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Chief Thomas Hunt, was a singer, orator, and hereditary Chief of the Kwagulth Band of the Kwakwaka'wakw Nation. He was married to Emma (nee Billy) Hunt (Maxwalaogwa), the daughter of Mowachaht Chief and Shaman, Dr. Billy from Yuquot, Friendly Cove. Emma was an instructor of Kwagulth and Nuu-chah-nulth culture. Their children are: Ross Hunt Sr., Calvin Hunt, Tony Hunt, and Eugene Hunt and his grandfather was the renowned carver Mungo Martin.

Charles Kerry opened his studio in 1884, which later became Kerry and Co based in Sydney. In 1913 he toured the Pacific, taking photographs in Tonga, New Caledonia, Fiji, Papua New Guinea, the Solomon Islands and Samoa. The studio closed in 1917.

Paul Hocking was born in 1935 near Haileybury College, England. He developed a passion for pre-history and museums at a young age, pursuing studies in Near-Eastern archaeology at Sydney University before moving to North America. On the continent, he worked at MOA briefly before earning an M.A. and Ph.D., conducting fieldwork in South India with the Badaga people. Hockings was prolific, with his career spanning continents, books, and films. He made particular contributions to the study of South Indian cultures and demographics, editing several key journals in the field and becoming a professor emeritus at the University of Illinois.

Paula Gustafson was a Canadian artist, art critic, editor and author specializing in craft. Born in Abbotsford, BC, Gustafson pursued an early artistic career, working initially with pottery but expanding to watercolour painting, botanical drawing, bronze casting, glassblowing, jewelry, and handmade paper, and weaving. During this time Gustafson also began exploring the world of textiles, making her own natural dyes for the hand-spun wool she made into woven tapestries and knitted garments. It was during this time she researched and wrote “Salish Weaving.”

From 1983 to 1985, Gustafson served as President of the Alberta Crafts Council before becoming Executive Assistant to the President and Board of Governors at the Alberta College of Art. In 1989, Gustafson co-founded Artichoke magazine with Mary-Beth Laviolette and David Garneau, a publication that showcased Canadian visual artists nationally and internationally. She served as President of the Alberta Crafts Council, worked with the Alberta College of Art, curated exhibitions, and lectured across Canada.

Throughout the 1990s, Gustafson contributed to the world of art and craft as a writer and editor to a number of Canadian and international publications, including Artichoke, Western Living, Canadian Living, Ceramics Monthly, The Vancouver Sun, and Asian Art News. She later served as Director of the City of Calgary's Visual Arts Board and organized the Alberta Needles II quilt exhibition. From 1993 to 1999, Gustafson was a visual arts critic for The Georgia Straight, Xtra West, and The Calgary Straight, and worked as a correspondent for major international art publications. She lectured widely across Canada, participated in art and publishing conferences, and mentored emerging artists on professional practices. In her final months, she served as editor for Galleries West magazine, remaining active in the arts community until her death from cancer in 2006.

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 431 “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.

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 student trainees. He regularly taught exhibit design to students in a UBC introductory museum course (Anthropology 431) and supervised the design and installation of annual student 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.

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 431: (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.

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 students 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 student 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 student and contract workers. See the fonds level description for a list of individual Collections staff names.

Chief Willie Seaweed, known as Kwaxitola ("Smoky-Top"), was born in 1873 at a time when Kwakwakw'akw culture flourished. He died in 1967 having seen nearly a century of technological change, such as dugout canoes replaced by diesel-powered fishing boats and airplanes. A 'Nakwaxda'xw chief, he was born just eleven years before the passage of the anti-potlatch law. He did, however, create very elaborate art for potlatches. "The name 'Seaweed' is an anglicization of the Kwakwala 'Siwid', which can be translated as 'Paddling owner', 'Recipient of paddling', or 'Paddled to'; all metaphors for a great chief who sponsors potlatches to which guests come from far off" (Holm 1983). Seaweed was a singer, storyteller, wood carver, and artist who kept the traditional potlatches alive through the years in which it was illegal. Willie Seaweed was a traditional artist who passed on his skills to a younger generation and his work is scattered throughout collections in Canada and the United States.

Ronnie Evelyn Tessler was born in Saskatoon, Saskatchewan in 1944 and has resided in Vancouver, B.C. since 1968. She attended the University of Manitoba, the Manitoba Institute of Technology, the Emily Carr College of Art and Design, the University of Victoria, and Simon Fraser University, where she received a Masters of Arts in Liberal Studies in 2006. Tessler became a documentary photographer in 1973, working on various photographic projects and exhibiting her work in Canada and the United States until 1990. Her artwork resides in a number of public collections, including the National Archives of Canada, the Canada Council Art Bank, and the Canadian Museum of Contemporary Photography. In 1990, Tessler became the first executive director of the Vancouver Holocaust Education Centre, and was instrumental in its development into a fully-staffed facility with a museum, archives, and education and resource centre. Since 1996, she has worked as an independent project consultant and editor for cultural arts groups in B.C.

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.

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

Beatrice ‘Beatty’ Pilon worked in Chengtu, Szechwan, China in the late 1940s and made a month-long trip into Tibet by horseback in 1948. Some objects Pilon purchased while in Tibet were later donated to the Museum of Anthropology.

Kuldip Gill was born in Punjab, India; she and her family immigrated to Canada when Kuldip was five years old. The family formally settled in the Fraser Valley area of British Columbia. After working for several years in the resource industry, she pursued and obtained both a BA and MA in Social Anthropology from UBC, the latter in 1982. In 1988, she received a Ph.D. – also from UBC – after extensive travel to Fiji to research the lives of elderly Indian women there.

Robert W. Reford was the heir to the Reford shipping and navigation business. In 1889 he journeyed from Montreal to British Columbia in order to assist with his family’s business there. He stayed in the province until 1891. Though centered in Victoria, Reford made several trips along the coast of British Columbia, into the interior and in to the Arctic. Reford was an amateur photographer and while in British Columbia he took a large number of photos, both of his acquaintances and of the local scenery and inhabitants.

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

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

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

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

David Neel is a fifth generation Indigenous artist who draws on both his heritages, Kwakwaka'wakw and European, for his artistic creations. He studied the work of his ancestors by looking at collections and publications of Kwakwaka'wakw art and uses traditional materials to create his contemporary works. He attended the Mount Royal College in Calgary and the University of Kansas where he studied photography. He has also created a series of masks on contemporary issues, which continues to be a focus of his work in photography, graphic arts, and sculpture. He comes from rich cultural and artistic roots: his father was Dave Neel Sr. who was taught to carve by his mother, Ellen Neel, and her uncle, Mungo Martin.