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Charlotte Townsend-Gault is an art historian, author, curator, and Professor Emeritus of UBC's Department of Art History, Visual Art & Theory. Her research, teaching, and scholarship concerns contemporary visual and material Native American and First Nations cultures, particularly those of the Pacific Northwest. She is the co-editor of "Native Art of the Northwest Coast: A History of Changing Ideas" (2019, UBC Press) with Jennifer Kramer and Ḳi-Ke-In, a canonical text and historical survey of Northwest Coast First Nations' art.

Derek emigrated to Canada in 1961 with his first wife Doreen. He held a post-doctoral fellowship in the UBC Chemistry Department, then a position as Clinical Chemist at the Health Centre for Children, Vancouver General Hospital. In 1969, he founded the Biochemical Diseases (later Biochemical Genetics) Laboratory at Children's Hospital. In this emerging discipline, he collaborated with scientific and clinical colleagues across Canada and around the world to diagnose and investigate children with rare metabolic diseases, teaching and publishing extensively and receiving many awards. He was a professor emeritus of UBC's Faculty of Medicine with appointments in Pediatrics, Medical Genetics and Pathology serving on Boards and Committees including parent support societies. He was a past President of the Garrod Association of Canada and past President of the Canadian College of Medical Genetics and involved in developing training programs for Biochemical Genetic Fellows. Derek retired from UCB in 2003.

Dempsey Bob was born at Telegraph Creek on the Stikine River, in 1948. His mother was Flossie Carlick (Wolf); his father was Johnnie Bob (Raven). He began carving in 1970, and although he prefers wood, he also works in metals. Dempsey studied first with Freda Diesing and then at 'Ksan. Dempsey has focused on creating contemporary works that are classic Tlingit in style. His finely detailed carved wood masks translate into powerful bronze works. He went to Cara, Italy and studied with artisans working in bronze in the classic Italian tradition; this knowledge helped refine his style for bronze casting in which he is now an acknowledged master.

Art Thompson was born in 1948 in the village of Whyac and lived in Nitinaht on the West Coast of Vancouver Island. Hi father was Ditidaht and his mother was Quwutsun'. His father and grandfather were carvers and canoe builders, and his grandmother was an accomplished basketmaker. Art worked as a logger, a boat builder, and attended commercial art school before travelling across North America. He has been instrumental in defining the innovative direction of contemporary West Coast design, along with Joe David, Ron Hamilton, and others. As well as silk-screen prints, he produced wood carvings and engraved jewelry.

Henry Hunt was a Kwakwaka'wakw carver and artist. He was born on October 16, 1923 in Tsaxis (Fort Rupert), British Columbia in 1923. He is the descendent of ethnographer George Hunt and the son-in-law of Mungo Martin. He originally started work as a logger and fisherman, but he moved to Victoria in 1954 to become Mungo Martin's chief assistant in the Thunderbird Park carving program. Hunt became Master Carver at the British Columbia Provincial Museum in 1962, where he remained until 1974. He died on March 13, 1985 in Victoria, British Columbia.

Hylton Smith was an architect in Johannesburg who witnessed and photographed a shaman gathering as well as other images of people and villages in South Africa.

Charles E. Borden was born in New York City on May 15, 1905 and grew up in Germany. Borden returned to the United States when he was 22 and received his A.B. in German Literature from the University of California at Los Angeles in 1932. He continued his education at the Berkely campus of the University of California, getting his M.A. in German studies in 1933 and his Ph.D. in 1937. After teaching briefly at Reed College, Portland, Oregon, Borden joined the faculty of teh German Department at the University of British COlumbia in 1939 where he remained until his retirement.

Borden met Alice Victoria Witkin at Berkeley and they married in 1931. They had two sons, John Harvey and Richard Keith. Alice Borden pioneered in teh development of new techniques in pre-school education during the 1950s and 1960s. Her papers are available in teh University of British COlumbia Archives.

