MUSEUM OF ANTHROPOLOGY ANNUAL REPORT | 2021-2022 A place of extraordinary architectural beauty. A place of provocative programming and vibrant contemporary exhibitions. A place of learning and exchange of ideas within and across disciplines, open to all.

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d i r e c t o r ’s m e s s a g e

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pushing boundaries

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exhibitions

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encouraging active engagement

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i n s ta l l at i o n s

public programs

c a r i n g f o r c u lt u r a l o b j e c t s c r e at i ng o p p o r t u n i t i e s inspiring inquiry

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p u b l i c at i o n s , ta l k s , p r e s e n tat i o n s + awa r d s

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making a difference

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building a legacy

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o p e r at i n g s tat e m e n t

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moa by the numbers

Sound House: Trick or Beats attendees enjoy the bonfire outside the Haida House. Photo: Sarah Race.

MISSION MOA is committed to promoting awareness and understanding of culturally diverse ways of knowing the world through challenging and innovative programs and partnerships with Indigenous, local and global communities.

VALUES respect We value respect for all peoples and cultures. innovation We embrace innovation by experimenting, exploring and challenging boundaries. inclusiveness We foster inclusiveness through an open exchange of ideas. communit y engagement We value community engagement by building and sustaining relationships with diverse communities. care We provide thoughtful and collaborative care, acquisition and representation of cultural materials and digital collections to ensure their living future. ser vice We believe in service to individuals, communities, publics and partners.

DIRECTOR’S MESSAGE The following exhibition, Sankofa: African Routes, Canadian Roots, asked visitors to open their eyes to the experiences of African and Black people in British Columbia as well as the diaspora of enslaved Africans and later migrants across the globe, and to appreciate the richness and diversity of African cultures, both contemporary and ancient, that they brought with them. Importantly, MOA also continued its teaching. Curators as well as other Museum staff taught several courses in anthropology, art history, Asian history as well as conservation to UBC students. This year classes were a blend of online and on-campus learning.

Photo by Sarah Race.

The Museum of Anthropology at the University of British Columbia is located on the traditional, ancestral, unceded territory of the hən̓q̓ əmin̓əm̓-speaking Musqueam people. These lands have been a Musqueam place of learning for thousands of years before UBC settled here. I thank Musqueam community members for their generosity to this institution and to me personally. Since MOA’s founding in 1949, Musqueam has stepped forward and asked us to question our practice, to consider our position as a colonial institution holding Indigenous heritage, to be self-critical, and to work to create a different future for museums. This has been a remarkable year for MOA, full of changes, challenges, and dynamic programs and exhibitions. The Great Hall seismic upgrades began after numerous delays, and MOA staff navigated multiple policy changes as we worked to maintain the health and safety of visitors and staff during the ongoing COVID-19 pandemic. At the end of June, we bid farewell to Anthony Shelton, who served as MOA Director for 17 years, bringing his critical museological approach to our museum’s practice. Following an international search, I was honoured to be appointed to a three-year term as MOA’s Director. Total attendance to the Museum this past year was 69,330, marking a more than 50% increase from the first year of the pandemic—an encouraging upward trend for visitorship. On September 30, Canada marked the first National Day for Truth and Reconciliation. Museum attendance that day was 1,220—our highest of the year. Admissions proceeds from this day were donated to the Indian Residential School Survivors Society. MOA staff continued to create thought-provoking programming and exhibitions in both the physical and digital realms. We are committed to increasing accessibility and last year expanded our Multimedia Guide, with added content in French and Chinese and the new in-app listening experience, “Indigenous Voices.” The exhibition A Future for Memory: Art and Life After the Great East Japan Earthquake demonstrated human and natural resilience following disasters, and received an honourable mention in the Outstanding Achievement in Research category from the Canadian Museums Association.

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Every summer MOA is invigorated by the Native Youth Program, now in its 42nd year. This year’s cohort continued their ongoing relationship with UBC’s campus radio station CiTR, producing a podcast titled Where We Begin: A Collection of Origin Stories. This inspiring podcast won the award for best documentary from the National Campus and Community Radio Association. Our Indigenous Internship Program, suspended during the height of the pandemic, was able to safely restart in October, and we welcomed four new interns into the program. MOA is a founding member of the BC Heritage Emergency Response Network. In this role, several MOA staff spent time working with the Lytton First Nation and the Lytton Chinese History Museum in the profound experience of recovering collections and belongings following the devastating Lytton Creek wildfire. In addition, we celebrated the publication of four books in collaboration with Figure 1 Publishing: Where the Power Is: Indigenous Perspectives on Northwest Coast Art by Karen Duffek, Jordan Wilson and Bill McLennan; Bodies of Enchantment: Puppets from Asia, Europe, Africa and the Americas by Nicola Levell; Under Different Moons: African Art in Conversation by Anthony Shelton, with Titilope Salami and Nuno Porto; and Theatrum Mundi: Masks and Masquerades in Mexico and the Andes by Anthony Shelton. All of these publications have as a primary focus enhancing scholarship on MOA’s collections and bringing this knowledge to a wider audience. Amidst this activity, MOA is undergoing massive physical changes. The Great Hall seismic upgrades officially started in December 2021. This important project has now witnessed the demolition of Arthur Erickson’s renowned Great Hall in January of 2022—and now the careful reinstatement of this incomparable structure. The new Great Hall will feature base isolation installed beneath the floor to protect the visitors, heritage and building in the event of a major earthquake. The major project is estimated to be completed November 2023.

Sue Rowley Director

  Visitors at the opening celebrations for Sankofa: African Routes, Canadian Roots. Photo by Sarah Race.

