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Although NEC (formerly Native Education Centre) had existed since 1967, it was in 1979 that the society was formed to assume control and broaden the scope of education to include academic post-secondary courses. The school moved into its current facilities in 1985, a building featuring architectural features of a traditional Pacific Coast longhouse.

The Asia-Pacific Economic Cooperation is the result of a call by Australian Prime Minister Bob Hawke in January 1989 for Asian-Pacific economies to consult on how they could effectively cooperate and increase trade and investment flows in the Asia-Pacific. Australia’s motive was to create an Asia-Pacific economic identity, of which it would be an integral part. Japan endorsed the Australian proposal and became the second driving force in the creation of APEC. The first APEC meeting of trade and foreign ministers took place in Canberra in November of 1989 (with twelve attendees: Australia, Brunei, Canada, Indonesia, Japan, Korea, Malaysia, New Zealand, Philippines, Singapore, Thailand, and the U.S.).
A summit or Leaders’ Meeting has become an annual event since President Clinton invited leaders to Blake Island in 1993. The first APEC Leaders’ Meeting was held in Seattle in November 1993. This first Leaders’ Meeting of economies represented half the world’s population and 56% of its GNP. A year later all APEC leaders met at Bogor, Indonesia, and at that meeting the Leaders resolved to move to free trade and investment by 2010 for industrialized member economies, and by 2020 for developing member economies. The 1995 meetings were in Osaka, Japan where the Osaka Action Agenda was agreed to, setting out a template for future APEC work towards common goals. The Philippines convened the APEC Leaders’ Meeting in 1996 at Subic Bay. The Leaders’ Meeting was held in Vancouver, Canada in 1997 at the Museum of Anthropology on the University of British Columbia campus.
The following 21 countries are members of APEC as of 2022: Australia, Brunei, Darussalam, Canada, Chile, China, Hong Kong SAR, Indonesia, Japan, Korea, Malaysia, Mexico, New Zealand, Papua New Guinea, Peru, Philippines, Russia, Singapore, Chinese Taipei, Thailand, United States, and Vietnam.
APEC has three standing committees, one steering committee, and a few other forums that report to the Senior Officials Meeting. The three committees are the Committee on Trade and Investment (CTI), the Economic Committee (EC), the Budget and Management Committee (BMC). The Senior Officials' Meeting (SOM) Steering Committee on Economic and Technical Cooperation (SCE) has 14 working groups: Agricultural Technical Cooperation Working Group (ATCWG), Anti-Corruption and Transparency Experts’ Working Group (ACWG)
Emergency Preparedness Working Group (EPWG), Energy Working Group (EWG), Experts Group on Illegal Logging and Associated Trade (EGILAT), Health Working Group (HWG), Human Resource Development Working Group (HRDWG), Oceans and Fisheries Working Group (OFWG), Policy Partnership on Science, Technology and Innovation (PPSTI), Policy Partnership for Women and the Economy (PPWE), Small and Medium Enterprises Working Group (SMEWG), Telecommunications and Information Working Group (TELWG), Tourism Working Group (TWG), and Transportation Working Group (TPTWG). The CTI deals with trade and investment liberalization and business facilitation concerns. The role of the EC continues to evolve. It is primarily responsible for providing the Senior Officials Meeting with information and analysis on broad, crosscutting issues which are not easily handled by one of the working groups.

The Collection’s Care, Management and Access department (CCMA) of the Museum of Anthropology (MOA) was formed April 1, 2015, as part of a larger organizational restructuring. It combined the previously separate Collections Care & Management department and Library & Archives into a single department. The core functions of the former departments remain largely the same: to manage and preserve object, paper and digital collections; to facilitate public, community and academic access; and, to collaborate in the dissemination of knowledge through exhibitions, publications and training. One of the main goals in combining these previously distinct departments into CCMA was to better integrate the digital, archival and object collections (the tangible and intangible aspects of culture) to facilitate access and interpretation.

