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Two wood carvings

Image depicts two rectangular wooden panels carved with a variety of figures and crests. Central to both carvings is a figure with large ovoid eyes. These may be the McMichael lintels.

Two totem poles standing in Totem Park

Two totem poles standing in Totem Park. The pole on the viewer's right was carved by George Hunt Sr. The pole is now part of the museum's collection.
This pole was originally carved for the Edward S. Curtis film "In the Land of the War Canoes" which was originally titled "In the Land of the Head Hunters." The pole was repaired and re-painted by carvers Ellen Neel in 1949 and Mungo Martin in 1950-51. It stood at Totem Park, UBC Campus until it was re-located to the Museum's Great Hall in 1976.

Two totem poles on a truck trailer

Two totem poles lie on a truck trailer as they are being moved from Totem Park to the new Museum of Anthropology building. The pole on the viewer's left was carved by George Hunt Sr. The pole is now part of the museum's collection. This pole was originally carved for the Edward S. Curtis film "In the Land of the War Canoes" which was originally titled "In the Land of the Head Hunters." The pole was repaired and re-painted by carvers Ellen Neel in 1949 and Mungo Martin in 1950-51. It stood at Totem Park, UBC Campus until it was re-located to the Museum's Great Hall in 1976.

The pole on the viewer's right was carved by Mungo Martin and was later restored by him in 1950-51.

Two totem poles

Image depicts two poles standing in an open area. The front pole features a human-like creature on visible portion. The back pole also includes a human figure at the bottom with an owl on top. The figures on the bottom may be crest figures (Leading In or Halfway Out) or a Man of the Wild. Read's note suggests that one of these may be a Pole of Hrkyadet at Kispiox.

Tsimshian songs recorded by Dr. Viola Garfield

Item is a recording of Tsimshian songs recorded by the American anthropologist Dr. Viola Garfield (1899-1983) of the University of Washington. The songs in this recording were sung by Matthew Johnson (ca. 1867 - ?) who was one of the leading lineage heads of the G-spaxlo-‘ts tribe, and a great admirer of the lineage of the Tsimshian chief, Legaic” (Legaik, Legex). The title Legaic was carried by at least four chiefs of the Tsimshian Eage Clan. The last-known individual to carry the title took it in 1938.The cylinder numbers referenced during the recording are #14561, #14562, #14563, #14564 .

The Dr. Viola Garfield fonds is housed at the University of Washington Special Collections. She carried out field work in the summer of 1932, 1935 and 1937 at the Tsimshian village of Port Simpson, British Columbia. An Ediphone machine provided by the University of Washington Anthropology Department was used to record and store the songs on wax cylinders, which were deposited at the University. The recordings were transferred to the open reel format in 1971. More information is available in Dr. Viola Garfield's book Tsimshian Clan and Society (1939), available in the MOA Reading Room, call number 12.7 TSI GAR.

A document that accompanied this recording contains the following text:
Document text:
Cylinder 14561
000 - Song # 1 - Matthew Johnson - marriage song composed for the wedding of Legaik’s sister to ni•s nawa•
030 - Song # 2 - Matthew Johnson - entertainment and potlaching song, a song belonging to Legaik
080 - Song #3 - Matthew Johnson - supernatural power song ni•s nawa, Sky Spirit
137 - Song #4 - Matthew Johnson - a winant secret society power song belonging to ni•s nawa• Kilutsan chief
168 - Song #5 - Matthew Johnson – a secret society song or ludzista•l song
Cylinder 14562
190 - Song #6 - Matthew Johnson, a dog eater society song. nute•m, ni•s nawa, giluska’u
255 - Song #7 - Matthew Johnson –
300 - Song #8 - Matthew Johnson - boasting song for potlatch of Legaic’s tribe
Cylinder 14563
385 - Song #10 - Matthew Johnson - supernatural power song. Legaik, wiskani•st
475 - Song #11 - Matthew Johnson - dirge ni•s nawa• limkoi
530 - Song #12 - Matthew Johnson - dirge gispaxbts, gilutsa’u
588 - Song #13 - Matthew Johnson - dirge
Cylinder 14564
614 - Song #14 - Mrs. Marsden (sp.?) – wolf clan song of kitsees
665 - Song #15 - Mrs. Marsden - song belonging to the supernatural power name lugaxli’bam laxha belonging to ni•syagane•t
774 - Song #16 - Mrs. Marsden - ni•sgune (gitsecs) supernatural power song
825 - Song #17 - Mrs. Marsden – supernatural (naxnog) power song, house of welk

