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Series documents Nisga’a artist Norman Tait and his crew of carvers during a period in which they were prolific in their creation of totem poles.

Jensen first met Tait in the early 1970s when she would photographic artists’ works for Bud Mintz, Vancouver gallery owner. In 1985 she had the idea to produce a book documenting the carving of a totem pole from start to finish. She approached Tait, who initially refused but called Jensen back just a few days later to take her up on the offer, after being commissioned to create a pole for the Native Education Centre in Vancouver.

Jensen photographed Tait and his crew, which consisted of his brother Robert (Chip), his cousin Harry Martin (Hammy), his nephew Wayne Young and his eldest son Isaac (Ikey). She also made notes and audio recordings of Tait’s lessons to his crew, most of whom had never worked on such a large project. The photographs and tapes were used in the creation of the book Where the People Gather: Carving a Totem Pole. The project also led to the publication of a children’s version, Carving a Totem Pole and a paperback version titled Totem Pole Carving. The books were published in the early 1990s.

Jensen documented Tait’s next two major commissions: two poles for Capilano Mall in 1986, and a pole for Stanley Park in 1987.

In 1987 Tait adopted Jensen into the Nisga’a Eagle Clan and began to teach her about the responsibilities that came with the honour. The lessons were put into practice in 2001 when Tait asked Vickie to guard the body of a family member that had died.

The series includes photographic records of the creation of the four poles; audio recordings of lessons and interviews with Tait; transcripts of the audio tapes; and notes. The series consists of five sub-series:

A. Native Education Centre (NEC) pole photographs
B. Capilano Mall and Stanley Park poles photographs
C. Misc. photographs
D. Tait family and crew artists’ photographs
E. Audio tapes and transcripts.

Series includes audio and video interviews with Agnes Alfred and other members of the Kwakwaka'wakw community. Series also includes translations of some of those interviews or sections by Daisy Sewid-Smith

Travel, research, museum, and personal photos taken by or pertaining to Anthony Shelton. Photos have been sorted into subfolders by place and date, with some further sorted by more specific locations. A list of these photographs is in progress.

The series consists of materials related to Fuyubi Nakamura's participation in the creation and operation of exhibitions. Currently this exclusively relates to records of the exhibit (In)visible: The Spiritual World of Taiwan through Contemporary Art/形(無)形-台灣當代藝術的靈性世界 (November 20, 2015 – April 3, 2016).

Includes scans from Anthony's personal files, of conferences material, invitations, miscellaneous photographs, newspaper articles, published interviews, and presentations relating to his time and work at MOA. Scans were done by graduate student assistants, to be used on Anthony's website that was created when he retired from his position as MOA Director (https://www.anthonyalanshelton.com/)

Series consists of records (primarily photographic slides) documenting Minn Sjolseth's travels with her husband Anthony Carter to visit events and communities at locations including Haida Gwaii, Ketchikan, Kitwancool, Kingcome Inlet, Kispiox, Gitsegukla, Kitwanga and Skidegate among others. The contents of the series reflect First Nations cultures in British Columbia throughout the 1960s and 1970s, including Haida, Nuu-Chah-Nulth, Skwxwú7mesh, Nisga'a, Kwakwaka'wakw. The photographs document potlatches, totem poles, villages, landscapes, as well as portraits of individuals. The series also contains files with a small number of photographs documenting Sjolseth's paintings on these subjects, as well as Sjolseth at work on her art on location in these communities and locations.

Series consists of slides that were created but never used for the Orientation Centre slide show. Slides are divided into 2 main groups: Museum of Anthropology and Native Culture. Within each group, the slides are subdivided by different themes:

Museum of Anthropology has 7 themes: K’san Door Opening (May '76 - 9 slides); Miscellaneous (4 slides); Press Conference (34 slides); Opening (100 slides); Installation (55 slides); Pre-Data Book Installation (7 slides); and Artifacts (6 slides).

Native Culture has 6 themes: Technology (61 slides); Landscape, Habitat and Lifestyle (187 slides; Weaving (7 slides); Native Art (9 slides); University of Washington Map of the North West Coast (5 slides); and Native Art and Life (83 slides).

Series consists of slides and a video for the film production UBC MOA An Introduction to its History with Madeline Bronsdon Rowan.

Series consists of published and unpublished articles utilized by Madeline Bronsdon Rowan to carry out her educational function at the Museum of Anthropology and at the Department of Anthropology.

The series is divided into the following series:
A) Education Articles (1972-1982)
B) Native Culture Articles (1976-1979)
C) Museums and Exhibits Articles (1971-1982)

Series consist of miscellaneous records, in the form of research notes, curriculum vitae, and brochures relating to Madeline Bronsdon Rowan’s teaching function. This includes records relating to the channel 10 broadcast of Museum Collecting, and the Northwest Coast Culture treasure hunt and potlatch.

Series consists of bibliographies, workshop notes, reports, and articles pertaining to Madeline Bronsdon Rowan's teaching positions at the University of British Columbia. This includes her senior instructor position in the Department of Anthropology and the workshops offered for students and professors through the Faculty of Education at the University of British Columbia.

The series is divided into the following sub-series:
A) Courses and Workshops for the Faculty of Education (1978-1982)
B) Senior Instructor in the Department of Anthropology (1975-1986)

Series consists of workshop notes, curriculum unit notes, reports, photographs, slides and negatives pertaining to native studies programmes offered at the Museum of Anthropology and Madeline Bronsdon Rowan's work on the Native Youth Project, the Coast Salish Project, the Spirit Song Project, and the Native Indian Youth Advisory Committee. Also included are audio tapes and workshop notes pertaining to the North West Coast workshop.

The series is divided into the following sub-series:
A) Native Education Programmes records (1969-1984)
B) Coast Salish Project records (1975,1983-1984)
C) Native Youth Project records (1979-1987)

Series consist of minutes, reports, statistics, memorandums, correspondence, evaluations, advertisements, budgets, workshop notes, programme notes, curriculum vitae, contacts, information packages and bibliographies pertaining to school based programmes and workshops for both students and teachers offered in schools and Museum of Anthropology. The records also include the relations between the museum and the Vancouver School Board (VSB).

The series is divided into sub-series:
A) Programmes Administration Records (1976-1983)
B) Student Workshops and Programmes Records (1975-1985)
C) OutreachProgrammeRecords(1981-1986)
D) Teacher Workshops Records (1976-1984)

The Volunteer Associates was formed in 1976, as a programme of volunteers at the Museum of Anthropology. On March 15th of that year, 16 members of a steering committee began the process of organizing the volunteer group. By April 1976, 34 members in total participated in their general meeting. In 1977, the Volunteer Associates enacted an official policy. They are a self-administered organization, designed to provide assistance and services to the museum and its staff. The Volunteer Associates is made up of various committees, whose members work with a committee head. The committee head, in turn, coordinates activities with a museum staff member.
Series consists of charter, correspondence, memorandums and minutes of meetings relating to the creation of the Volunteer Associates.

Series consists of proposals, memorandums, classification scheme, receipts, shipping lists, surveys, reports photographs and research notes pertaining to Madeline Bronsdon Rowan's curatorial function of producing "touchable" artifact kits and educational curriculum units.

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".