Borden had participated in some archaeological excavations around Hamburg as a youth, and in 1943 his interest in prehistoric archaeology was rekindled when he read Philip Drucker's book, Archaeological Survey of the Northern Northeast Coast. Beginning with a small dig in Point Grey in 1945, Borden gradually expanded the scope of his archaeological research to include salvage archaeology and major surveys throughout the province, including in-depth studies in the Fraser Canyon and Delta areas.

In 1949, Borden was appointed Lecturer in Archaeology in the Department of Sociology and Archaeology at the University of British Columbia, while retaining his responsibilities in the German Department. Throughout the balance of his career, from 1949 to 1978, Borden established a highly respected and internationally visible presence in archaeology as an instructor, author, editor, researcher and spokesman for the discipline. He developed the Uniform Site Designation Scheme, known as the Borden system, which has been adopted in most of Canada, and he devoted considerable energy to securing provincial legislation to protect archaeological sites. He was also responsible, in conjunction with Wilson Duff, for the passage in British Columbia of the 1960 Archaeological and Historical Sites Protection Act and the creation of the Archaeological sites Advisory Board.

Alice Borden died in 1971. In 1976 Borden married his second wife, Hala. Charles E. Borden died Christmas afternoon 1978 of a cerebral hemorrhage, having that morning completed a chapter he was writing for Roy Carlson's book on Northwest Coast Art.

After having graduated from the University of Oregon with a degree in Anthropology and a Teaching Certification, Karen, in the middle of her master's degree in Anthropology decided that she wanted real life experience with Native people. She applied to the departments of Indian Affairs in both the US and Canada and was very quickly contacted by Canadian Indian Affairs to teach for six months in a Catholic residential school in Lower Post, British Columbia, about 20 miles below the Yukon border. The following year (1965), she was hired to be the teacher of the village school teaching all Native children in grades kindergarten - 8. This was the last log cabin school in B.C. and her teacherage was an annex to the school.

The following year she was transferred to Cassiar, a mining town in northern B.C. There she taught the primary grades to both White and Native children.

In 1966, she became the first teacher at a new school that was to be built in Pelly Crossing, Yukon. All of her students were Native students, most of whom did not speak English. There was a trapping/hunting culture using dog teams only. She had the only vehicle in the village.

In 1967, she made the very difficult decision to leave Pelly Crossing to marry her fiance whom she had met in Cassiar.

For the next three years, she taught in Cassiar and in 1968 wrote the book "Johnny Joe" for her Native students, who had difficulty using the readers provided by the school.

In 1969, she and her husband made the decision to return to university and chose the University of Alaska because they wanted to stay in the north and also because the U of A had a reputation of having the best educational program for teaching Native children. In 1970, she received her Master's of Arts in Teaching and in the same year, obtained a teaching position at the Two Rivers School, a rural school about 30 miles from Fairbanks. This was a one room school and she taught grades 1-4. Having had success in her first year, the School Board decided to add another room and appointed Karen Head Teacher. Then, with another successful year, they decided to add another room. That year, 1973, Karen was awarded Teacher of the Year for Fairbanks as well as Teacher of the Year for the State of Alaska.

In 1973, she returned to Cassiar, where her husband obtained employment and she became a reading specialist helping the teachers in the Stikine School District to teach Native children. There she continued her quest to get better educational material for Native children, and obtained a small grant from the B.C. Teacher's Federation to write a book for Native children. The result was "Sun, Moon and Owl", published in 1975. This book was the most popular book requested by teachers and was republished 14 times.

In 1976, she obtained permission to take a year's leave of absence to write a book for the Tahltan people that could be used in the school curriculum. She, with the help of many Native people drove around the Telegraph Creek area to record the stories of the Elders and obtain photographs to show their culture. The result was Tahltan Native Studies.

In 1977, she and her husband moved to the Calgary area where she became a program specialist for the Rockyview School District. In 1984, she wrote "Language Experiences with Children's Stories" and "Once Upon a Time". Both books became required texts for graduate teaching students at the University of Calgary.

