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authority records

Kyuquot Elementary Secondary School

  • Entidade coletiva
  • [19--] - present

The Kyuquot Elementary School, currently (2019) known as Kyuquot Elementary Secondary School, is located on Vancouver Island. The school provides aboriginal education to students grades K-12. The school is a part of the Vancouver Island West School District 084 that includes other four First Nations Schools.

Agnes Alfred

  • Persona
  • ca.1890-1992

Agnes Alfred (née Agnes Bertha Joe and also known as Axu, Axuw or Axuwaw) was a noble Qwiqwasutinuxw woman from the Kwakwakawakw Nation. She was known in her community as one of the last great storytellers in the classic oral tradition.

Daisy May Sewid-Smith

  • Persona
  • 1938

Daisy May Sewid-Smith (née Sewid) was born in Alert Bay, BC, on November 28, 1938, daughter of Chief James Sewid and Flora Violet Alfred, and granddaughter of Agnes Alfred. After graduating school, she took a secretarial course at Vancouver College and worked for the Indian Affairs Branch in Alert Bay. During her time in Alert Bay, she published several articles and books about the prosecution of potlatches and the confiscation and return of artifacts by the Canadian government.
Daisy Sewid-Smith is one of the leading linguistic experts in the Kwakwakka’wakw community, teaching the language and developing a method to transcribe it. She wrote a grammar book for the Kwak’wala language. She also translated some of Franz Boas’ texts in the context of land claim issues and contributed to the UN convention on the rights of the child. Sewid-Smith works in the Faculty of Education at the University of Victoria and was a member of the Advisory Council for the Centre for Studies in Religion and Society.
In the late 1970s, her grandmother, Agnes Alfred, introduced her to Martine J. de Widerspach-Thor (later Martine J. Reid) with whom she recorded and translated her grandmother’s memoirs between 1979 and 1985. From then until the late 1990s, they put a hold in their project for personal and work-related reasons. In the late 1990s, they resumed their work, which lead to the publication of the book Paddling to Where I Stand in 2004.

Public Programming and Education. University of British Columbia. Museum of Anthropology.

  • Entidade coletiva
  • ca. 1971 -

Audrey Hawthorn, as the Museum of Anthropology first official Curator, was the person initially responsible for Public Programming and Education. In Hawthorn’s time the function involved mainly exhibitions and the programs surrounding them, as well as raising the profile of the museum. When plans for a new building got underway more formal programming guidelines were developed. A Museum Programming Committee was formed in 1971, charged with the function of suggesting programmes for the new museum, which was at this time still in the planning phase. Along with other museum committees, this committee was given the task of developing programming ideas to help dictate the needs of the new building. Their mandate was to establish policy guidelines for museum programming.

In 1974 the Museum Public Programming Committee decided on two spheres of programming: academic and public programmes. Since this time, these functions have been shared by different positions with various titles. These position titles include Extension Curator, Education Curator, Museum Programme Coordinator, Public Programming Coordinator and Curator of Public Programmes.

Individuals that have been involved in these functions were often employed full time in the Museum, while others were employed part-time as museum curators and part-time as professors in the Department of Anthropology. These curators have traditionally had a very fluid function and their roles have included many additional responsibilities outside of public programming and education. These individuals include:

-Audrey Hawthorn, Curator (1947-1977)
-Elvi Whittaker, Coordinator of Public Programming (1973-1976)
-Hindaleah (Hindy) Ratner, Extension Curator (1978-1995) (on leave May -October 1984, January-July 1985, and September 1986-February 1987)
-Madeline Bronsdon Rowan, Curator of Ethnology and Public Programming and professor of Anthropology (April 1977-December 1986) (on leave 1979 and 1986)
-Margaret Stott, Curator of Ethnology and Education, and Professor of Anthropology (1979-1990)
-Roberta Kremer, Acting Education Curator (July 1989-June 1991) Acting Curator of Education and Volunteer Coordinator (1990-1991) Acting Education/Public Programming Curator (while Jill Baird was on leave January 2007- January 2008)
-Louise Jackson, Curator of Ethnology and Education (July 1991-1995) (on leave 1993-1995)
-Rosa Ho, Curator of Art and Public Programming (January 1988-1999) Curator of Art and Public Programming and Education (1992, 1996-1999)
-Jill Baird, Education/Public Programming Curator (March 1999-present) (on leave January 2007-January 2008)

Graduate students Margaret Holm and Susan Hull coordinated extension duties and programmes in Rowan and Ratners' absence in 1986 and 1987. There was no official replacement for the Extension or Education Curators during the absence of Rowan and Ratner nor with their resignations in 1986. This continued until Rosa Ho was appointed as the full-time Curator of Art and Public Programming in January 1988. She added Education Curator to her title in 1992 and again after the departure of Jackson in 1996. She held the position of Curator of Art, Public Programming and Education until she left in 1999.

