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Margaret Stott

  • Persoon

Margaret Stott served as the Curator of Ethnology and Education at the University of British Columbia's Museum of Anthropology from 1979-1990. Stott's duties included public programs, education, and curator activities. Stott also gave teacher and museum workshops as well as teaching anthropology classes at the University of British Columbia. Margaret Stott obtained her Bachelor of Arts from the University of British Columbia in 1966. In 1969, Stott received her Master in Anthropology at McGill University. From 1969 to 1972, she served as archivist at the National Museum of Man in Ottawa and from 1973 to 1975, she worked as the Anthropology Exhibits Coordinator for the Museum of Man. From 1979 to 1990, Stott served as the Curator of Ethnology at UBC's Museum of Anthropology. Meanwhile in 1982, Stott obtained her PhD in Social Anthropology from the University of London. In 1990, Margaret Stott completed the Foundation Programme in Tourism Management at Simon Fraser University. From 1979 onwards, Stott also worked as a museum consultant. Major exhibitions curated or coordinated by Margaret Stott include: "'Ksan: Breath of Our Grandfathers", a travelling exhibition of the National Museum of Man 91972-1973); "Ontario Prehistory", a travelling exhibition of the National Museum of Man (1973); "Athapaskan Peoples: Strangers of the North", an exhibition prepared by the National Museum of Man and the Royal Scottish Museum (1973-1975); "Objects from Northwest Coast Indian Cultures", a touchable exhibit for visually handicapped at the UBC Museum of Anthropology (1979-1980); "Kwaqiutl Echo Dance Costume" for the Guaranteed Trust Company (1980); "Northwest Coast Indian Art", a display in the Air Canada Maple Leaf Lounge at Vancouver International Airport (1980 onwards); "Form, Manufacture, Function, and Meaning" exhibited at MOA (1981-1982); "Art of the Northwest Coast Indians" was an exhibition for the UBC Hospital (1983); "O Canada!" at MOA (1984); "Blue Jeans" at MOA (1985); "To market, to market...the culture exchange", an exhibition about tourism and art at MOA (1989); and a Nuxalk exhibit (untitled) of the Canadian Museum of Civilization. Stott also worked on a number of audio-visual productions. "MOA Presents" consists of 8 half-hour productions for cable and educational television networks in British Columbia 1980-1981. "MOA Presents Series 2", consists of 6 half-hour programs for the Knowledge Network, public programming in British Columbia 1981-1982. "A Curator's Guide to MOA", a 30-minute audio tour tape, was produced in 1983. Stott is credited with a number of published independent and collaborative articles. Some of these titles include "Guide to the UBC Museum of Anthropology", "Bella Coola Ceremony and Art". Among her published journal articles: "Economic Transition and the Family in Mykonos, Greece"; "Video Disc: Museums and the Future"; "Object, Context, and Process: Approaches to Teaching about Material Culture".

Collections Area

  • Instelling
  • 1947 -

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.

Jennifer Kramer

  • Persoon
  • [19-?] -

Jennifer Kramer is an Associate Professor of Anthropology and Curator, Pacific Northwest at the Museum of Anthropology (MOA) at the University of British Columbia. She received a Ph.D. in Cultural Anthropology from Columbia University in 2003. Her research focuses on Northwest Coast First Nations visual culture in regards to aesthetic valuation, commodification, appropriation, tourism, legal regimes, and museums.

Kramer is the author of publications that include Switchbacks: Art, Ownership, and Nuxalk National Identity (UBC Press, 2006), Kesu’: The Art and Life of Doug Cranmer (Douglas & McIntyre Press, 2012) which won the 2012 British Columbia Museums Associations Museums in Motion Award of Merit and co-editor with Charlotte Townsend-Gault and Ki-ke-in of Native Art of the Northwest Coast: A History of Changing Ideas (UBC Press 2013) which received three awards: the 2015 Canada Prize in the Humanities, Federation for Social Sciences and Humanities; the 2015 Jeanne Clark Award in Northern History, Prince George Public Library; and the 2014 Melva J. Dwyer Award, Art Libraries Society of North America – Canadian Chapter. Kramer is also a co-applicant and partner in a $1 million SSHRC CURA grant (2011-2016) to explore new alternatives for the recovery of Indigenous heritage of two Quebecois First Nations: The Ilnu of Mashteuiatsh and the Anishnabeg of Kitigan Zibi.

