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Special projects and events

Series consists of records relating to special projects and events hosted by or produced in whole or in part by the Museum of Anthropology. Also included are records pertaining to special projects and events coordinated, proposed and/or chaired by Elizabeth Johnson. Records include memoranda, minutes, correspondence, request for funds, address lists, handwritten notes, a press release, donor proposal, budgets, object lists, invitation cards, business cards, photocopies of business cards, a photocopy of a newspaper article, draft reports, itineraries, financial records, maps, photographs, slides, oversized posters, audio cassettes, two CD-Rs and a condition report.

The series is arranged into the following subseries:
Subseries A. Ming Pau
Subseries B. V.A.G. Delegation
Subseries C. Fiftieth Anniversary
Subseries D. Canadian Museums Association
Subseries E. Convergence 2002
Subseries F. Wong Toa Anniversary exhibit
Subseries G. Jin Wah Sing Musical Association
Subseries H. Cantonese Opera
Subseries I. Opera in the Museum book proposal
Subseries J. Collaborative process
Subseries K. Delegations
Subseries L. Photos for publication
Subseries M: Photos
Subseries N: Honouring Master Wong Toa [Restricted]
Subseries O: Costume source book
Subseries P: Shuswap travelling display
Subseries Q: Grant applications
Subseries R: CFI
Subseries S: Musqueam Heritage Awareness Program

Elizabeth Lominska Johnson

Somewhere Between records

Series consists of images found in or related to Carter's 1966 published work. Focus is on photographic representations of First Nations communities along B.C.'s North coast, including the Xwemelch'stn (Coast Salish), Kynoc, Kitisug, Klemtu and Tsleil-Waututh nations. Files are generally arranged chronologically according to locality and/or subject matter. Except where noted with square brackets, the titles for files and items in this series were taken from annotations on the original material.

Anthony Carter

From History's Locker records

Series consists of images found in or related to Carter’s [date] published work. Focus is on photographic representations of First Nations communities located throughout British Columbia. Localities include: Alert Bay, Gwayasdums (Gilford Island), Karlukwees (Turnour island), Kingcome Inlet, Mamalilikulla, and Uchucklesaht. Series includes images of totem poles and community members from Ehattesaht, Kwakiutl (Kwakwaka’wakw) and Nuu-chah-nulth nations. Files are generally arranged chronologically according to subject matter and/or locality. Except where noted with square brackets, the titles for files and items in this series were taken from annotations on the original material. Except where noted with square brackets, the titles for files and items in this series were taken from annotations on the original material.

Anthony Carter

Sakamoto printed exhibit material

Series consists of printed materials sent from Kojo Sakamoto to the Binnings related either to the Bishop’s own art, or that of his mentor, Tomioka Tessai. Printed material comes in the form of exhibit catalogues, brochures, pamphlets, and newspaper clippings. A collection of encapsulated photographs from an undated calligraphy exhibit is also found in this series.

Bertram Charles (B.C.) Binning

APEC photographs

Series consists of photographs of, in, and around The Museum of Anthropology during the APEC Leaders’ Meeting, including images of the APEC leaders, protesters, and the staff at MOA.

Asia-Pacific Economic Cooperation (APEC)

Museum events and performances files

Series consists of records related to events and performances held at the Museum of Anthropology and the publicity received by these events and performances, particularly publicity generated by the Public Relations and Communications Office. In addition to records regarding general events and performances, the series include records related to special visits made to the museum by Queen Elizabeth II, Prince Charles, Princess Margaret, Premier Brian Mulroney, Premier Zhao of China, and King Juan Carlos of Spain, records regarding trips sponsored by the museum, as well as calendars of events produced by the Public Relations Officer between 1984 and 1990.

Series is divided into the following sub-series:

A. General events and performances files, [ca.1977]-2008
B. Special visits files, 1983-2004
C. Calendars of events files, 1979-1997
D. Museum of Anthropology trips files, 1981-1984

Orientation Centre records

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).

Teaching and Research

Series consists of slides representing the inventory of Central Coast Salish art photographed by Dr. Kew during his visits to various North American museums and the British Museum in preparation for the exhibition Visions of Power Symbols of Wealth: Central Coast Salish Sculpture and Engraving. The images illustrate a wide variety of traditional art objects including masks, adzes, spindle whorls, mat creasers, and totems poles, as well as various jewelry, instruments, and utensils. The series also includes two volumes of the Central Coast Salish Computerized Art Inventory, which provides a detailed physical description of each art object.