Jill Baird took over the position of Education/Public Programming Curator in March 1999. This new position included the majority of the functions of the Art and Public Programming Curator, as well as the traditional functions of both the Extension and Education Curator and some additional responsibilities.

The function of Public Programming and Education has traditionally been responsible for exhibitions, education, public programs, and extension activities at the Museum of Anthropology. The primary function of this area was to locate cultures within the world context of art, to prepare exhibits, including travelling exhibits, to enhance cultural understanding and enjoyment of cultural diversity, and to cut across the disciplinary boundaries of art history, anthropology, and archaeology. These functions were developed in particular ways for specialized audiences through Exhibitions, Education, Public Programmes, and Extension activities.

The Education function has included establishing and supervising school programmes for students and teachers, and training members of the Volunteer Associates to conduct these programmes. Programmed activities included orientation walks, self-guided visits to the museum, cultural performances, and a variety of participatory sessions designed to complement the school curriculum, this included the development of units of curriculum and "touchable" artifact kits. School artifact kits included specially designed information and artifacts that were packaged and lent out to British Columbia schools to further anthropological education outside of the museum setting. The education programming also provided professional development workshops for teachers and students.

Public Programmes included artists' talks and panel discussions, storytelling, music, performances, workshops, lectures, non-credit courses, museum tours, identification clinics and audio-visual presentations.

Extension activities included the loaning out of exhibit materials and creation of travelling exhibitions. This included coordinating the development of in-house exhibitions, special events and lectures in conjunction with exhibits, exhibits in office spaces, and installations in off-campus locations.

The Museum's current public programming mandate, as of 1999, seeks to provide a forum for cultural expression, experimentation, and exchange of views. This is done through a variety of programs, including public talks, demonstration, guided gallery tours, lectures, hands-on workshops, artist talks, music, performances, film viewing and educational programs.

The Museum's current educational programming mandate is to develop and deliver quality programs to elementary and secondary school students that introduces them to other cultures and makes innovative use of the Museum's collections, exhibitions, and other resources. These programs include elementary and secondary classes, special programs developed in conjunction with temporary exhibitions, the Musqueam School, and summer day camps. Many of the educational programs are jointly developed with artists and other institutions.

Hudson's Bay Company

  • Entidade coletiva
  • From 1670

The Hudson’s Bay Company (HBC) was created by Royal Charter in 1670. For the most part of its history, the HBC was a fur trading business that played a significant role in the British colonization of North America.
During the second half of the 20th Century, the company gradually transformed into a department store chain.

Abaya Martin

  • Persona
  • ca. 1897-1963

Abaya Martin was a skilled weaver and source of knowledge on ceremonial lore. She features prominently in an Edward S. Curtis photograph of a Tlingit wedding, where she is the bride. This was her first marriage. Her second marriage was to Chief Mungo Martin. She accompanied Mungo while he was working at the University of British Columbia where she wove two Chilkat blankets for the museum. She lived with Mungo in Victoria where he worked on the longhouse and totem poles for Thunderbird Park. She passed away a year after Mungo's death.

Mungo Martin

  • Persona
  • 1879-1962

Chief Mungo Martin or Nakapenkem (lit. Potlatch chief "ten times over"), Datsa (lit. "grandfather"), was an important figure in Northwest Coast style art, specifically that of the Kwakwaka'wakw Aboriginal people who live in the area of British Columbia and Vancouver Island. He was a major contributor to Kwakwaka'wakw art, especially in the realm of wood sculpture and painting. He was also known as a singer and songwriter.

Mungo Martin was an important figure in the early history of the Museum of Anthropology. In 1950 and 1951 he worked for the University of British Columbia restoring and carving totem poles. These later stood in Totem Park at UBC and some were later moved into the great hall in the Museum of Anthropology. After this time he is best known for his work at Thunderbird Park in Victoria, where he helped to carve many of the totem poles and house posts that now stand in the park. He worked with several artists who became well-known including Bill Reid, Doug Cranmer, and Henry Hunt.