Kramer's curated temporary exhibitions include: Layers of Influence: Unfolding Cloth across Cultures (UBC Museum of Anthropology, 2016-2017), Beyond the Cap + Gown: 100 Years of UBC Studen t Clothing with her ANTH 43 1 university studen ts (IK Barber Learning Commons, UBC 2016), Together Again: Nuxalk Faces of the Sky with her UBC university studen ts (UBC Museum of Anthropology and the Seattle Art Museum, 2012-2013), Kesu’: The Art and Life of Doug Cranmer (UBC Museum of Anthropology, The Museum at Campbell River, The U’mista Cultural Centre, 2012-2013) and the The Story of Nulis – a Kwakwaka’wakw Imas Mask (UBC Museum of Anthropology, 2010-2012).

James Herbert Watson

  • Persoon
  • 1934 -

James Herbert (Herb) Watson was born 5 December 1934 in Ontario. He studied Science at Waterloo College and Fine Arts at the Ontario College of Art, Toronto. In 1960, he spent one year at the Kokoschka International Academy of Vision in Salzburg, Austria.

During the late 1960s and early 1970s, Herb Watson worked as an exhibition designer in a number of museum environments: the Vancouver Maritime Museum and Vancouver City Museum, 1966; the Vancouver Centennial Museum, 1969; the Maritime and City Museums, 1970-1977. In 1977, he took a one year visiting appointment at the Museum Of Anthropology (hereafter MOA). In 1978, he became Exhibit Designer at MOA.

While at MOA, Herb Watson designed over sixty exhibitions, ten of which traveled across Canada and many of which involved studen
t trainees. He regularly taught exhibit design to studen ts in a UBC introductory museum course and supervised the design and installation of annual studen t exhibitions. He was frequently invited to give lectures and workshops at other universities and museum associations.

From 1985-90, Herb Watson managed a contract to research design and install the South Pacific Pavilion at Expo '86. His role included representing eight South Seas nations and travelling to the South Pacific to acquire artifacts. Between 1988 and 1990, Herb Watson designed the west wing extension of MOA that would house the Koerner Ceramics Collection. Herb Watson retired from MOA 28 February 28 1991.

Fuyubi Nakamura

  • Persoon

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).

Audrey Hawthorn

  • 35
  • Persoon
  • 1917 - 2000

Audrey Hawthorn was born November 25, 1917 in California. She was raised in New York City, and obtained a BA in 1939 at New College of Columbia University. Her thesis entitled "A curriculum for community studies in Habersham County Georgia", was completed under the supervision of Dr. Morris R. Mitchell, Professor, Community Planning. During 1939-1941 Audrey Hawthorn finished a thesis entitled "Socio Economic Appeals in Mass and Class Media", and was granted an M.A. degree. She also attended Yale Graduate School in Anthropology from 1940-1941. In 1941, Audrey and her husband, Dr. Harry Hawthorn, were given a joint fellowship in Latin American studies for coordinating the office of American Affairs and the Institute of Human Relations, Yale. Audrey Hawthorn was also a psychiatric case worker with the Family Services Agency in Yonkers, New York, in 1946 and 1947. Audrey came to the University of British Columbia in 1947 with her husband, who was appointed UBC's first anthropologist. She was appointed to the position of Honourary Curator. Audrey Hawthorn, a specialist in primitive art, was granted a regular appointment as curator in 1956. She was the first person, and the University of British Columbia the first institution in Canada, to begin the formal training of professional museum staff. From 1948 students from the Department of Anthropology voluntarily completed most of the work in the museum. By 1955, non-credit courses were offered to these students in order that they could actively pursue museum careers. In 1963, a credit course, Anthropology 331, Primitive Art, was added to the curriculum and in 1965 Anthropology 43 1, Museum Principles and Methods. For a number of years, these two courses were the only ones of their nature in Canada. Students were able to learn a great deal about the day-to-day operation of a museum by working with staff to complete a wide variety of activities. In recognition of her teaching responsibilities, Audrey Hawthorn was appointed Assistant Professor in 1966 and Associate Professor in 1971. Her most important publications are a study of Indian Arts and Crafts, commissioned by the Royal Commission on Arts, Letters and Sciences in 1951; "People of the Potlatch, the Art of the Kwakiutl Indians" and "A Labour of Love" (a history of the Museum of Anthropology). Due to deteriorating health, Audrey discontinued her museum duties in 1977. She formally retired in 1985. Audrey Hawthorn was awarded an honourary LL.D from the University of Brandon in May of 1984; received the Order of Canada in April of 1986; and an Honourary LL.D from UBC in 1986. Audrey Hawthorn died on November 18, 2000.

