My Ancestors are Still Dancing

Taxonomy

Code

Scope note(s)

  • Through September 28, 2002 (Gallery 8)
  • Tsimshian weaver William White from Lax Kw’alaams has been publicly weaving a child- size Chilkat robe this summer as part of a “living” exhibition entitled My Ancestors are Still Dancing. In July, the artist set up his loom and pattern board in Gallery 8, alongside a display of his own weavings, some historical weavings from MOA’s collection, and historical and contemporary photographs of people wearing Chilkat regalia. This September, the completed weaving will be lifted from the loom in a small private ceremony.
  • MOA created a website to document the weaver’s progress, and to explore the significance of the Chilkat tradition: http://www.moa.ubc.ca/williamwhite/WhiteIntro.html.

Source note(s)

Display note(s)

Hierarchical terms

My Ancestors are Still Dancing

My Ancestors are Still Dancing

Equivalent terms

My Ancestors are Still Dancing

Associated terms

My Ancestors are Still Dancing

13 Archival description results for My Ancestors are Still Dancing

Only results directly related

Annual Report 2002-03

The report outlines the museum's activities and finances for the previous fiscal year, including listing staff, attendance figures, acquisitions, exhibitions, educational activities, public programming, events, loans, research projects, and publications of the museum and its staff. It includes descriptions of the museum's plans for the renewal project A Partnership of Peoples.

Karen Duffek fonds

  • 102
  • Fonds
  • 1978 - 2012

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

Karen Duffek

My Ancestors are Still Dancing

This was a living exhibition in which the artist, a Tsimshian Weaver from Lax Kw’alaams, publicly weaved a child-size Chilkat robe, alongside a display of his own weavings, and some historical weavings in MOA’s collection, and historical and contemporary photographs of people weaving.

My Ancestors are still Dancing

Subseries consists of records relating to the exhibit “My Ancestors are Still Dancing” at MOA. As part of a “living” exhibition, Tsimshian weaver William White from Lax Kw’alaams was commissioned to publicly weave a child-size robe in Gallery 8. The exhibit displayed William White’s weavings, historical weavings from MOA’s collection, and historical and contemporary photographs of people wearing Chilkat regalia. The exhibit was installed in 2001 and ran through until September 28, 2002. Records include acquisition/artifact lists, artist biography, budget, correspondence, exhibit labels, exhibit proposals, exhibit panel layouts, exhibit resource binders, grant applications, internal forms (consent forms), installation diagrams, map, meeting agendas memoranda, notes, object records, photographs and slides, photocopies of photographs, professional guidelines, reports, schedules, recorded audio research interviews, transcripts of research interviews, travelling exhibit, and visitor comments.

Elizabeth Lominska Johnson

Willie White

File contains images of the exhibit My Ancestors are Still Dancing. In addition are textual records relating to the exhibit such as budget and outlines.

Willy White: “My Ancestors Are Still Dancing”

The records in this sub-series relate to Willy White’s 2002 exhibition on Chilkat and Raven’s Tail weaving, My Ancestors Are Still Laughing. During his exhibition at the Museum of Anthropology, Willy White began weaving a gwishalaayt, or Chilkat robe. The weaving was later finished at his home in Prince Rupert, British Columbia. In 2004, a “taking off of the loom” ceremony and feast was held to celebrate the completion of the gwishalaayt. Though Elizabeth Johnson was the curator for this exhibition, Duffek worked closely with her, and the files relate to Duffek’s involvement with in the process. File contents relate to exhibition research and planning, draft exhibit texts, correspondences, transcripts of interview with the weavers, and recordings of the final ceremony.