Gloria Cranmer Webster

  • Persona
  • July 4, 1931

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.

Tom Price

  • Persona
  • 1860-1927

Tom price was born on Anthony Island. He was known to have been chief of Ninstints. His work was known to have been collected by Dr. C.F. Newcombe and Mr. Lansberg. He often used whale and fish designs and often inlaid bone, ivory, and shell into his work. He died in Prince Rupert at an estimated age of 66. For further information on his life and work please see the Masters' thesis by Trisha Corliss Glatthaar at http://hdl.handle.net/2429/35004

Charles Gladstone

  • Persona
  • ca. 1877 -1954

Charles Gladstone was a Haida carver, of Skidegate, B.C. He was Bill Reid's grandfather.

Josephine Gladstone

  • Persona
  • ca. 1869 - 1932

Josephine Gladstone (nee Wilson) was born ca. 1869. She married Charlie Gladstone on February 4, 1892. They had three children: Magaret Janet (ca. 1892), Sophia (1895), and Edgar (1897). She died in Skidegate on March 12, 1932 at 63.

Lilo Berliner

  • Persona
  • [19-] - Jan. 1977

Lilo Berliner was a librarian in the references division at the University of Victoria with an interest in First Nations art. She was also an acquaintance of Elizabeth Hill, a published author on petroglyphs found in British Columbia and the west coast of North America. Lilo Berliner travelled extensively throughout the west coast of North America, and especially Vancouver Island, visiting and photographing petroglyphs and other First Nations art. The discovery of a bowl petroglyph on Salt Spring Island prompted her to write a letter to Wilson Duff, anthropologist at the University of British Columbia, with whom she maintained a regular correspondence until his death. Shortly before her own passing, Lilo Berliner gave this correspondence to her close friend, Salt Spring Island based writer, Phyllis Webb.

Anthony Carter

  • 25
  • Persona
  • 1920 - 1992

Anthony Lawrence Carter, the late author, publisher and photo-journalist, was born on October 22, 1920 in Somerset, England. He and his family emigrated to Wallaceburg, Saskatchewan in 1926 and later moved to Goodsoil, Saskatchewan . The Carter family leased an acre on Lac des Isles where they farmed for a living. In 1938, Carter purchased his first camera and learned how to develop his own pictures using an old developer and instructions from a Kodak booklet. In 1939, he applied to the Royal Canadian Air Force and was accepted a year later. He continued with the RCAF and the British Institute of Sciences and Engineering until he was discharged in 1945. Following his time in the Air Force, Carter held his first public exhibit in Ontario of images he had taken across Canada. He also spent time at the First Nations village in Fort Rupert where he began building a collection of his own photographs of the community. In 1948, Carter began working for MacKenzie Barge & Derrick as a shipwright where he took his first commercial photograph and began selling prints widely. In 1951, he decided to go into child photography, which he did exclusively for three years. Carter was also an active photo-journalist in the marine and logging fields, which led to his contributions to journals such as Western Fisheries, Canadian Truck Logger and The British Motor Journal.

While photography was Carter’s main source of income during the 1950s, he also spent his summers fishing to make a living. Around 1960, Carter purchased a 60 foot fish packer, the Wamega. He was based in Klemtu at this time and collected the history and legends of the Kynoc and Kit-is-tu people, which appeared in his first book. Carter’s publications, which include This is Haida (1969), Somewhere Between (1968), From History's Locker (1968), Wamega (1960s), and Abundant Rivers (1972), were directly inspired by First Nations people and their culture. He also wrote a book called Snowshoeing for Everyone (1975). Carter was a poet and accompanied his photos with his own text. Additionally, he undertook all aspects of designing his books for publication. Carter also worked with the National Museum of Ethnology in Osaka, Japan to develop its Northwest Coast collection, and was a consultant to the Museum of Anthropology in Vancouver, B.C.

Minn Sjolseth

  • Persona
  • November 4, 1919 - November 7, 1995

Minn Sjolseth was born on November 4, 1919 in Oksendahl, Norway. Sjolseth started to draw and paint in early childhood, and began her formal artistic training in Norway and in Germany where she studied the Old Masters. In 1953, Sjolseth emigrated to Canada and continued her studies at the Regina School of Fine Arts with Kenneth Lockheed. She also studied graphic art at San Miguel de Allende Art Institute in Mexico.