Miriam Clavir

  • Persoon
  • [ca. 195-] -

Dr. Miriam Lisa Clavir was the Senior Conservator of the Museum of Anthropology, University of British Columbia and Associate of the Department of Anthropology and Sociology at the University of British Columbia from 1980 to 2004. In 1969, she obtained her bachelor of Anthropology at the University of Toronto, Ontario, in 1976 her masters in Art Conservation at Queen’s University, Kingston Ontario, and in 1998 her doctorate in Museum Studies from the University of Leicester. In addition, Miriam Clavir was received as a Member of the Canadian Association of Professional Conservators in 1987 and as a Professional Associate of the American Institute for Conservation in 1993.

Prior to employment at the University of British Columbia, Clavir was an assistant conservator at Parks Canada, National Historic Sites Service, Quebec Region from 1976 to 1980, a conservation assistant for Parks Canada from 1973 to 1976, and an assistant for the Royal Ontario Museum, Toronto in the Archaeology and Conservation Department from 1969 to 1972.

During her employment at the Museum of Anthropology, Miriam Clavir was involved in the following committees: Ellen Neel’s Thunderbird Pole Committee (2001 to 2004), Aboriginal Relations and Repatriation Committee, (Chair 1996 to 2004); Exhibits Committee (Chair 1997 and 1998); Collections Committee (to 2004); Executive Committee (1995 to 1996), and; Acquisitions Committee (to 2004). In 1982 she chaired the conference “Doing Yourself In? The Artist as Casualty.”

As the head of the Conservation area, Clavir’s responsibilities and functions included:
• Managing the conservation function, including the lab at MOA;
• Initiating and implementing processes, policies and actions to ensure that the collections housed in MOA do not deteriorate;
• Responsibility for teaching museum conservation at UBC, including credit courses, directed studies, and supervising interns and students;
• Ensuring that conservation practices at MOA are sensitive to the concerns of First Nations communities and other groups;
• Performing MOA managerial work not directly associated with conservation (such as chair or a member of committees and/or manages selected MOA projects);
• Responsibility for planning and prioritizing future conservation needs at MOA, with the assistance of other conservation staff;
• Examining objects in MOA travelling exhibits and loans to ensure that artefacts are stable and travel would not endanger their condition;
• Acting as liaison conservator with receiving institutions for MOA objects on loan;
• Supervising and advising staff, students, and Volunteer Associates on conservation questions and issues;
• Providing services to the public on questions in conservation directed to MOA; and,
• Conducting research necessary to support the functions and responsibilities of the Conservation Area and for meeting requirements set in the mandate of the Museum.

As an instructor, Dr. Miriam Clavir taught the following courses: Anthropology 451: The Conservation of Inorganic Materials; Anthropology 452: The Conservation of Organic Materials; Anthropology 43 1: (1991-1992); Classics 440: Field school (1987); Archival Studies 610: (1983-1988). In addition, she was an instructor for the Continuing Education Department at the University of British Columbia (1986, 1983, 1981). She also supervised conservation interns from 1989 to 1997. Miriam Clavir was also the principal instructor and course organizer for “Collections Care”, University of Victoria Course #HA488D taught at the UBC Museum of Anthropology for the Aboriginal Cultural Stewardship Program. Furthermore, she taught Mus.482 (Conservation) at the Burke Museum, University of Washington, Seattle (1999, 2000, 2002).