In 1988, she became principal of the Exshaw School in Exshaw, Alberta, which taught grades 1-9. Seventy-five percent of the students came from the nearby Stoney Reserve.

After suffering from some health problems, she retired in 1989. She continues to live in the area with her husband on a ranch located in the Foothills of the Rockies.

Jack Lieber (1918-2015) fled Russia with his parents, coming to Canada at the age of six. His mother was the concert pianist Olga Lieber. Enlisting in the RCAF, he flew many missions into Europe and survived the crash of the Lancaster bomber in which he was navigator. After the war, he earned his B.A., Dip Ed. and M.A. at McGill, and worked as a teacher in the Montreal area for many years. The highlight of his teaching career was six years with CIDA at the University of Ibadan, Nigeria, followed by a posting to Papua-New Guinea with UNESCO. When he retired in 1984, he and his wife Iris moved to Toronto.

Born in Alert Bay of Kwakwaka'wakw descent, Gloria Cranmer Webster completed high school in Victoria before moving to Vancouver where in 1956 she completed her undergraduate degree in Anthropology at the University of British Columbia. She worked as a counsellor at the Oakalla prison and later at the John Howard society, where she met her future husband, John Webster. She worked for the YWCA as a counsellor in Vancouver, then later as the program director at the Vancouver Indian Centre, before she was hired as an assistant curator by the Museum of Anthropology in 1971. She went on to assist in the development of the U'mista Cultural Centre in Alert Bay. She was heavily involved in the debate over repatriation of cultural items related to the potlatch. She received an honorary doctorate of Law from the University of British Columbia in 1995. She was named an officer in the Order of Canada in 2017.

Don was raised in Vancouver where he attended King George High School and the University of British Columbia, followed by postgraduate work at the Institute of Archaeology, London University and Washington State University, Pullman. In 1960 Don joined the staff of the Royal BC Museum as the first professional archaeologist in BC. In his 35 year career, Don continuously and selflessly promoted the discipline of archaeology. He conducted excavations on sites on southern Vancouver Island that contributed significantly to an understanding of Coast Salish history. Under his direction the Museum became the provincial centre for the documentation of archaeological sites and the storage of artifacts and associated data, held in trust for First nations. He was a member of the Archaeological Sites Advisory Board, of the committee that created 'Ksan Cultural Centre in Hazelton, worked on the Exxon Valdes Recovery Programme.

Donald N. Abbott, Acting Curator of Anthropology at the Royal B.C. Provincial Museum

Charles F. Newcombe was a British physician, botanist, and ethnographic researchers and collector. Born in Newcastle upon Tyne, U.K., he studied medicine in Aberdeen, Scotland. He immigrated to the United States with his wife and three children, moving to Oregon, before moving to Victoria, B.C., in 1889.

Shortly after his arrival in Victoria he became an unpaid researcher at the provincial museum in Victoria, where he met people with whom he shared interests in botany, geology, marine biology, geography, palaeontology, and anthropology. [...] In 1895, with Francis Kermode of the provincial museum, Newcombe had travelled by steamer on an expedition to the Kwakiutl community at Alert Bay and to Haida Gwaii. On this trip, he began acquiring anthropological artefacts for his personal collection and he also established a practice of recording detailed field notes. In 1896, he became a founding member of the Victoria Natural History Society. By 1897, Newcombe had had a boat specially made for his fieldwork. The Pelican, a 24-foot double-ended Columbia River boat, was easy to row and to sail, could be transported by steamer, and permitted independent expeditions to the remotest areas of the coast. That year he returned to the same regions on his first major independent collecting trip. At the request of the provincial government he purchased a Haida totem pole for the Royal Botanic Gardens at Kew (London) and he acquired artefacts for George Mercer Dawson of the Geological Survey of Canada. [...] By 1900, he had received commissions from major American museums. American anthropologist Franz Boas hired him to conduct research on the Haida history of the southern portion of Haida Gwaii. Newcombe was accompanied on this expedition by assistant, Douglas Scholefield, and Haida Chief, Elijah Ninstints. As they rowed and sailed together, Ninstints described the geography and history of his homeland, while Newcombe took notes and photographs, made sketches, and collected specimens. In late 1901, he agreed to work on a full-time basis for the Columbian Museum of Chicago, an arrangement that would last until late 1905. He acquired comprehensive ethnographic collections for displays on the Haida, Kwakiutl, Nootka, and Salish peoples. In 1904, he was commissioned to assemble ethnographic exhibits for the Louisiana Purchase exposition in St Louis that would include a group of Nootka and Kwakiutl cultural performers and artists, as well as a traditional Native house, a canoe, and other artefacts purchased and shipped for the event. He eventually developed a web of patrons, clients, and colleagues that extended throughout British Columbia and around the world.

