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Sunday programs

Subseries consists of photographs documenting various Sunday programs at the MOA and the children attending them. Programs include those for the visually impaired, related to visible storage, related to Japanese heritage and culture, the Punch and Judy show, Evelyn Roth’s giant salmon and others that are unidentified. Photographs were taken by McLennan, Jean Hamilton and Stephen Inglis.

ref # 1-2-A

Lecture notes

Sub-series consists of papers relating to anthropology lectures given by Duff at the University of British Columbia. The records include handwritten and typed lecture notes, course outlines, course plans, examination questions, maps and drawings, and correspondence. There are also a few student essays relating to the subject matter of the lectures.

Museums, archives, and subject files

Subseries contains resources acquired by McLennan due largely in his research interest in Northwest coast art and design. The series consists largely of photographs taken by McLennan during his travels to museums and archival institutions of artifacts. There are also collections of photographs acquired by McLennan from archival institutions which he had copied. Correspondence between professionals at museums and archives is also sometimes located within the file with the photographs. The museums and archives which have files in this subseries are geographically very diverse. As a note of interest, some objects were taken out especially for McLennan, when access to them by the general public would not normally be granted.

Anthropology courses

Subseries contains records relating to work Cunningham performed for Anthropology 431 and 432.

Multiversity galleries

Sub-series contains the records related to the design of the Multiversity galleries. This project was outsourced to an Italian company called Laboratorio Museotecnico Goppion. The majority of the records are created by them for MOA. These include tenders, project management documents, technical drawings, specifications for locks, earthquake diagrams, and notes. There are also correspondence and planning calendars created by Cunningham.

Early MOA activities and curatorial research

Subseries consists mainly of photographs collected by MOA for curatorial research, as well as some photographs documenting MOA activities and/or people. Photographs in this subseries were collected in 1976 or earlier. Subject matter of the photographs includes Northwest Coast material culture, people, and geography; MOA history; MOA events; UBC Totem Park; and, a smaller number of non-Northwest Coast cultures.

See attached pdf document for photograph list.

Institutional recordings

Subseries consists of sound recordings made or collected by the Museum of Anthropology and its staff. Some recordings were created or collected for research purposes (such as interviews); others are final products intended for some type of distribution (such as documentaries).

See attached pdf document for list of recordings.

Pigapicha! 100 Years of Studio Photography in Nairobi

Sub-series consists of records related to the exhibition 'Pigapicha! 100 Years of Studio Photography in Nairobi,' which was on display at the Museum of Anthropology from November 25, 2014 - April 5, 2015. Porto was the Curatorial Liaison for this exhibition, which was curated by Katharine Greven and first displayed at the Nairobi National Museum in 2009.

The exhibition was described on the Museum of Anthropology's website as follows:

"MOA takes a profound look at Kenya’s popular culture through an illuminating collection of studio photography, from the 1910s to the present day, in the North American premiere of Pigapicha!, November 25, 2014 through April 5, 2015. Including more than180 photographs spanning a century, this deeply moving exhibition showcases portraits that are carefully staged in the studio as well as those quickly taken on the streets of Nairobi. The exhibition documents the customs of modern Kenyan urban culture while supporting an East African history of photography.

“MOA has always served as a forum for cultivating an understanding and appreciation of the diversity of world arts and cultures traditions,” explains Nuno Porto, Curatorial Liaison for Pigapicha! at MOA. “This Canadian premiere exhibition aligns with MOA’s mission through a comprehensive examination of studio photography in East Africa, incorporating works from all backgrounds – as opposed to similar projects which have focused on Kenya’s booming middle-class.”

Curator and professional photographer Katharina Greven, formerly of the Goethe-Institut in Kenya, partnered with more than 30 photography studios in Nairobi and consulted with photographers, studio operators, artists, bloggers, journalists, and cultural scientists to curate this diverse collection of portraits – a subtle balance between the fine arts and the rich, distinct flavors of East African popular culture.

'A highly-regarded art form in Nairobi, portrait photography is used to tell stories, share social status, and transform everyday life,' says Curator Katharina Greven. 'More than a direct reflection of the individual, these self portraits highlight and amplify desirable features to create an illusion of the idyllic self. In the past 15 years, studio photography has experienced an unfortunate decline in popularity – likely a direct result of cameras, now commonplace on mobile phones. For this reason, Pigapicha! serves to recognize and preserve portrait photography as a significant art form and thus connect us to the significant history of urban Kenya before it is lost.'

Pigapicha! – which literally translates as “take my picture!” – will include more than 180 images ranging from carefully staged artistic prints, to passport photos, to pictures snapped hastily on the streets of Nairobi. Judiciously arranged into six thematic groups –Uzee na Busara (Age and Wisdom), I and Me, Open Air, Imaginary ‘Safari’, Speaking from Yesterday and Intimacy – each image will offer a unique stance on the attitudes, beliefs, and customs of generations of Nairobi citizens.

Born from the cooperative efforts of Iwalewa Haus and the DEVA-Archive, both with the University of Bayreuth, and the Goethe-Institut in Nairobi, this exhibition opening at MOA will mark the first time this powerful collection has been displayed for a North American audience. First presented in 2009 at the Nairobi National Museum, Pigapicha! has since been exhibited in 2011 at Iwalewa Haus in Bayreuth, Germany and in 2013 at the Forum des Arts et de la Culture in Bordeaux, France."

Nuno Porto

North American Indian Technology

Series contains Stewart's first book, unpublished, from 1963. It is based on lectures at the University of British Columbia. Includes a note about the creation of the book that Stewart added in 2005.

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