In 1999, Clavir took a leave of absence from the Museum to publish a book based on her Ph.D. thesis, “Preserving What Is Valued: Museums, Conservation, and First Nations,” (2002) which won the 2002 Outstanding Achievement Award in the Conservation Category from the Canadian Museums Association. The book discusses the profession and ethics of museum conservation, and how conservation ideas and practices contrast with the values and concerns of First Nations.

She is also credited with numerous independent journal articles. Among these: “Museum Changes to First Nations Objects, and their Physical and Conceptual Reversibility” (1999); “The Future of Ethnographic Conservation: A Canadian Perspective” (2001) and “Heritage Preservation: Museum Conservation and First Nations Perspectives” (2003).

Miriam Clavir retired as Senior Conservator at the Museum of Anthropology in 2004.

Audrey Patricia Mackay Shane

  • Persoon
  • 1922 - 2007

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

  • Persoon
  • [19-?] -

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.

David Cunningham

  • Persoon

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.

Nuno Porto

  • Persoon
  • [19-?] -

Nuno Porto is originally from Portugal. He was trained has a social anthropologist. He did long term fieldwork in Central Portugal in the early 1990s, studying the relationships between literacy skills acquisition and gendered cultural knowledges. The coexistence of literate and oral rationalities in rural Portugal fueled interests in visual culture and on how religious experience is mediated by visual and material culture. The universe of visual theory and material culture studies was to become the center of his subsequent work related to museums. His PhD dissertation explored the articulation of colonialism, science, and museum culture, and how these merged in the co-development of the Dundo Museum in Northeast of Angola and of its proprietor, the Diamonds Company of Angola. This dissertation received the Calouste Gulbenkian Foundation award for the Social and Human Sciences Thesis and was published by the same foundation in 2009.

Between 2006 and 2012 he integrated the Commission for the Re-opening of the Dundo Museum, led by the Ministry of Culture of Angola that successfully concluded its works in 2012. During this period he also led a team that developed and implemented the website on the archival materials of the Diamonds Company of Angola held at the University of Coimbra, www.diamangdigital.net. He was also a member of the research team for the project ‘Bearing Waters’ led by Lisbon sculptor Virginia Fróis, on the renewal of traditional Cape Verdean women ceramics.

Between 1991 and 2011 he taught at the University of Coimbra, Portugal, on subjects related to theory in social anthropology, material culture, critical museology, visual culture, photography and African studies. His work has been published in four different languages in eight different countries. He coordinated the Graduate Program in Social and Cultural Anthropology between 2006 and 2011, and also taught in the Graduate Program on Design and Multimedia. He acted as director of the Museum of Anthropology at the University of Coimbra between 2002 and 2006, where his team developed a series of temporary exhibitions based on the notion of ethnographic installation.

In 2013 he was Invited Professor at the Post Graduate Program in Social Memory at the Federal University of the State of Rio de Janeiro - UNIRIO, in Brazil.

Porto currently serves as curator for Africa and South America at the University of British Columbia (UBC) Museum of Anthropology. He has been at UBC since 2012.

Wilson Duff

  • Persoon
  • March 23, 1925 - August 8, 1976

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.

Pam Brown

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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.

Carol Mayer

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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.

Darrin Morrison

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  • 1965 - 2023

Darrin Morrison was born on April 19, 1965 in Toronto, Ontario. From 1984 – 88 he attended the Ontario College of Art and Design. From 1991 – 1994 he was enrolled at the University of British Columbia (UBC), attending classes in Museum Studies, Conservation, and Chemistry. During the time Darrin Morrison was enrolled at UBC, he worked as a Museum Consultant, creating Emergency Contingency Plans for several local museums

From 1991 to 2005, he was employed at the Museum of Anthropology (MOA) at UBC. He was originally employed as a Preventive Conservation Specialist (1991-93) and moved into the position of Project Manager in the area of Preventive Conservation and Design, before his departure. Morrison’s tasks included designing museum exhibitions and displays as well as planning and implementing preventive conservation measures for the collections. He also taught and supervised students in classes such as preventive conservation, exhibition design, museum principles and methods. Besides teaching and working at MOA, Morrison also devoted time to instructing at cultural centres and small museums.