Sjolseth settled in Vancouver, BC in 1957, where she opened a commercial gallery and began her career as a portrait artist. During this time, she also had two children, Laila and Fred Johnsen. In 1967 she closed the gallery and focused her artistic practice on documenting Indigenous peoples and their cultural productions in a realist tradition. In 1968, Sjolseth married the photographer and journalist Anthony Carter. Out of their travels to First Nations communities along the coast of British Columbia and Alaska throughout the 1960s and 1970s, Sjolseth produced a number of landscape and portrait paintings as part of her "North West Coast Native" series, while Carter undertook work for his books. In 2009, the Kamloops Art Gallery held an exhibition entitled "Somewhere Between" which explored Minn Sjolseth's and Anthony Carter's artistic partnership during this period.

In 1974, Sjolseth had the opportunity to travel to Arctic Norway and work with the reindeer-herding Lapps (also known as Sami people) to create a series of paintings called "Reflection of Lapland" which was shown at the Frye Art Museum in Seattle, among other institutions. In July 1977, she was selected as the only professional artist to be a member of the media accredited to the visit of H.R.H The Prince of Wales to Southern Alberta to commemorate the Centennial of the signing of Treaty 7. Sjolseth's work has been exhibited in juried group shows in Canada and the United States, as well as international solo exhibitions. Her paintings are in several international collections, including the collections of the Crown Prince Harald of Norway.

Sjolseth and Carter moved to the Kamloops area of British Columbia in 1980, first living at Pinantan Lake and later at Lac Le Jeune. She continued painting, creating the "British Columbia Interior" series, while also pursuing cross-country marathon skiing competitively.

Sjolseth died suddenly in a car accident in Lac Le Jeune on November 7th, 1995.

Jack Lieber

  • Persona
  • 1918-2015

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.

Harry Bertram Hawthorn

  • Persona
  • 1910 - 2006

Harry B. Hawthorn was born in Wellington, New Zealand in 1910. He completed his B.Sc (1932) and M.Sc. (1934) with the intention of becoming a civil engineer. During the Depression Hawthorn worked for New Zealand's Native School Service. Unable to pursue his studies in science in the small communities in which he worked, he became interested in the humanities, studying history extra-murally. He earned his B.A. in 1937. The years spent in the Native School Service had an arguably strong influence on Hawthorn. He was offered and accepted a fellowship to study anthropology at the University of Hawaii in 1938. The following year he was offered another fellowship to study anthropology at Yale University where he completed his PhD in 1941. While there he met Audrey Engel who later became his wife.

Hawthorn's appointment to the faculty of the University of British Columbia in 1947 added Anthropology to the title of the Dept. of Economics, Political Science and Sociology. His objectives upon coming to UBC were to: establish his discipline in an academic setting of the University and in the Province; to offer anthropology as a contribution to the general education of a broad group of students and to begin the selection and training of a few specialists; to establish problems for ethnological research; and, in keeping with conviction that scholarship should be useful as well as decorative, to discover possibilities for the practical application of anthropology in the Province and the country.

In 1949, Hawthorn was asked by the Provincial Government to undertake a study of the problems confronting Doukhobors in British Columbia. He assembled a team of scholars from various disciplines to investigate different aspects of the issue. The subsequent report (1955), helped to ameliorate the Doukhobors and encouraged increased cooperation among the Doukhobors, non-Doukhobors and the government. It also proved to be a valuable experience for members of the research team. In 1954, the Department of Citizenship and Immigration commissioned a comprehensive study of B.C. Indians. Hawthorn again assembled a research team which completed its study in 1956. In that same year Anthropology, Sociology and Criminology separated from Economics and Political Science to form a new department with Hawthorn as its head, a position which he held until 1968. Hawthorn undertook direction of a third large-scale interdisciplinary research project in 1963 -- The Survey of Contemporary Indians of Canada (1966, 1967). The project not only influenced the development of native affairs in Canada but also contributed to development of Canadian anthropology by providing practical and research experience for a number of young scholars.
In addition to the above-described activities, Hawthorn and his wife Audrey also played a significant role in the development of the UBC Museum (later the Museum of Anthropology) and, in particular, the development of an outstanding collection of West Coast native artifacts.
Hawthorn served as a member of the UBC faculty until his retirement in 1976. He died in 2006.

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