Members of CCMA also work with other units on UBC’s campus - including the Barber Learning Centre, the Endangered Languages Program and the development of the Truth and Reconciliation Unit – and help mobilize these relationships to assist with the implantation of new language initiatives at MOA.

The Head of CCMA is Heidi Swierenga, who became Head when the department was established in 2015 and remains so to the present (as of 2017).

For more detailed information about each of the areas within CCMA, see the records for Collections, Conservation, and the Audrey & Harry Hawthorn Library and Archives.

List of Past and Current CCMA Staff

• Audrey Hawthorn -- Curator of Ethnology, 1947-1983

• Audrey Shane -- Archivist/Librarian, 1975-1979
-- Curator of Documentation , 1979-1987

• Elizabeth Johnson -- Curator of Collections, 1979 - 1986
-- Curator of Ethnology/Documentation, 1986 - 2006

• Miriam Clavir -- Senior Conservator, 1980-2004

• Mauray Toutloff -- Conservator, 2009 - present (2017)

• Carol Mayer -- Museum curator (various titles), 1987 – present (2017)
-- Librarian (unofficial title), ca. 2000's

• Ann Stevenson -- Collections Manager, 1990- ca. 2003
-- RRN Programme Manager, 2004 - 2005
-- Information Manager , 2006 – present
-- AHHLA Department Head, 2011/2012 - present (2017)

• Allison Cronin -- Assistant Collections Manager, 1990-1996
-- Manager of Loans/Projects, 1996-2003
-- Loan Manager, 2004 - 2005

• Nancy Bruegeman -- Assistant Collections Manager, 1996-2003
-- Acting Collections Manager, ca. 2004-2005
-- Collections Manager, 2005 - present (2017)

• Darrin Morrison -- Preventative Conservation Specialist, 1991 - 1993
-- Project Manager, Conservation, 1993 – ca. 2003
-- Manager Conservation/Design, ca. 2004 - 2005

• Heidi Swierenga -- Collections/Conservation Intern, 1997-1998
-- Assistant Conservator, 2000- ca. 2002
-- Conservator, 2002 – ca.2013
-- Senior Conservator, ca. 2013-present (2017)
-- Collection Care & Management Dept. Head, ca. 2005-2016
-- CCMA Department Head, 2015 - present (2017)

• Susan Buchanan -- Documentation Coordinator/Collections Project Manager, 2004 - 2005
-- Collections and Loans Coordinator, 2005 -2014
-- Department Head, 2010 - 2011

• Candace Beisel -- Collections Technician, 2010-present (2017)

• Teija Dedi -- Acting Collections Research Facilitator, ca. 2012-2014
--Interim Loans Manager, 2014
-- Loans Manager, 2014 – present (2017)

• Caitlin Pilon -- Collections Assistant, 2014 – present (2017)

• Lisa Bruggen-Cate -- Collections Assistant, 2002 – 2005

• Magdalena Moore -- Collections & Loan Coordinator, 2006 – 2007

• Shabnam Honarbakhsh -- Acting Collections & Loans Coordinator, 2009 – 2010
-- Acting Conservator, 2010 – 2011
-- Project Conservator, 2012 - 2013

• Krista Bergstrom -- Collections Assistant, 2006 - 2008
-- Collections Research Facilitator, 2008 – 2016

• Justine Dainard -- Librarian, 2002 – 2005
-- Research Manager (Library), 2006 - 2008

• Krisztina Laszlo -- Archivist, 1999 – 2014

• Shannon LaBelle -- Research Manager (Library), ca. 2009 - 2014

• Alissa Cherry -- Research Manager (Library & Archives), 2014 – present (2017)

• Gerry Lawson -- Oral History & Language Lab Coordinator, 2009 – present (2017)

• Elizabeth McManus - Archivist, 2014 – 2015

• Jessica Bushey -- Digitization Lead, 2006 - 2011

• Kyla Bailey -- Imager, 2007 – present (2017)

Note: In addition to the staff listed above, numerous museum, library, and archives assistants, students, and interns were hired on a short term basis for CCMA work.