Darrin worked as the Administrator/Curator at the West Vancouver Art Museum from 2005 until 2020. He passed away in 2023.

Karen J. Clark (Kuil)

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  • May 22, 1940 – October 8, 2022

Karen J. Clark (née Kuil) graduated with a degree in Anthropology and Archaeology and a Teaching Certification from the University of Oregon. After completing her Master's in Anthropology, she accepted a teaching position in the Catholic Residential School of Lower Post (BC, Canada), where she moved in 1964. In 1965, she was hired by the school village to teach Indigenous children from grade 1 to 8 during the week and kindergarten on Sundays. The following year, she was transferred to Cassiar (BC, CA) where she taught the primary grades. In 1966 she was hired as the first teacher at a new school in Pelly Crossing (YT, Canada) where she taught Indigenous children who barely spoke English.
In 1967 Mrs. Clark went back to Cassiar where she married Paul Clark (a mining engineer). She continued teaching in Cassiar and, in 1968, published "Johny Joe" to help Indigenous students getting more engaged with reading.
In 1969, Mrs. Clark moved to Alaska, where she graduated in 1970 with a Master's in Teaching from the University of Alaska. That same year, she was hired at the Two Rivers School (30 miles from Fairbanks, AK, US) to teach grades 1 to 4.
In 1973, Mrs. Clark was awarded Teacher of the Year by Fairbanks and the State of Alaska. That same year, Mrs. Clark and her husband returned to Cassiar, where she was hired as a reading specialist to help teachers of the school district to teach and encourage reading among Indigenous children. In 1975, she published "Sun, Moon and Owl" with a grant from the BC Teacher's Federation.
In 1976, she took a year's leave of absence to gather materials to write a book for the Tahltan children that could be incorporated into the school curriculum. With help from many Indigenous people, she gathered materials from the Telegraph Creek area, resulting in the "Tahltan Native Studies."
In 1977, Mrs. Clark moved to Alberta, where she became the program specialist for the Rockyview school District. In 1984, she published "Language Experiences with Children's Stories" and "Once Upon a Time."
In 1988, she became principal of the Exshaw School, in Exshaw (AB, Canada), where the majority of the students came from the nearby Stoney Reserve.
Mrs. Clark retired in 1989.

Franz Boas

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  • 1858-1942

Franz Boas was a German-born American anthropologist of the late 19th and early 20th centuries, the founder of the relativistic, culture-centred school of American anthropology that became dominant in the 20th century. During his tenure at Columbia University in New York City (1899–1942), he developed one of the foremost departments of anthropology in the United States. Boas was a specialist in North American First Nations cultures and languages, but he was, in addition, the organizer of a profession and the great teacher of a number of scientists who developed anthropology in the United States. Boas undertook a year-long scientific expedition to Baffin Island in 1883–84. In 1886, on his way back from a visit to the Kwakiutl (Kwakwaka'wakw) and other Indigenous tribes of British Columbia (which became a lifelong study), he stopped in New York City and decided to stay. Boas’ first teaching position was at the newly founded Clark University (Worcester, Massachusetts) in 1889. Next, he spent a period in Chicago, where he assisted in the preparation of the anthropological exhibitions at the 1893 Columbian Exposition and held a post at the Field Museum of Natural History. In 1896 he became lecturer in physical anthropology and in 1899 professor of anthropology at Columbia University. From 1896 to 1905 he was also curator of anthropology at the American Museum of Natural History in New York; in that capacity he directed and edited the reports submitted by the Jesup North Pacific Expedition, an investigation of the relationships between the Indigenous peoples of Siberia and of North America.

Emma Hunt

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Emma Hunt (Maxwalaogwa) (nee Billy) was an instructor in the teaching of Kwagulth and Nuu-chah-nulth culture. She was married to the late Chief Thomas Hunt. Emma was the daughter of a great Mowachaht Chief and Shaman, Dr. Billy, from the Mowachaht of Yuquot (Friendly Cove) on the west coast of Vancouver Island. .

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