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Series consists of records relating to proposals for development of exhibits at MOA which did not result in completed exhibitions. The series includes memoranda, correspondences, notes, proposals, budgets, interview transcripts and photographs.

The series is arranged into the following sub-series:

Subseries A: Exhibit Cultural Property
Subseries B: Mah [Unbound Lives: Chinese Women’s Dress in the Twentieth Century Exhibit Proposal
Subseries C: Textile Exhibit
Subseries D: Exhibit Ideas
Subseries E: Textile Access Project
Subseries F: Door Gods
Subseries G: Mayan Project
Subseries H: Gu Xiong
Subseries I: Grace Young
Subseries J: Ulli Steltzer Photograph Exhibit

Series consists of interview transcripts, film scripts, reports, guidelines, photographs and research notes pertaining to various projects conducted at the Museum of Anthropology by Madeline Bronsdon Rowan, including the Penal Project, Haida House, Kwakiutl House Carving Project, Centennial Projects and Bill Reid's interview, "Haida Means Human Being".

Series consists of interview transcripts, film scripts, reports, guidelines, photographs and research notes pertaining to various projects conducted at the Museum of Anthropology by Madeline Bronsdon Rowan, including the Penal Project, Haida House, Kwakiutl House Carving Project, Centennial Projects and Bill Reid's interview, "Haida Means Human Being".

Series consists of records created by William McLennan in the course of planning and photographing various projects and events at MOA.

Projects are considered as having a longer duration, often occuring outside of the physical museum building, and in cooperation with other bodies. McLennan often liaised with First Nation communities and artists during the planning stages of projects.

Events are considered as having occurred over a short period of time. Events were attended by McLennan as a MOA representative and photograph.

On both projects and events McLennan took on larger roles in addition to photographer such as community liason, presenting on topics, and designer. Each project and event comprises their own sub-series.

Series consists of correspondence, memoranda, proposals, drafts, research notes, draft text for exhibit labels, sketches, postcards and other textual material relating to numerous projects undertaken by Shane and others in the Museum. Includes records relating to the expansion of the Museum, Museum postcards, special projects related to improving corridor cases, access to totem poles and exhibits.

Series contains materials related to programs, events, and particular milestone ceremonies/celebrations at the Museum of Anthropology. Materials are primarily publicity, such as press releases, newspaper clippings, flyers, and invitations. Other record types include informational booklets, programmes, and registration forms. The series is divided into 15 files:

1. Field trips and day tours
2. Talks and workshops
3. Performances and screenings
4. Ceremonies and celebrations
5. Totem pole raisings
6. Youth and children's programs
7. School programs
8. Native Youth Program
9. Sunday programs
10. MOA construction and opening
11. Bill Reid tribute
12. MOA open house
13. 50th anniversary
14. Partnership of Peoples
15. Miscellaneous programs

Some files group together materials related to specific types of programming or events ("Talks and lectures," or "Youth and children's programs," for example). Other files are focused on a specific program, event, or ceremony. The "Miscellaneous programs" file groups together materials related to more than one type of program or event.

Includes records produced by or related to the Program Wide stream of the Renewal Project (MRP). The purpose of this stream was to “provide overall program management for the MRP and its streams, and to capture the objectives and scope elements which, being common to all or most of the streams, would be more effectively managed in a consolidated manner.” The objectives of the Program Wide stream were:

• To ensure that the MRP aligns with and delivers on the strategic objectives of the Museum as outlined in the MRP objectives to the fullest extent possible
• To work with First Nations communities, other program collaborators, and MOA’s diverse communities to deliver the MRP in a manner that is in accordance with the guiding principles and vision of the Museum.
• To optimize the allocation of bother human and financial resources to maximize the overall effectiveness of the program.
• To implement information technology systems that integrate with each other, are sustainable, and support the mission of the Museum and the objectives of the renewal program.
• To ensure the Museum remains operational and functional throughout as much of the renewal program as possible.
• To ensure relevant funding agencies are satisfied with both the process and the outcomes of the MRP.
(Purpose and objectives of the Program Wide stream are from the MRP Program Scope Definition, 1.2.)

Jill Baird was the Program-Wide stream lead.

Material in the series includes early planning documents, budgets, committee and other meeting minutes, correspondence, records related to various sources of funding and staffing, communication with UBC and the University’s Board of Directors, records related to First Nations community consultations and partnerships, PR and communications documents, and records related to IT planning.

The series is divided into subseries based on the various functions of the Program Wide stream.

Series consists of records relating to the Oceanic Art Symposium.

