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The fonds consists of 478 photographs, predominantly of students at the St. Michael’s Residential School in Alert Bay. Beverley Brown and her friends took the photographs between ca. 1937 and ca. 1945 using Brown’s camera. Photographs from this period include shots of the students with their friends and of social events, as well as posed class photographs. These class photographs were taken by school supervisors who subsequently sold the prints to other students. Other photographs were taken in Brown’s hometown, Bella Bella, and in the area of the Namu cannery. These show weddings, fishing boats, landscapes, and buildings. Peter Mason Sr., Brown’s father, had the photographs developed in Vancouver.

The fonds has been arranged into three series:

1. St. Michael’s Residential School photographs
2. Bella Bella photographs
3. Langley High School photographs

Fonds consists of records related to the administrative functions of the society and includes meeting minutes, internal and external correspondence, membership lists, committee and sub-committee files, records about the society’s constitution and seal, and relevant financial information. There is also a file related to the 1981 benefit concert for the proposed Haida canoe wing.

The collection consists of nine large watercolour illustrative panels commissioned by the UBC Museum of Anthropology, eight of which were commissioned for the exhibit "The Four Seasons: Food Getting in British Columbia Prehistory," which ran from April to November 1979. The other watercolour is from an unidentified exhibit or sourcebook.

The collection also contains one painting that was commissioned by the museum for a publication (Museum Note, no.12, "Ninstints: World Heritage Site"), as well as a blueprint reproduction of a related drawing. These are renderings of how the houses and poles on a beach at the Ninstints village site might have looked when they were in use. The rendering is based on George MacDonald's map.

Collection consists of the following items:

001: The Four Seasons – Spring – Interior [1979?]
002: The Four Seasons – Spring – Coast [1979?]
003: The Four Seasons – Summer – Interior [1979?]
004: The Four Seasons – Summer – Coast [1979?]
005: The Four Seasons – Autumn – Interior [1979?]
006: The Four Seasons – Autumn – Coast [1979?]
007: The Four Seasons – Winter – Interior [1979?]
008: The Four Seasons – Winter – Coast [1979?]
009: Haida six beam house 1993
010: [Ninstints village painting] 1983
011: [Ninstints village, drawing for Museum Note] 1983

Fonds consists of records generated by Watson while working as an exhibit designer at the Museum of Anthropology. Material includes records gernated during the preparation and documentation of exhibitions at the Museum, as well as records generated for two additional design projects undertaken by Watson during his tenure at MOA: the design of textile storage and display unit, 1980-1984; and the design of an extension to the west wing of MOA, 1988-1990.

Fonds is organized into two series:
1 - Museum design
2 - Exhibition design

See attached pdf document for series descriptions and file list.

The fonds consists of records created by Ratner in the process of conceptualizing, developing and running public programming and extension services. Initially, the duties of the Extension Curator were coordinating the development of in-house exhibits, non-credit educational programming, extension activities and publicity. Programming included performances, workshops, lectures, non-credit courses, museum tours, identification clinics
and audio-visual presentations, often in conjunction with the Center for Continuing Education. Ratner organized local and international cultural excursions, including acting as a tour escort. Ratner was responsible for coordinating special events and lectures in conjunction with exhibits, and from 1980 was responsible for administering travelling exhibitions. Other extension activities included print exhibits in Vancouver office spaces, installations in off-campus locations such as the Vancouver Airport, and the Special Prison Extension Project.
Communications duties included production of the calendar of events and publicity circulars. Other duties included preparation of grant applications, managing staff, including student interns, budgeting, preparing reports, and assisting film and video production use of museum space and collections.
Public relations activities included establishing contacts with media representatives, promoting exhibits and other special events, producing news releases, distributing calendars of events and brochures, arranging staff interviews with media and soliciting publicity.
Communications duties included production of the calendar of events and publicity circulars. Other duties included preparation of grant applications, managing staff, including student interns, budgeting, preparing reports, and assisting film and video production use of museum space and collections.
Public relations activities included establishing contacts with media representatives, promoting exhibits and other special events, producing news releases, distributing calendars of events and brochures, arranging staff interviews with media and soliciting publicity.

The fonds has been organized into the following series:

1. Administrative and other records
2. Calendar of events
   3. Correspondence
   4. Excursions
   5. Exhibits
   6. Open-House
   7. Outreach
   8. Publicity
   9. Reporting
   10. Special events
   11. Strategic planning
   12. Weekly programming
   13. Youth programming

The fonds relate primarily to research Karen Duffek conducted and exhibitions she curated or was involved in. In addition, some files relate to publications Duffek wrote. Files consist of research materials, exhibition planning and implementation, publications and articles, correspondences, and artist interviews.
The fonds is arranged into the following two series:

1. Research Projects
2. Exhibitions

MOA’s Partnership for the Peoples Renewal project (MRP) was a multi-year major expansion and renovation project, undertaken to enhance physical, visual and virtual access to MOA collections in order to better facilitate ongoing research. The project lasted from 2004-2010, and cost approximately $55.5 million. It was funded in large part by a Canada Foundation for Innovation (CFI) grant. Additional funds came from provincial (British Columbia) grants, a Museums Assistance Program (MAP), and the University of British Columbia. Prior to the launch of the MRP, MOA’s thirty year old infrastructure was no longer able to successfully serve the increasing demands of its communities and users due to insufficient space to safely store or display material, to acquire new acquisitions, or to conduct research

Renovations included a new research wing, new offices, laboratories, a culturally sensitive research room, recording studio, and a new exhibition hall (The Audain Gallery). Other enhancements included MOA's new Multiversity Galleries, the creation of the Reciprocal Research Network (RRN), expansion of the Museum Shop, a new cafe, and courtyard and outdoor events area.

