Frontlets on display in Montréal
- 132-1-C-A-a040421
- Item
- 1969 or 1970
Part of MOA General Media collection
Frontlets on display in Montréal for the Museum of Anthropology's Northwest Coast exhibit for "Man and His World".
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Frontlets on display in Montréal
Part of MOA General Media collection
Frontlets on display in Montréal for the Museum of Anthropology's Northwest Coast exhibit for "Man and His World".
Frontlets on display in Montréal
Part of MOA General Media collection
Frontlets on display in Montréal for the Museum of Anthropology's Northwest Coast exhibit for "Man and His World".
Frontlets, masks, and rattles on display in Montréal
Part of MOA General Media collection
Frontlets, masks, and rattles on display in Montréal for the Museum of Anthropology's Northwest Coast exhibit for "Man and His World".
Gallery 3 Program and Exhibit Development
Part of Robert Reford fonds
Item is an image of a coastal village, taken from the sea. According to annotations, photograph is of G?aw (also known as Old Massett) in the Haida Gwaii archipielago taken from the Ship Islander.
Part of Robert Reford fonds
Item is an image of several buildings and totem posts. According to annotations, photograph was taken in G?aw (also known as Old Massett) in the Haida Gwaii archipielago.
This file contains images of Coast Salish and Kwakwaka'wakw artifacts. Many of the photos are official photographs taken by various museums in Canada and the United States, but others are historical photos. These artifacts include masks, rattles, carvings, fishing equipment and fish processing, canoes, and North Coast architecture, such as long houses and house posts.
George Cadwallader and others in ceremonial regalia
Part of MOA General Media collection
George Cadwallader and other community members in ceremonial regalia at Alert Bay. Another possible caption for this slide identifies the figure in the Chilkat robe as "Dusty Cadwallader". This photograph was likely taken by Marjorie Halpin on the occasion of her visit to Alert Bay for the memorial of Mungo Martin.
George Hunt Sr. pole (Kwakwaka’wakw)
Part of Anthony Carter fonds
Image of totem pole 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.
Anthony Carter
Fonds consists of eight slides of totem poles being raised in the Haida Village at the University of British Columbia (UBC). The slides are dated May, 1962. The photographs were taken by George Szanto, the son-in-law of Geoffrey Andrew who was the Dean and Deputy President of UBC from 1947 to 1962.
The totem poles represented in the images were carved by Haida artist Bill Reid and 'Namgis artist Doug Cranmer. They were originally situated at UBC's Totem Park. They are now located on the grounds behind the Museum of Anthropology, and modelled on a 19th century Haida village.
George Szanto
Giant rock oyster pole #15 (original), Saxman Park, Ketchikan, Alaska
Part of E. Polly Hammer fonds
This fonds consists of textual records, photographs, negatives, slides, audio recordings, compact discs and video on DVD that relate to Kovanic’s academic and film career. The fonds relates especially to her work in Pakistan, India and Afghanistan, but also captures her work with First Nations on the Northwest coast of British Columbia.
Gillian Darling Kovanic
Gina Grant interviewed by Terry Point and Jill Baird May 2, 2003
File consists of photographic prints depicting Gitanyow cultural objects from other institutions. Many of the prints are annotated with handwritten, stamped, or typed information about the contents of the images or their original repositories. The contents of this file were used to create object labels for MOA Object ID A50019 in MOA's Great Hall.
Series documents Jensen and Powell’s work with and visits to the Gitxsan speaking villages in North Western British Columbia. Jensen and Powell worked with the Gitxsan to produce language and culture material.
Jensen’s first visit to Gitxsan territory was in 1975, before they began to work with the communities. Jensen was asked to accompany Dr. Marjorie Halpen of the Museum of Anthropology, Amelia Sussman Schultz (a former student of anthropologist Franz Boas) and UBC grad student Carol Sheehan McLaren to Prince Rupert and various Gitxsan villages. The impetus for the journey was that Schultz was interested in recovering her old dissertation notes that she left with William Beynon, a hereditary Tsimshian chief who served as ethnographer, translator, and linguistic consultant to anthropologists including Boas. Although she had never completed her dissertation, in her retirement she regretted leaving the information. During this trip Jensen photographed the Gitxsan villages through which they travelled, making special note of the burial houses and totems she encountered.
Two years later the Gitxsan band approached Jensen and Powell to create language and culture materials. Powell secured the funding through the BC Ministry of Education and the federal government.
Powell and Jensen lived and worked with the Gitxsan in the summers from 1977 to 1981. The first three years were spent focussing on what they have termed the Eastern dialect. In this period they lived and worked in Kispiox, staying in a teacherage the first year (a small apartment built for housing teachers), and moving in the second year to the back room of the house of one of their linguistic informants, Clara Harris. The third year they again lived with Clara Harris until halfway through the summer when they decided to expand the project to include the Western dialect: at this time they moved to Kitwancool (now known as Gitanyow) where they again lived in a teacherage. The final two summers they returned to Kispiox to live with Clara Harris.
Powell worked with a number of linguistic informants, including Clara Harris, Edith Gawa, and Mary Johnson for the Eastern dialect, and Solomon Marsden, with the help of Ivan Good, Maggie Good, Cindy Morgan, Edith and Abel Campbell, David Milton, Olive Mulwain, Fred Johnson and Jeffrey Morgan for the Western. The materials produced throughout the Gitxsan project are divided into Eastern and Western Gitxsan. The books produced for the Eastern dialect were called Gitxsan for Kids. The books for the Western dialect were called Learning Gitxsan. In addition to the educational material, other resources were developed including illustrated alphabet sheets, the Northwest Coast Word List (which was intended as the basis for a full dictionary, a goal that did not transpire), and the Gitxsan Teacher’s Manual.
As was the case with all the communities they lived in, Powell and Jensen found that work and recreation in small Indigenous communities blended together, and many of the activities they took part in were incorporated into the language materials produced. Jensen photographed the cultural activities they attended, and they made audio and photographic records of Elders reminiscing about what they referred to as the “old ways.” Both Jensen and Powell were adopted into Gitxsan tribes during their time living in the region: Jensen to the Firweed Clan, and Powell to the Lax Gibuu, or Wolf Clan, both of Kispiox. This series comprises all the records created during their stays in Gitxsan villages.
The series consists of nine sub-series:
A. Field notes and correspondence
B. Research
C. Published educational materials
D. Unpublished manuscripts
E. Tsimshian-Gitxsan materials
F. Eastern and Western Gitxsan recordings
G. Eastern Gitxsan photographs
H. Western Gitxsan photographs
I. Doreen Jensen
J. Gitxsan artist photographs
File contains historical photographs of Gitxsan villages, with a specific focus on totem poles and various buildings in the villages. There are also some images of the Gitxsan people in regalia. The textual records contain information to some of the photographs, listing the photograph's title and the museum and/or archive it originated from.