For decades most ethnological artefacts from the northwest coast of Canada were purchased by foreign interests. Newcombe was dismayed that he could not interest provincial and federal governments in the collection and preservation of native artefacts and specimens of natural history. Since his overriding concern was to preserve these items for posterity, he was obliged to deal with American and other foreign institutions. In response to this situation, in 1911 the provincial museum at Victoria hired him as its agent. For four years he travelled throughout the province, compiling a major collection of artefacts. After 1914 his pace began to abate and he turned to researching and writing about the exploration history of the British Columbia coast. After a collecting trip to Alert Bay, he contracted pneumonia and died in 1924. From: http://www.biographi.ca/en/bio/newcombe_charles_frederic_15E.html

Francis Henry (Frank) Burnett was born in Peterhead, Aberdeenshire, Scotland on February 15, 1852. His parents were Peter Burnett and Henrietta Bond. His father was a whaler captain. Frank moved to Liverpool at an early age to attend the Merchant Taylor's Grammar School, planning for a career in business, but at age 14 he chose to apprentice on a sailing vessel. During his time as a sailor he travelled as far as Egypt and South Africa. Around 1870 he immigrated to Montreal, Canada. There he tried his hand at various enterprises; married his first wife, Henrietta Cooke in 1878; moved across the country to Manitoba in 1880; and to Vancouver c. 1895. He began making trips to the South Pacific in 1895. He was able to retire in 1901, at which time he outfitted a schooner, the Laurel, which he used to take another trip to the Pacific, collecting artifacts along the way. This 1902 trip is described in Burnett's first book "Through Tropic Seas" (1910). He also wrote "Through Polynesia and Papua" (1911), "Summer Isles of Eden" (1923) and "The Wreck of the Tropic Bird and Other Sea Stories" (1926). In 1912, and again in 1929, he made a small donation of objects to the City Museum (now the Vancouver Museum). From 1920-1927 he travelled in South America and British Columbia, where he also collected artifacts. In 1917 his first wife died; in 1923 he married his second wife, Anne Cooke. On July 25, 1927 he donated most of his collection to the University of British Columbia, where it was initially housed in a room on the first floor of the library. It was installed by Frank and his daughter Nina. (The collection also included a group of Inuit objects collected by Ian M. Mackinnon during three years he spent in the Coppermine River area of the N.W.T.) By 1935, the "Burnett Collection" (as well as several other artifacts held by the University) had been recorded in a booklet titled "The University of British Columbia Catalogue of Ethnographic Specimens". The listed objects became the founding collection of the UBC Museum of Anthropology. In recognition of his generosity, the University bestowed on him an honourary Doctor of Laws degree in November, 1929. Burnett died suddenly on February 20, 1930, while addressing the Canadian Authors’ Association, at the Hotel Vancouver.

Vickie Jensen and Jay Powell are partners in both life and work. Since the early 1970s they have worked together in Washington State and British Columbia to study, document, and help revitalise indigenous languages in the communities in which they were active. In addition to language work, the couple promoted Indigenous artists and assisted First Nations in their efforts to achieve self-determination.