The work of the MRP was carried out by different streams: Program Wide stream, Building stream, Collections Research and Enhancement Project (CREP), the Reciprocal Research Network (RRN), and the Laboratory of Archaeology stream. Records in the fonds are divided into series based on these streams.

The MRP had physical and virtual components. The physical components included:
• Expanding the building (from approx.. 50,000 square feet to 120,000 square feet)
• Creation of spaces suitable for interdisciplinary and collaborative community-based research
• New 5,600 square foot exhibition space
• A redesign and expansion of visible storage into the “Multiversity Galleries”
• Expanded capacity for direct object study through the creation of research suites
• New large object storage rooms for textiles, works on paper, and three dimensional works
• New offices for staff
• New chemistry lab
• New library and archives space
• Installation of a Museum cafe
• Expansion and relocation of the Museum Shop

Virtual components included:
• Development of the Reciprocal Research Network (RRN)
• The digitization of MOA’s object collection, and development of an online catalogue to make these images and object information accessible.
• Consultations with originating communities regarding the handling and description of MOA’s object collection

Major roles in the MRP included:
• Jill Baird (MOA staff) – Project Lead,
• UBC Properties Trust (especially Joe Redmond and Rob Brown) – The University’s development arm given responsibility to build all UBC buildings. Involved in review and approval of design and budget, including UBC Board approvals
• Lundholm Associate Architects (Michael Lundholm, Lead) – Museum architect and planning specialist. Worked on initial plans with MOA in early phase, and did the feasibility study.
• Stantec Architecture Limited (Noel Best, lead) – The architectural firm that designed the building and interior spaces renovations and additions, in consultation with Arthur Erickson (architect of the original building)
• David Cunningham – Lead project designer
• Ambit Consulting (Dan Zollmann) – Provided program management consultation for non-building components of MRP
• Goppion - Italian company that made the new cases that went in the Multiversity Galleries

Collection consists of projects and reports written by students in Anthropology 302, 431, 432, 433, 449, 518 and other related courses and programs. The projects and reports include information about exhibits designed and displayed at the Museum of Anthropology
by the students; critiques on "current" museum exhibitions and programs; and proposal papers for student exhibit projects.

Includes material related to the Pigapicha! exhibition at the Museum of Anthropology. Nuno Porto curated this exhibition. Records include correspondence, research, and meeting notes.

The fonds consists of minutes, correspondence, contracts, and reports relating to the Planning of the Museum of Man (later Museum of Anthropology). The fonds includes information pertaining to the planning for the new museum, building needs, museum function, and the Functional Program which outlines the results of decisions the committee made.

Fonds consists of photographic material created by Dr. Stephen Inglis and a series of twenty-four black and white prints depicting potters in a small community in India or images of fertility statues photographed by colleague Walter Huber. The colour negatives show local artisans and their works. The black and white photos mounted on cards were created between 1974 and 1977 and show Indian craftspeople, particularly Bengalis and Tamils. The images may have been created for the purpose of Dr. Inglis’s PhD research.

CAPTION LIST FOR PRINTS:
AC 2002-48-001 Siva murthi, Bastarnar
AC 2002-48-002 Siva Murthi, Bastarnar
AC 2002-48-003 Danteshwari Mandir Murthi, Dantewara
AC 2002-48-004 Amarkantak (source of Narbada River)
AC 2002-48-005 Danteshwari Mandir Murthi
AC 2002-48-006 Gharwa Cire-perdue Caster, Jagdalpur
AC 2002-48-007 Kumar, Nagarnar
AC 2002-48-008 Nagarnar Kumar family Terracotta mata murthis and guardian figures
AC 2002-48-009 Maria pillar, old form no longer made, near Gidam
AC 2002-48-010 The Eyes Have It
AC 2002-48-011 Kumar, Nagarnar
AC 2002-48-012 Danteshwari Mandir Murthi
AC 2002-48-013 L’Eternelle Idole, Rodin
AC 2002-48-014 Siva murthi, Bastarnar
AC 2002-48-015 Maria commemorative pillar, Bastarnar (“Bison-Horn”)
AC 2002-48-016 Kumar (demonstrating pottery wheel) Nagarnar village nr, Jagdalpur
AC 2002-48-017 Sonmura (source of Son River near Amarkantak Baba)
AC 2002-48-018 Assi Ghat, Benares Summer ‘76
AC 2002-48-019 Kumar, Nagarnar
AC 2002-48-020 Waiting for the bus near Jagdalpur
AC 2002-48-021 Kumar, Nagarnar
AC 2002-48-022 “Bison-Horn” Maria commemorative pillar, detail, Bastarnar
AC 2002-48-023 Gharwa, Jagdalpur
AC 2002-48-024 From Sonmura looking northwest
*Please note that AC 2002-48-01 through AC 2002-48-024 are attributed to Walter Huber

AC2002-48-025  48-76 are 51 colour negatives that depict local craftspeople and shrines in India.

AC2002-22-001 22-160 are black and white photographic prints mounted on white card. The images depict local Indian craftspeople, particularly Bengalis and Tamils. Some are identified with location and what is happening in the photo, while some are unidentified.