Series consists of 13 art prints, related to the collections or exhibitions of the Museum of Anthropology. The series includes works by Arthur Amiotte (Oglala Lakota), Clifford Beck Jr. (Navajo), Doug Cranmer (Kwakwaka'wakw), Robert Davidson (Haida), Jim Hart, (Haida), Richard Hunt (Kwakwaka'wakw), Gordon Miller, and Ken Mowatt (Gitxsan).

Series consists of records created, received, and/or used by Lindy-Lou Flynn, a contract researcher hired by the Museum of Anthropology to work under the supervision of Rosa Ho. Lindy-Lou Flynn documented and conducted field-work on Pow-Wows in British Columbia and Washington State. The Pow-Wow research project focused on the role of Pow-Wows in the construction and perception of native identity. Records include a contract, funding and financial information, a final report, field notes, correspondences, colour slides, audio tapes and their summaries, a bibliography, artifacts, posters, a video, a photograph, signed release forms, scholarly articles, newspaper clippings, and brochures on the Pow-Wow 91 research project.

Series consists of creative works written about Duff after his death, as well as a book of unpublished writings of Duff (Birds of Paradox). Works include rough and completed drafts of poems, short stories, articles, essays, a book and an opera.

Series consists of materials related to Carter’s work as a photographic correspondent, primarily from Carter's work for Canada Rides Magazine documenting HRH Prince Charles' visit to Alberta for the centennial of the Treaty 7 signing between the Crown and Blackfoot First Nations. Files include photographs, textual materials, and other ephemera.

The series consists of over 600 hundred black-and-white photographs and negatives that relate to Lt. Col. Parker and his wife’s time in Tibet (1921- 1924), and a collection of more recent colour photographs of Tibetan objects that were collected by the couple. The majority of the b&w photographs were taken by Lt. Col. Parker during his military period, as well as the year following his release. The images depict military scenes, festivals and events, individual and group portraits, as well as various landscapes and architecture. Significant among these photographs are images of: the photographer who accompanied famed British climber, George Mallory; the Dalai Lama’s personal escort; and the first Lhasa Apso dogs out of Tibet. A small number of images (e.g., those of the Dalai Lama in 1910-1911) predate Lt. Col. Parker’s time in Tibet and are believed to have been given to him by some unknown person(s). The original photographs were not labelled; however, valuable contextual information has been provided by Father Donald, whose descriptions and commentary accompany a large number of these images (see Item List).

The prints are located in two photograph albums identified as Photograph Collections A & B. Photograph Collection A contains 243 b&w photographs, all of which are considered to be original prints. Although duplicates of images occur, these simply represent copies developed on different paper. It was reported (by Father Donald) that the last 48 photographs in this album were found loose and spread throughout Lt. Col. Parker’s papers. A total of 189 prints in Photograph Collection A have acetate negatives. Collection B contains 170 b&w photographs, of which all are considered original prints. A total of 67 b&w prints in Photograph Collection B have acetate negatives. Collection B also contains 74 colour photographs of artefacts to which there are no negatives. Duplicates of 68 b&w prints exist between the Photograph Collections A & B.

The series also includes 210 b&w negatives which correspond in number and sequence to print images found in Photograph Collection A: 193 negatives have corresponding prints; 17 negatives have no prints associated with them. A small number of negatives are duplicated. There are no negatives for the colour prints.

Accompanying the series is one compact disc (CD No. 5) consisting of 243 scanned b&w prints and 104 scanned negatives. The scanned prints also correspond in number and sequence to print images found in Photograph Collection A. Ten of the scanned negatives have acetate negatives but no prints associated with them; one scanned negative has neither acetate negative nor print (see Item List).

Series consists of photographs, negative and slides documenting activities of the Museum of Anthropology. Most activities took place at the museum, but some took place elsewhere. The activities documented include exhibit openings, exhibit preparation, celebrations, artists working, presentations, conferences, workshops, and notable guests.
Slides in subseries 1-5 are stored in five binders, arranged chronologically. Photographs, negatives and slides in subseries 6-8 are stored in boxes, arranged according to the events they depict. Slides in subseries 9 are stored in a box, arranged topically.

Series contains photographs collected for curatorial research by MOA staff, mostly relating to First Nations geographical areas, cultures, and artists. The series also includes photographs documenting MOA activities, staff, and volunteers.

The photographs are organized into two subseries:
A. Early MOA activities and curatorial research
B. MOA Activities, 1976 and later

Series contains photographs taken by Cunningham of the inside and outside of the building, exhibit cases, exhibit spaces, and other institutions.