James V. Powell (Jay) completed his first degree in archaeology at Wheaton College in Illinois in 1959. He then studied Near Eastern languages at the National University of Mexico, the University of Chicago, and Hebrew University in Jerusalem. Between 1958 and 1965 he worked on excavation sites in Mexico, Jordan, Egypt, Israel, Pakistan and Afghanistan. In 1965, seeking a quieter life, he began a degree at the University of Denver studying Archival Science, which he completed a year later. He then took a research librarian position at the New York Times and published two books on the translation history of the bible. In 1968 Powell began graduate studies in linguistics at the Pacific and Asian Linguistics Institute, University of Hawaii. In 1969 he began to conduct research on the Quileute language in La Push, Washington State for his M.A. and PhD degrees in Anthropological Linguistics. His dissertation, Proto-Chimakuan: a Reconstruction was completed in 1974.

Jensen earned a B.A., magnum cum laude, in English from Luther College in 1968. She then went on to do a Master of Arts in Teaching at the University of Iowa, which she completed in 1970. For her Master’s degree she specialised in education for children and youth that have trouble fitting into mainstream schools. During this period she also studied photography. She was employed in alternative education programs, and while teaching in South Dakota worked with Sioux adults. These experiences led to her strong conviction that teaching materials should reflect the students’ own environments and that language education should be pragmatic and realistic in its goals. She felt that incorporating photography that the students could relate to would lead to success in achieving these objectives.

In the summer of 1972 Jensen travelled to La Push to visit Powell, with whom she had been corresponding. While there, she photographed the community. In December of the same year she immigrated to Canada to join Powell in Vancouver where he had taken a teaching job at the University of British Columbia (UBC). At that time, the two began their collaborative work with Northwest coast communities, travelling to the villages in which they produced educational materials during Powell’s breaks at the University. Powell taught linguistics at UBC until his retirement in July 1999. Throughout his career he researched the languages of a number of indigenous groups and produced approximately 130 publications in linguistic, anthropological, pedagogical and popular journals, and books. Jensen’s first job in Canada was at the Gallery of Photography in North Vancouver where she worked and taught. In addition to a number of other photographic projects, many as part of her collaborative work with Powell, Jensen was editor of Westcoast Mariner Magazine from March 1988 – June 1991, and for Office @ Home from 1997 – 1999. Between 1995 – 2001 she published a number of articles and books on marine themes, focussing on underwater vehicles.

In addition to their work in the Northwest Coast, Jensen and Powell have also photographed and conducted research in communities around the world. This includes work in the USA, Mexico, South America, as well as four sabbatical years that took the couple and their two sons through Europe, Asia, South America, and Africa. As well as research trips, Jensen and Powell have spent recent years lecturing on cruise ships and travelling for pleasure.

Powell has remained active as an ethnographic and linguistic consultant throughout the Northwest coast since his retirement from UBC. He and Jensen continue to work with communities with which they have established relationships, on both a formal and an ad hoc basis. Powell has an ongoing contract with the Haisla, and there will likely be more work with the Quileute, in addition to casual projects that come up periodically.

Wilson Duff was born on March 23, 1925. After serving in the Royal Canadian Air Force as a navigator, Duff attended the University of British Columbia and graduated with a B.A. in 1949. Two years later, in 1951, he completed his M.A. in Anthropology from the University of Washington. Duff’s professional research concentrated primarily on the native cultures of the Northwest Coast and he was instrumental in the development of scholarship in this area. His influence on the study and appreciation of Northwest Coast art was also very profound as he inspired artistic work and in some ways was an artist himself, as evidenced by his poetry and the poetic nature of some of his writing.

