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Madeline Bronsdon Rowan is a Canadian citizen, born on February 21, 1940. Her educational background includes a Bachelors degree in Anthropology and English Literature in 1963 and a Masters degree in Anthropology in 1966 from the University of British Columbia. Madeline Bronsdon Rowan was formerly in a joint position as the curator of education/public programming at the Museum of Anthropology and senior instructor in the Department of Anthropology at the University of British Columbia from 1975 to 1987. Her curatorial responsibilities included establishing and supervising school programmes for students and teachers, and to train members of the Volunteer Associates to conduct these programmes. In addition, she was responsible for providing professional development workshops for teachers and students in the Faculty of Education department at the University of British Columbia, and to develop units of curriculum and "touchable" artifact kits (in co-operation with various natives groups and experts). Rowan was also the supervisor for the Native Youth Project and the Coast Salish Project, these two projects are designed to encourage First Nation's youths to conduct lectures and give tours to museum patrons on traditional and contemporary Northwest Coast Native culture. Rowan's teaching areas of specialization for the anthropology department are: Introductory Anthropology, Material Culture and Education, Netsilik Inuit Culture and Northwest Coast Indian Studies. She was also an active board member of Native Indian Youth Advisory Society from 1982 to 1987. The society, under the direction of Mrs. Brenda Taylor, sponsored the Native Youth Project. Rowan was the curator in charge of the following exhibits: Dress and Identity, a cross-cultural display on the nature of attire expressing identity and status within a community (1977); East African Medicine, an exhibit based on the artifact collection of Dr. T. Margetts that demonstrates various methods of healing (1978); and Cedar, the use of trees in the Northwest Culture, co-authored by guest curator Hilary Stewart (1984). She also designed the "Netsilik Culture" artifact and raw materials teaching kit and a supporting curriculum unit, An Introduction to Netsilik Culture: A Seasonal Station Study, in 1983. Madeline Bronsdon Rowan authored and co-authored several published and unpublished articles relating to the Native Youth Project, Netsilik culture, native education, museums in relation to anthropology, museums and the school environment, and artifacts as art. This includes her articles "Making Museums Meaningful for Blind Children", co-authored with Sally Rogow, Faculty of Education, Gazette, July 1978; Guide to the U.B.C. Museum of Anthropology co-authored with Dr. Margaret Stott; and "U.B.C. Museum of Anthropology Native Youth Project", Urban Indian Multicultural Conference. Vancouver, October 1981.

Allison Cronin holds an BA and MA in Anthropology from the University of British Columbia. She worked at MOA from 1989 to 2005 in the following positions:

• Museum Assistant 1989
• Curatorial Assistant from 1989 to 1991
• Assistant Collections Manager from 1990 to 1996
• Manager of Loans and Projects from 1996 to 2003
• Loans Manager from 2004 to 2005

John Watt Beattie was a commercial photographer with his own firm in Hobart, Tasmania. Besides documenting Tasmania, becoming state photographer in 1896, he accumulated and published a large stock of photos as listed in his Catalogue of a Series of Photographs Illustrating the Scenery and Peoples of the Islands of the South and Western Pacific (undated but probably 1909).

In 1892 Beattie lent a camera to his friend Bishop Montgomery for a tour with the Melanesian Mission which visited Norfolk Island, the Banks and Torres groups (Vanuatu), Santa Cruz, Reef Islands, Nukapu, Makira, Malaita, Guadalcanal, Gela, Isabel (Solomon Islands), and Pentecost, Ambae, Maewo (Vanuatu). Montgomery and missionaries Welchman and Brittain took photos which were returned to, and published by, Beattie.

In 1896 Beattie himself visited Norfolk Island and made photos of the Melanesian Mission base there which are listed in his Pacific Islands catalalogue. In 1906, through Bishop Montgomery, Beattie was invited to accompany Bishop Cecil Wilson on the Melanesian Mission ship Southern Cross, from Auckland via Norfolk Island to Vanuatu and Solomon Islands. The ship went via Port Vila, Pentecost, Ambae, Maewo, Banks and Torres groups (Vanuatu), Vanikoro, Reef Islands, Santa Cruz, Makira, Ugi, Ulawa, Malaita, Gela, Savo, Guadalcanal, Isabel, Vella Lavella and Choiseul (Solomon Islands), then returned by the same route. Beattie made 1,500 full and half-plate photos and kept a diary of his tour which complements his inscriptions on the plates and the entries in his catalogue.

Paula Gustafson was a Canadian artist, art critic, editor and author specializing in craft. Born in Abbotsford, BC, Gustafson pursued an early artistic career, working initially with pottery but expanding to watercolour painting, botanical drawing, bronze casting, glassblowing, jewelry, and handmade paper, and weaving. During this time Gustafson also began exploring the world of textiles, making her own natural dyes for the hand-spun wool she made into woven tapestries and knitted garments. It was during this time she researched and wrote “Salish Weaving.”

From 1983 to 1985, Gustafson served as President of the Alberta Crafts Council before becoming Executive Assistant to the President and Board of Governors at the Alberta College of Art. In 1989, Gustafson co-founded Artichoke magazine with Mary-Beth Laviolette and David Garneau, a publication that showcased Canadian visual artists nationally and internationally. She served as President of the Alberta Crafts Council, worked with the Alberta College of Art, curated exhibitions, and lectured across Canada.

Throughout the 1990s, Gustafson contributed to the world of art and craft as a writer and editor to a number of Canadian and international publications, including Artichoke, Western Living, Canadian Living, Ceramics Monthly, The Vancouver Sun, and Asian Art News. She later served as Director of the City of Calgary's Visual Arts Board and organized the Alberta Needles II quilt exhibition. From 1993 to 1999, Gustafson was a visual arts critic for The Georgia Straight, Xtra West, and The Calgary Straight, and worked as a correspondent for major international art publications. She lectured widely across Canada, participated in art and publishing conferences, and mentored emerging artists on professional practices. In her final months, she served as editor for Galleries West magazine, remaining active in the arts community until her death from cancer in 2006.

Abaya Martin was a skilled weaver and source of knowledge on ceremonial lore. She features prominently in an Edward S. Curtis photograph of a Tlingit wedding, where she is the bride. This was her first marriage. Her second marriage was to Chief Mungo Martin. She accompanied Mungo while he was working at the University of British Columbia where she wove two Chilkat blankets for the museum. She lived with Mungo in Victoria where he worked on the longhouse and totem poles for Thunderbird Park. She passed away a year after Mungo's death.