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The fonds consists of photographs created by Ronnie Tessler between 1986 and 1987 documenting a canoe project by Nisga’a carver Norman Tait. The project was abandoned in the summer of 1987, and the canoe was left uncompleted. The photographs depict models for the canoe, transportation of the log for the canoe to the Museum of Anthropology, ceremonies performed throughout the project, and various stages of work on the canoe and model. Additional photographs from this period depict a totem pole-raising ceremony at Capilano Mall in North Vancouver, as well as portraits of Les Baker, a model Tait wanted to use for a “white man” mask. The fonds is arranged into a single series: Norman Tait canoe project and related materials.

Fonds consists of photographic negatives of people in the South Pacific, probably Hawaii or Samoa, in their traditional dress. A Polynesian tapa from the same time period and region was donated to the museum's collections.

19 colour slides of totems and sites in Nootka Sound on the west coast of Vancouver Island.

The fonds consists of 28 black and white photographs taken by Codere in 1955 during her second field work expedition to B.C. 19 of the photos were taken in and around Alert Bay, while the remaining 9 were taken on Hope Island.

Collection consists of textual records that tell of a Kispiox legend and its manifestation on a traditional pole; an accompanying photograph of the pole complements the narrative.

This fonds consists of 39 16mm film reels of Celebration of the Raven. There are also five audio reels which are soundtracks for the film. Film reels include stills and test stills and camera originals. Most reels are labeled according to the scene.

The collection consists of postcards depicting First Nations from Western Canada.

Fonds documents Brant’s pre-doctoral research in Burma. As a Fulbright scholar working with the United States Educational Foundation, Brant submitted quarterly reports to the foundation detailing his arrival and adjustment to life in Burma, as well as his sociological research in the community of Tadagale and other areas of the country. Brant also provided the U.S. Foreign Service with his observations of life in the Shan States, where Brant and his wife first lived when they arrived in Burma in 1949. After returning to the United States in 1950, Brant published articles on the research he completed while in Burma. Records in this series include academic and government reports; articles; Brant’s curriculum vitae; a digitized slide show and 8 mm movie; a grant application; notes; and photographic negatives and prints. It is likely that most of the photographs were taken by Jane Brant, but these are not identified.

The fonds consists of 83 images associated with two books published by Douglas & McIntyre: Bill Reid by Doris Shadbolt and The Raven Steals the Light by Bill Reid. The photographers responsible for these images are R. Dereth, R. Keziere, R. Lum and B. McLemore.

The collection consists of slides, photographs and negatives, all copies of Curtis’ most extensive work, “The North American Indian.” The collection is divided into two series: slides and photographs.

Fonds consists of 71 black and white photographs of the Hopi, the Zuni, and Inscription Rock. The fonds is divided into threes series: Donation Letter (1977), Hopi Images [189-?], and Zuni and Inscription Rock Images [189-?].

The fonds consists of records relating to Hennessy’s 2003 MA thesis titled The Spirit of Collaboration: Exploring Critical Pedagogical Principles in Transforming the Museum Through Space and Time. Hennessy was interested in the relationships that developed between community members and museum staff during the process of putting together the Museum of Anthropology’s exhibit The Spirit of Islam, which ran from October 2001 to May 2002. Her purpose was to document the kinds of collaborative processes that occurred as the exhibit planning progressed in order to identify a model from which other museums working with communities might benefit.

Fonds consists of 45 glass-plate lantern slides featuring scenes from Osterhout's work with B.C. First Nations, including Haida, Tsimshian and Kwakwaka'wakw. Images document First Nations individuals, communities, totem poles and landscapes of British Columbia.

Fonds consists of one notebook attributed to Witney. The notebook contains notes regarding the Cree language and alphabet, and may have been created while Moore was in Norway House.

The records in this fonds consist of material created and received by Ruus both in her voluntary capacity and as a curatorial assistant. The majority of the records in the fonds pertain to the 1976 Guatemalan Highlands exhibit. Other records in the fonds are largely composed of photographic documentation of the clothing and textiles of various cultures. Other materials in the fonds relate to the management of the museum’s collection, with a particular focus on research into visible storage. Records in this fonds are composed of slides, photographs, notes, memoranda, and correspondence.

