012.

Her exhibitions include:
• A Future for Memory: Art and Life after the Great East Japan Earthquake/記憶のための未来―東日本大震災後のアートと暮らし, Museum of Anthropology at UBC, Canada, February 11– September 19, 2021. Curator.
• Traces of Words: Art and Calligraphy from Asia, Museum of Anthropology at UBC, Canada, May 11 – October 9, 2017. Curator.
• (In)visible: The Spiritual World of Taiwan through Contemporary Art/形(無)形-台灣當代藝術的靈性世界, Museum of Anthropology at UBC, Canada, November 20, 2015 – April 3, 2016. Curator.
• Tokunoshima Island Art Project, Japan, July 2013 – August 2014. Curator/Producer.
• Trazos del Tiempo, Trazos de Palabras: Obras de Artistas Japoneses/Traces of Time, Traces of Words: Works by Japanese Artists at the Culture Centre of the National Foundation of Arts of Argentina hosted by the National Museum of Oriental Art, Buenos Aires, Argentina, 1– 30 March 2011. Curator.
• Ephemeral but Eternal Words: Traces of Asia, the School of Art Gallery, The Australian National University, Canberra, Australia, 6 April‐1 May 2010. Curator.
• I am a Curator, a process-based exhibition project by artist Per Hüttner at Chisenhale Gallery, London, UK. 13 December 2003. Co-curator.

Her awards include:
• The 2022 Michael M. Ames Prize for Innovative Museum Anthropology for A Future for Memory: Art and Life after the Great East Japan Earthquake.
• The 2018 Award for Outstanding Achievement in the Research Category from the Canadian Museum Association, for Traces of Words: Art and Calligraphy from Asia. An honourable mention for the same award (2022) for her A Future for Memory
• 2014 Best Anthropology Prize for Asia through Art and Anthropology: Cultural Translation across Borders (Bloomsbury Academic, 2013) from the Art Association of Australia and New Zealand
Fuyubi has received numerous grants including:
• The SSHRC Connection Grant for A Future for Memory (2021-2023).
• The Japan Foundation Exhibition Abroad Support for A Future for Memory (2021), Traces of Words (2017), Trazos del Tiempo, Trazos de Palabras: Obras de Artistas Japoneses (2011) and Ephemeral but Eternal Words (2010).

The Collections area is responsible for:

• care of the object collections
• registering and processing acquisitions
• managing the storage, movement and handling of objects
• managing the documentation of objects
• providing access to the collection
• dealing with requests for information about the collection
• managing the museum collection’s database
• managing the data in the museum’s online catalogue
• borrowing and safe keeping of objects for short term and long term loans
• exhibition installations, de-installations
• loaning out of objects to other institutions and individuals
• object photography
• deaccessioning museum objects
• providing training opportunities for studen ts and interns
• managing travelling exhibitions

Prior to 1976, the Curator of Ethnology, Audrey Hawthorn, was responsible for the above-mentioned activities, with the help of studen t volunteers and assistants, but specific duties were never clarified, nor were they officially attributed to particular individuals. From the late 1970s onwards, the Curator of Documentation and the Curator of Collections were responsible for care of the collections. By 1990, the staff had expanded to include a Collections Manager, part-time Loans Manager and Collections intern. In 1999, an Assistant Collections Manager was added. In the late 1990s Collections and Conservation staff became a department (Collections Care & Management), with a representative Head on the Executive Committee. From 2005 to 2010 the Collections and Conservation staff managed the Collections Research Enhancement Project (CREP) section of the MOA Renewal Project, which included more than 20 full-time temporary staff. In 2015, due to restructuring, the Collections Care & Management department was merged with the Library and Archives, forming the Collections Care, Management and Access Department.

Currently (as of 2017), the Collections staff consists of the Collections Manager, Loans Manager, two Collections Assistants and a part-time Imager, in addition to temporary studen t and contract workers. See the fonds level description for a list of individual Collections staff names.