Financial files

Series consists of textual records and photographs related to funding received by the Public Relations and Communications Office and the Museum of Anthropology. Includes records related to public relations budgets, campaigns to raise funds for the museum, grants and trusts applied for or received by the museum, as well as records regarding sponsorship by Corporate Friends of the Museum and museum members.

The series has been divided into the following sub-series:

A. Public Relations budget files, 1981-1989
B. Fundraising files, 1985-1986
C. Grants and trusts files, 1983-1985
D. Corporate Friends of the Museum files, 1981-1986
E. Museum of Anthropology membership files, [198-]-1989

Media activities files

Series consists of textual records, photographs, and other graphic material related to the advertising and promotional activities of the Public Relations and Communications Office, as well as its function as liaison with the media and its use of various forms of media to communicate with the public. Includes records relating to Museum of Anthropology advertisements and publicity, as well as records related to the Office’s media contacts and relations, television and film projects filmed at the museum, as well as records related to the production and distribution of Museum of Anthropology publications.

The series includes the following sub-series:

A. General media activities files, 1975-2014
B. Proposal files, 1977-1985
C. Coupon book and museum passes promotion files,1983-2014
D. Tourism related promotions files,1980-2015
E. Television and film files, 1981-2012
F. Museum publications files, 1981-2004

Visual Documentation of Clothing and Textiles

This series consists entirely of graphic materials. While the materials are not accompanied by any contextual information, it can be assumed that the images found in this series were taken by Ruus on various trips. Specifically this photographic documentation examines textiles from China, Macedonia, Croatia, Slovakia, the Circum-Polar region, India, the South Western United States, South America, the Middle-East and Europe. Record forms included in this series are slides, photographs, and memoranda.

Inge Ruus

Research Project series

This series consists of records collected for a research project, which involved documenting the Northwest Coast objects within German museums. In June of 1989 Duffek went to Berlin to photograph a portion of the collection of Northwest Coast artifacts collected by Johan Adrian Jacobsen from 1881-1883. This collection is predominantly at Berlins Museum Für Völkeskunde (now called the Ethnologiesches Museum Berlin, Staatliche Museen zu Berlin Preussischer Kulturbesitz). On this trip, she also visited the Hamburg Museum fur Volkerkund, Museum fur Nolkerkunde in Lubeck, the Nationalmuseet in Kopenhagan, and the Statens Ethnografiska Museum in Stockholm. Marjorie Halpin got a UBC research grant and hired Duffek as a research assistant although Duffek initiated the project itself. The series consists of notes, slides, contact sheets and negatives for the project.

Exhibition planning

Series consists of records relating to exhibition planning carried out by Rosa Ho in her capacity as Curator of Art and Public programmes. Included in the records are planning records for exhibitions, installations, and performances hosted by and produced in whole or in part by the Museum of Anthropology.
Records include correspondence, memoranda, financial records, artist lists, object lists, artifact descriptions, exhibition programs, hand written notes, exhibition announcements, designs for labels, photographs, transcripts, grant proposals, loan agreements, artifacts, newspaper clippings, photocopied scholarly articles, a grant application for the “Chilcotin War” project, a Musqueam weaving proposal, a telephone transcription, an audio cassette and exhibition proposals.

Collections - information, acquisition and documentation

Series consists of records pertaining to the Museum of Anthropology’s collections and to legal issues surrounding the housing of cultural artifacts. Areas of focus include records on Chinese cultural property guidelines and the Shaw Collection, Inuit art and discussions on ownership of Archeological materials.
Records include minutes, email print outs, newspaper clippings written in Chinese characters, transcriptions of First Nations’ myths and legends, object lists, interview transcriptions, scholarly articles, correspondence, handwritten notes, consultation service forms, agendas, reports, audio cassettes and a b&w photograph.

Volunteer Associates records

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.

Volunteer Associates records

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.

Northwest Coast artists series

Series consists of photographs documenting Northwest Coast artists and their work throughout the 1970s and 1980s

Jensen first began to photograph works of art for Bud Mintz around 1973 when he was working for Langara College. Before he opened his gallery she would go to the College to photograph the jewellery and art he had for sale. Often the pieces had been purchased and he wanted to document what he had sold. Once he opened his gallery of Indigenous art in South Vancouver, Jensen would go to the gallery to take pictures.

Through her work with Bud Mintz Jensen met many Northwest coast artists, both Indigenous and non-Indigenous. As she developed relationships with many of these artists, she documented them and their work.

Some of the later photographs of artists were taken to accompany articles and other work that Jensen was doing at the time.

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