In 1950, (prior to being awarded his M.A.) Duff was appointed Curator of Anthropology for the British Columbia Provincial Museum, a position he would hold until 1965. From 1960-1965 he directed the British Columbia Government Anthropology Program. In 1965 Duff left the Museum to become a professor of Anthropology in the Department of Anthropology and Sociology at the University of British Columbia. Throughout his career, Duff maintained a close association with museums and galleries, helping to plan buildings and exhibits, and he was involved in the early stages of planning of the new Museum of Anthropology at the University of British Columbia. Two major exhibits by Duff include “Arts of the Raven” shown at the Vancouver Art Gallery (1967) and “Images Stone B.C.” (1975) shown locally in Vancouver and Victoria before travelling to art galleries across Canada.

Duff was active on a number of committees and he was a founding member of the British Columbia Museums Association where he served as Vice-president from 1962-1963 and as President from 1963-1965. Duff also served on the joint British Columbia Provincial Museum and University of British Columbia Totem Pole Preservation Committee that purchased and salvaged some of the last remaining poles in the Queen Charlotte Islands in the 1950’s. In addition, he chaired the provincial government's Archaeological Sites Advisory Board from 1960-1966 and served on the provincial government's Indian Advisory Committee. During this time he led support for legislation to protect British Columbia’s archaeological remains and worked on the draft of British Columbia’s first “Archaeological and Historic Sites Protection Act” that was passed in 1960. In 1960 Duff acted as a consultant for the Kitwancool tribe and served as an expert witness in the Nishga land case before the B.C. Supreme Court in 1969. That same year, on behalf of the Alaska State Museum and the Smithsonian Institution, he surveyed the totem poles of southwest Alaska. Two years later, in 1971, Duff directed a project to record the history of southeast Alaska Indians for the Alaska State Museum.

Throughout his academic career, Wilson Duff wrote a number of articles, manuscripts and books. From 1950-1956 he was the editor of Anthropology in British Columbia and his first publication in 1953 was based on his Master’s Thesis on the Upper Sto:lo Indians. Published articles and book reviews by Duff can be found in Anthropology in British Columbia no.1, 2, 3, 4, 5; The Crowsnest 9(3); Victoria Naturalist vols. 7, 8, 16(7); B.C. Historical Quarterly, July-October 1951; American Anthropologist vol.54, no.4; Canadian Art 11(2); Anthropology in British Columbia Memoir no.4; Western Museums Quarterly 1(3); Museum Round-up no.12, 16; Anthropologica vol. 6, no.1; B.C. Studies no.3, 19; and Northwest Anthropological Research Notes 3(2). Although many of Duff’s manuscripts remain unpublished, a number of his books are considered to be foremost reference sources in their field. Such publications by Duff include: Thunderbird Park, Victoria B.C., (Government Travel Bureau, 1952), Selected List of Publications Pertaining to the Indians of British Columbia (with J.E.M. Kew, 1956); British Columbia Atlas of Resources (maps 12, 13a, 13b, 1956); Anthony Island, a Home of the Haidas (1957); Histories, territories and laws of the Kitwancool (1959); The Killer Whale Copper (A Chief’s Memorial to His Son (1960); Preserving British Columbia’s Prehistory. Archaeological Sites Advisory Board (1961); Indian History of British Columbia: The Impact of the White Man (1965); Thoughts on the Noot ka Canoe (1965); Arts of the Raven: Masterworks by the Northwest Coast Indians (1967); Indians before the arrival of the white men, the Indians after the arrival of the white men (1967); Indians of British Columbia: Selected Bibliography (1968); Totem Pole Survey of Southeastern Alaska (1969); Bibliography of Anthropology of B.C. (1973); and Images Stone B.C. Thirty Centuries of Northwest Coast Indian sculpture (1975). In 1996, Bird of paradox: the unpublished writings of Wilson Duff was published.

Wilson Duff died August 8, 1976 leaving behind his wife, Marion and his two children, Marnie and Tom. In 1981, “The World is as Sharp as a Knife: An Anthology in Honor of Wilson Duff” was published by the British Columbia Provincial Museum and contained essays, reminisces, artwork, and poetry celebrating Duff’s accomplishments, research and friendships.

