Eulachon: A Fish to Cure Humanity

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  • February 5 - March 31, 1992 (Gallery 5)
  • With the voices of First Peoples, curators, and others, this exhibition demonstrates the traditions associated with the fishing of the eulachon and the technology used to render its precious oil. The critical importance of this resource to the First Peoples of the Northwest was such that vast trade routes were created to exchange it with Interior Peoples. This network of routes through difficult mountain terrain was followed by early European explorers and later by the builders of today’s highways.

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Eulachon: A Fish to Cure Humanity

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Kingcome Photo Slides

File includes photo slides of KIngcome Estuary and Kingcome Village. Slides also include a note and a business card indicating the photographer.

UBC Museum of Anthropology Annual Report April 1, 1992 to March 31, 1993

The report outlines the museum's administrative activities and finances for the previous fiscal year as well as listing staff, attendance figures, acquisitions, exhibitions, educational activities, public programming, events, loans, research projects, publications of the museum and its staff, and media coverage of the museum.

Haisla Photos Kemano

File includes photos taken at a Eulachon camp along the Kemano River. Subjects include: the process of building the camp, making the eulachon oil, seagulls and sea lions feeding on eulachons, and boats fishing for eulachon.

Eulachon: A Fish to Cure Humanity

Subseries consists of records relating to the exhibit “Eulachon: A Fish to Cure Humanity.” The exhibit was installed in Gallery 5 at the Museum of Anthropology from February 5 to May 31, 1992, and explored traditions associated with the fishing of eulachon and technology used to render its oil. In his capacity as Designer, Skooker Broome worked on the planning, designing, and installation of the exhibit. Records include: memoranda, correspondence, negatives, color photographs, b&w photographs, thumbnail photographs, transparencies, French and English exhibition captions and didactic panels, travel receipts, pencil and ink drawings, published articles, artifact lists, project summaries, budgets, a fish stamp, conservation records, exhibit catalogue drafts, colored photocopies of photographic images, exhibit diagrams, exhibit instructions, exhibit layouts installations, and designs.