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.

Fred Ryckman was born in eastern Canada in 1888. As a youth he moved with his family to the Kootenay region of British Columbia where he remained for the rest of his life, residing first in Creston then in Cranbrook. In 1912 Ryckman began his career with the Department of Indian Affairs serving as a constable in that department. During this period he also served in the position of Indian Farm Instructor. In 1931 Ryckman was promoted to the position of Indian Agent, a post he was to hold until his death in 1935. During the twenty-three years of his employment with the Department of Indian Affairs, Ryckman took an active interest in the language and culture of the people with whom he was working, a fact which is reflected in his papers.

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.

Edward Sheriff Curtis was born near White Water, Wisconsin, in February 1868. The Curtis family moved soon thereafter to Minnesota, and he grew up near the Chipewa, Menomini, and Winnebago native tribes. He was 19 (1887) when his family moved to the pioneer villages of Puget Sound, Seattle, where his father, Johnson Curtis, died of pneumonia. Edward had to support the family. He farmed, fished, dug clams and did chores for neighbors, but nonetheless managed to buy his first camera.

With only grade school education, Edward Curtis taught himself photography from self-help guides and built his own camera. He was keenly interested in the Puget Sound natives’ way of life. He made his first Native Americans’ photographs in 1896. Among them was the photograph of Angeline, the daughter of Chief Seattle, whom he photographed at Seattle waterfront.

He spent a season with the Blackfoot natives of Montana. A selection of his photographs, "Evening on Puget Sound," "The Clam Digger," and "The Mussel Gatherer", won first place in the Genre Class at the National Photographic Convention and won again the next year.

Curtis was later invited to join the famous Harriman Expedition to Alaska the Bering Sea, which was the last great nineteenth century survey to ascertain the economic potential of America's frontier. On May 30, 1899, Curtis set sail from Seattle with a crew of 129 among whom were some of the world’s leading scientists including Robert Grinnel, a leading ethnographic expert on Native Americans. Curtis was one of the only two official photographers on the two-month expedition. After a trip of nine thousand miles the party returned with five thousand pictures and over six hundred animal and plant species new to science. New glaciers were mapped and photographed and a new fjord was discovered. Curtis photographed many of the glaciers, but it was his pictures of the native peoples that established his artistic genius.

For the most part, Curtis labored at his own expense. But in 1906, with Theodore Roosevelt’s connection, he was introduced to J. Pierpont Morgan who agreed to fund his “North American Indian” project.

Curtis lived among the native peoples and studied their ways in depth and by doing so gained their friendship and trust.

His health and family life suffered due to overwork and long absences. His wife, Clara, and their four children could not always accompany him. In 1919 Clara filed for divorce and received, as part of the settlement, Curtis’ studio with all of his negatives. The original filing was years earlier, but Curtis was always in the field and could not be made to come to court. She continued to manage the studio with her sister. Curtis was obliged to move, in 1920, from Seattle to Los Angeles with his daughter Beth from where he continued the Project and shoot films.

He began his involvement with the film industry by assisting Cecil B. Demille ("The Ten Commandments"). Throughout his career, Curtis would fight to be accepted by scholars of North American Natives, especially the approval of The Smithsonian Institute.

In 1930, Volumes 19 and 20 of "The North American Indian" were published. The project was finally completed. The work, initially expected to take 15 years, took 30 years during which time Curtis visited the Arctic and over 80 North American native tribes.

Anne Melita Williams was a graduate student in the Department of Anthropology and Sociology.

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.

Chief Bill Cranmer (T̓łaḵwagila) is the son of Dan Cranmer, who hosted the 1921 potlatch now often referred to as the "Cranmer Potlatch" and the brother of Kwakwaka'wakw carver, artist, and 'Namgis Chief, Doug Cranmer (1927-2006), and activist, curator, and writer Gloria Cranmer Webster (1931-).