Carol Elizabeth Mayer was a curator at the Museum of Anthropology (UBC) from 1987-2022. She is a Canadian citizen. Her educational background includes a Diploma in Arts & Sciences (honours) from Vancouver City College in 1972. In 1974 Carol completed a Bachelor of Arts (honours), majoring in Anthropology, at the University of British Columbia. In 1976 she received a Certificate in Social Anthropology from Cambridge University in Cambridge, UK and in 1996 she received a Ph.D. from the University of Leicester, UK in Museum Studies.

Carol began working at the University of British Columbia Museum of Anthropology (MOA) in 1987 as Curator of Collections and held that position until 1990 when she was appointed the Curator of Ethnology/Ceramics, a position she held until 2005. In 2005 she was appointed Curator of Africa/Pacific, and Curatorial Department Head. As of 2016, she is Curator of Oceania & Africa. In 1993 Carol also became an Instructor in the Department of Anthropology and Sociology. She was the co-founder and the Director of the Museum Studies Certificate Programme for MOA and the Department of Continuing Studies in 1996 and 1997. She has participated in several committees at MOA such as the Acquisition Committee, Collections Committee, Research & Teaching Committee, Executive Committee, and the Renewal Project Team. As Head Curator she is responsible for researching her area of specialty, publishing and presenting papers, representing the Curatorial Department on committees, constructing and overseeing departmental budgets, developing exhibitions and collections, and developing acquisitions policies.

Outside of UBC Carol is an instructor at the University of Victoria in the Faculty of History of Art (1989 to present), and at Emily Carr College of Art and Design in the Visual Arts Department and Art History Department (1993 to present). Previous to MOA Carol worked at The Vancouver Museum where she held several positions from 1975 until 1987.

Carol Mayer has published internationally on curatorship, exhibition, design and ceramics. She is active in provincial, national and international museum associations and has served on boards at all these levels. She has chaired and organized BC Museums Association Conferences as in the year 2000 where she was on the Planning Committee. The Canadian Museums Association awarded her in 1984 with the National Award of Merit for Curatorship and in 1991 with the National Award for Outstanding Achievement. In 2009 she received the International Council of Museums Canada International Achievement award. Many of her exhibition projects have involved collaborative work with communities and their artists, whether they be local or far afield.

Pam Brown was a curator in the Pacific Northwest Department of the UBC Museum of Anthropology (MOA), where she was responsible for the Heiltsuk, Wuikinuxv, Tahltan, Ktunaxa, Tsilhqot'in, and Tlingit collections. She has curated and co-curated a number of exhibits at MOA including ‘Mehodihi: Well-Known Traditions of Tahltan People’ (2003) and ‘Telling Our Stories, A Profile of Tahltan/Tlingit Artist Dempsey Bob’ (2001). She has worked closely with the Heiltsuk community on many projects and has contributed to the creation of a number of MOA sourcebooks, including ‘The Honor of One is the Honor of All’ (1996-2005) and ‘My Ancestors Are Still Dancing’ (2003).

Brown graduated with a Master of Arts degree from the University of British Columbia in 1994, having written a thesis and curated an exhibit at MOA entitled ‘Cannery Days: A Chapter In The Lives of the Heiltsuk,’ about the lives of Heiltsuk men and women in the BC fish processing industry. In 1994-1995 she was involved with the design and implementation of the Aboriginal Museum Internship Program (AMIP) and the Aboriginal Cultural Stewardship Program (ACSP) at MOA, two programs which provided native participants with practical training in how to develop low-cost, effective displays and resource materials on cultural subjects for their communities. In 1999, Brown coordinated a ‘Repatriation Forum’ which brought 180 First Nations members and museum professionals to UBC’s First Nations House of Learning to discuss the shared experiences of repatriation between First Nations in B.C. and tribes from the USA. Since 1999, Brown has also acted as supervisor of the Native Youth Programme.

Brown retired from MOA in the summer of 2020.