The fonds has been organized into the following three series:

1. Visual Documentation of Clothing and Textiles
2. Guatemalan Highlands Exhibit
3. Collection Management/Visible Storage

See attached pdf document for series descriptions and file list.

The fonds reflects Kersti Krug’s work on several major projects relating to organizational change and development at the University of British Columbia's Museum of Anthropology (MOA). Records created during Krug’s period as Director of Communications relate predominantly to surveys and studies conducted with members of, and visitors to, the Museum. Records Krug created in her capacity as co-director of MOA’s Certificate in Museum Studies Program illustrate the development of the program and its curriculum, and also its cancellation. As Manager of Research and Evaluation, Krug was involved in the initial stages of the MOA building expansion; records she produced during this period illustrate her consultative approach to assessing MOA’s space needs and her solicitation of proposals from architectural firms.

Records produced during these activities include proposals, questionnaires, interview transcriptions, data sets, graphs and charts, notes, drafts, and reports, draft curricula, copies of email correspondence, syllabi, research materials, and brochures.

The fonds has been arranged into the series:

A) Certificate in Museum Studies Program
B) MOA Space Needs and Development Options
C) Visitor Studies and Surveys
D) Vision/ Mission Statement
E) Galleries and Exhibitions.

The fonds consists of records relating to Rosa Ho’s functions as a Curator of Art and Public Programmes at the Museum of Anthropology at the University of British Columbia. Records include correspondence, memoranda, handwritten notes, minutes, object lists, reports, brochures, press releases, newspaper clippings, interview transcripts and tapes, financial statements, grant applications, publication drafts, policy information, mission statements, and other materials. The records are predominantly from 1988 to 1999, while Rosa was the Curator of Art and Public Programmes. The records largely pertain to events, programming, and exhibitions held at the Museum of Anthropology. Also included in the fonds are records relating to external projects and publications.

The fonds is arranged in the following 11 series:

1. Public programme planning
2. Exhibition planning
3. Institutional planning
4. Museum of Anthropology committees
5. Collections – information, acquisition and documentation
6. Inuit research
7. BC First Nations research
8. Pow Wow
9. Volunteers and education
10. External publications and projects
11. Administration

The fonds consists of black and white photographs and negatives. Subjects depicted include villages, boats and ferries, landscapes, bridges, logging clearcuts, and totem poles. Some of the photos appear to be of the Lions Gate Bridge, Stanley Park, and the Capilano Suspension Bridge.

Collection consists of 48 glass lantern slides (29 of them tinted) and 2 negatives. The lantern slides include images related to four Residential Schools: Elkhorn (Manitoba), St. Michael’s (British Columbia), Shingwauk (Ontario), and Choutla (Yukon).

Collection includes images of the schools, classrooms, and different areas of the buildings (dining room, kitchen, etc.); the staff, students, and families engaged in different activities; and surroundings of the schools (cemeteries, churches, villages, etc.). Collection also includes images of landscapes and two images unidentified villages.

Collection might be similar to the Missionary Society of the Church of England in Canada fonds, at the Anglican Church of Canada Diocese of Rupert's Land, Manitoba.

Lantern slides shows were used during the 1920s and 1930s by the Church of England in Canada to promote the work of their missionaries and to raise funds. The slide shows took place during missionaries’ services, church services, Sunday school groups, and special church programs. Usually, the slide shows were complemented with a text with basic commentary on the mission and content of the slides.

The fonds reflects Minn Sjolseth's artistic career and travels to First Nations communities throughout British Columbia and Alaska with her husband Anthony Carter. Contents of the fonds depict First Nations cultures in British Columbia between 1960 and 1980, including Haida, Coast Salish, Kwakwaka'wakw, Gitsegukla, Kispiox, and Nisga'a. Several of the contents depict notable figures, including Chief Dan George and August Jacks.

The fonds includes textual records including correspondence, ephemera, newspaper clippings; graphic materials such as photographs, slides, negatives, and transparencies that depict Sjolseth’s travels and artworks; and artworks produced by Sjolseth including paintings, drawings, and prints.

The fonds is organized into the following series:

1. Personal records
2. Artwork an Exhibition records
3. Artworks