Chief Bill Cranmer has been a strong and vital voice for the sustainment of the ‘Namgis First Nation language and culture. He led the repatriation of cultural objects including masks, bentwood boxes, and regalia that were confiscated under duress in 1921 after a Kwakwaka’wakw potlatch held in the village of ‘Mimkwamlis on Village Island, BC. The confiscation was sanctioned through Canada’s “Anti Potlatch Law” which existed between 1884-1951. Twenty community members were sent to be imprisoned at the other end of the province because of practicing their traditions. A fluent speaker of Kwak’wala, Bill worked tirelessly to retrieve the appropriated pieces and raise awareness about the need to preserve and maintain language, history, and culture. The repatriation of some of the 750 confiscated items has had a significant positive impact on the community. He has travelled to Japan, Australia, New Zealand, and elsewhere to share the story, and present on behalf of the Assembly of First Nations and the First Peoples’ Cultural Foundation.

As Chief Councillor of the ‘Namgis First Nation, Bill negotiated economic treaties to develop businesses for his nation to prosper. Bill has spent numerous terms on the Executive Board of the Native Brotherhood of BC and has been an Elder/Cornerpost with the First Nations Health Authority, giving historical and cultural input into meetings. His efforts in the preservation of First Nations’ traditions have gone a very long way towards Reconciliation. In a speech at the 1980 opening of the U’mista Cultural Centre, which houses much of the reclaimed potlatch items, he said, “It’s important to know your past if you are going to fight for your future.” From: https://ltgov.bc.ca/t%CC%93la%E1%B8%B5wagila-chief-bill-cranmer/

On Monday, June 19, 2017, Bill Cranmer was presented with honours in Recognition of Outstanding Indigenous Leadership by David Johnston, Governor General of Canada. In June 2022, Chief Bill Cranmer was given a British Columbia Reconciliation Award.

Ellen May Neel was the niece of Mungo Martin and granddaughter of Charlie James, and she began drawing and painting very early in life, at age 12. Ellen Neel's father was Charles Newman who in turn was the son of James Newman. She attended St. Michael's Residential School in Alert Bay and learned outside of school how to carve from her grandfather, Charlie James. Ellen married Ted Neel and had a large family with him. In 1946, Ellen had to solely support the family by carving full-time, since Ted Neel suffered a serious stroke which impaired his health for life. Thus, her husband dealt with the business side of her work, while Ellen carved and painted. She worked on a number of restoration projects (including some at UBC) and commision projects as well. In 1950, she was elected onto the board of the Vancouver Centre Liberal Association--a support group for one of Canada's strongest political parties-- she became the first native woman to hold office. Ellen Neel produced works for the tourist trade and sold things through Totem Art Studios in Stanley Park. All the while Ellen worked, she taught her children her skills; at the age of 12, Dave Neel, the oldest son, was as good a carver as his mother, but in 1961 he died in a car accident in Washington State, and both Ellen and her husband never recovered from the pain. Her Kwakwaka'wakw name was Kakaso'las, which means "people come from faraway to seek her advice".

Bob Kingsmill is a professional potter and ceramics instructor who lives and works near Vernon, BC. Born in Vancouver, Kingsmill trained in ceramics under Muriel Guest in Winnipeg before returning to British Columbia and establishing his own pottery studio in Kelowna in 1967. Kingsmill later moved to Bowen Island, where he compiled his first book A Catalogue of British Columbia Potters (published 1978). In 1979, Kingsmill opened a studio on Granville Island in Vancouver, which he continues to operate alongside his studio near his current home in Vernon.

Bob Kingsmill produces a wide variety of stoneware and raku-fired ceramics, including wall murals, masks, and functional pottery. Besides his artistic endeavours, Kingsmill has led many pottery workshops throughout BC and has taught at Capilano College, Malaspina College, and for Emily Carr College of Art and Design’s Outreach Program.

Biographical information unavailable.