Tsimshian files

Research notes compiled by Wilson Duff during his work on the Barbeau/Beynon material held at the National Museum of Canada (now Canadian Museum of History). This research, focused specifically on the Tsimshian culture, includes correspondence addressed to and/or written by Duff, files relating to the Nishga Land Claim of which Duff was involved as a witness, and typed manuscripts.

Tsimshian and Tillamook Coast Salish songs recorded by Dr. Viola Garfield

Item is a recording with two distinct parts. The first part of the recording features Tsimshian songs recorded in 1932 by the American anthropologist Dr. Viola Garfield (1899-1983) of the University of Washington. The songs in this recording were sung by Lewis Grey (1857-1934) who was born in Port Simpson and was recognized as a shaman by the Nass River tribes and upper Skeen River people. The cylinder number referenced during the recording is #14573. The Dr. Viola Garfield fonds is housed at the University of Washington Special Collections. She carried out field work in the summer of 1932, 1935 and 1937 at the Tsimshian village of Port Simpson, British Columbia. An Ediphone machine provided by the University of Washington Anthropology Department was used to record and store the songs on wax cylinders, which were deposited at the University. The recordings were transferred to the open reel format in 1971. More information is available in Dr. Viola Garfield's book Tsimshian Clan and Society (1939), available in the MOA Reading Room, call number 12.7 TSI GAR.

The second portion of the recording starts at 8:26, when an unidentified male speaker states that the remainder of the tape are Tilamook recordings made by Prof Melville Jacobs of the University of Washington recorded in the Winter of 1933 using an Ediphone cylinder. The speaker states that the first three songs are Tillamook Coast Salish North West Orgeon songs, sung by Clara Pearson, the informant of Elizabeth Jacobs in late 1933, and recorded at Garibaldi, Oregon. The speaker states that two songs are possibly in one of the Muckleshoot Reservation dialects. The speaker states that Song 1, Tit Willow, is possibly sung by the American anthropologist Dr. Erna Gunther.

Accompanying documentation for this recording contains the following text:
B. Johnstone, November 15, 1971
Tsimshian Songs Recorded by Viola Garfield
Tape Two
000 - Song #18 - Louis Gray - Taunting Song
100 - Song #19 - Louis Gray - Nursing Song
145 - Song #20 - Louis Gray - Dancing Society song
180 - Tillamook recordings made by Jacobs in Garabaldi, Ore., 1933.
Ni-sgane’-s are a ganhada chief house of the ginad‚iks tribe

Tsimshian

File contains images of Tsimshian artifacts housed in museums in British Columbia and in what is now known as the Canadian Museum of History. The file also contains images of Tsimshian villages along the Nass River, and historical photos of Tsimshian peoples.

Tsilhqot'in/Secwepemc/Stl'al'lmx/Nlaka'pamux

The majority of the file contains historical images of the Tsilhqot'in, Secwepemc, Stl'al'lmx, and the Nlaka'pamux peoples. The photographs depict village life, including images of building structures in the BC interior, fish processing techniques such as fish drying, and carvings such as mortuary poles. Some of the images also depict First Nations people, some in regalia. The other images are official photographs taken by various museums in Canadian and American museums of Tsilhqot'in, Secwepemc, Stl'al'lmx, or Nlaka'pamux artifacts. The textual records contained in this file consist of a photocopy of a magazine article titled "Upstairs, downstairs: the early years," written by Heather Pringle, and published in the June 1996 (Volume 111, number 5) edition of the magazine Saturday Night.

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