PUSHING BOUNDARIES Creative, innovative and imaginative exhibitions and programs In the second year of the COVID-19 pandemic, MOA was able to maintain a full schedule of exhibition programming for visitors. After making challenging adjustments to the exhibition schedule, as well as developing new procedures for installation and production, MOA mounted two exhibitions over the year in the Audain Gallery, as well as several displays throughout the rest of the Museum. Faced with ongoing pandemic protocols and travel restrictions, MOA’s Collections and Conservation team continued to refine new practices for installing exhibitions through virtual connections with artists, lenders and couriers. The exhibition production team, too, followed new COVID safety protocols, adapting quickly and effectively to keep MOA’s exhibition schedule on track. The 2021–2022 year began with the feature exhibition A Future for Memory: Art and Live After the Great East Japan Earthquake, curated by MOA Curator Fuyubi Nakamura. The exhibition opened in the 10th anniversary year of the 2011 triple disaster that devasted the eastern region of Japan. The anniversary provided meaningful programming opportunities with artists and organizations located in Japan. Though all of the programs were held virtually, it allowed collaboration, participation and attendance from around the world. The successful opening and run of this exhibition were a demonstration of the resourcefulness and adaptability of the entire MOA team. A Future for Memory was followed by Sankofa: African Routes, Canadian Roots, which opened on November 4, 2021 in the Audain

Gallery. This exhibition involved two guest curators, Nya Lewis (founder and director, BlackArt Gastown) and Titilope Salami (PhD candidate, Department of Art History, Visual Art and Theory, UBC), who worked with MOA Curator Nuno Porto, to develop a powerful exhibition that looked at some of the divergent paths of political mobilization and cultural assertion that African and Black people in the diaspora have taken. In particular, the exhibition featured emerging and established artists from Vancouver and Nigeria. Over the summer MOA installed Sanctuary: The Dakota Bear Ancient Forest Experience in the Haida House. This multimedia installation, created by Damien Gillis, Cease Wyss and Olivier Leroux, invited visitors to sit under its geodesic dome for a 360° film and sound experience. A handful of visitors were let into the Haida House at a time for each screening, with short intervals in between to allow staff to sanitize the seating. Sanctuary animated the Haida House at a time when COVID conditions still made gathering in large groups difficult. Several ongoing exhibitions and displays continued throughout the Museum. Several loan objects were returned and new pieces were put in their place in the ongoing exhibition In a Different Light: Reflecting on Northwest Coast Art. Additionally, Shake Up: Preserving What We Value continues to accompany the Great Hall seismic upgrades that are underway, showcasing local Indigenous knowledge of earthquakes in this region.

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EXHIBITIONS + INSTALLATIONS A Future for Memory: Art and Life After the Great East Japan Earthquake | 記憶のための未来 －東日本大震災後のアートと暮らし February 11 – September 19, 2021 In the 10th anniversary year of the Great East Japan Earthquake, or 3.11, this exhibition addresses how we deal with memory when our physical surroundings are drastically altered. It shows that regional disasters have global relevance. The works in the exhibition trigger memories, emotions and imagination. They serve as more than objects of memory; they remind us of the force of nature and the continuous efforts of survivors to rebuild their lives. The exhibition features works by Masao Okabe, Chihiro Minato, Atsunobu Katagiri, Rias Ark Museum of Art, The center for remembering 3.11, Lost & Found Project, “Lost Homes” Scale Model Restoration Project and Tsunami Ladies film project team. MOA Curator: Fuyubi Nakamura.

Sanctuary: The Dakota Bear Ancient Forest Experience July 2 – September 26, 2021 Sanctuary, created by Damien Gillis, Cease Wyss and Olivier Leroux is an ecological adventure—a feast for the senses, and an implicit call to action. Inside a geodesic dome with 360° projection, built within

the Haida House, viewers experienced an auditory mix of music and nature sounds, with a wraparound view of an ancient forest. Hosted by Cease Wyss, Sanctuary is a transporting experience: from the inside of hollow trunks, where black bears make their winter dens, to the precipice of a waterfall and other magical places, it offers the thrill of true immersion.

Sankofa: African Routes, Canadian Roots November 4, 2021 – March 27, 2022 Sankofa is the idea of moving forward while reaching back to connect to one’s heritage. Sankofa comes from the Ghanaian Akan language, and the word and its essence have been adopted by many African and Black people around the globe as an expression of cultural and political affirmation. This exhibition looks at some of the divergent— and often fragmented—paths of political mobilization and cultural assertion that African and Black people in the diaspora have taken. Centered on works by contemporary artists from Lagos, Nigeria and Vancouver, in conversation with objects in MOA’s permanent collection, this exhibition shares stories, histories and projects of African and Black affirmation. MOA and guest curators: Nuno Porto, Nya Lewis and Titilope Salami.

 A visitor takes a photo of the multimedia performance-activated altar We Lost People: Diasporic Departure by Black Arts Vancouver (Berlynn Beam, Chase Keetley) in Sankofa: African Routes, Canadian Roots. In the background, a details of Nya Lewis' vinyl installation, Millennial Proverb. Photo by Sarah Race.

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 View of the exhibition Future for Memory: Art and Life After the Great East Japan Earthquake. Photo by Alina Ilyasova.

In a Different Light: Reflecting on Northwest Coast Art June 21, 2017 – Ongoing The inaugural exhibition for MOA’s Elspeth McConnell Gallery of Northwest Coast Masterworks presents over 100 historical Indigenous artworks and marks the return of many important pieces to British Columbia. Through the voices of contemporary First Nations artists and community members, this exhibition reflects on the diverse ways that the historical artworks resonate today. Featuring immersive storytelling and innovative design, it explores what can still be learned from these works and how they remain connected to Indigenous knowledge, lands and cultural practices. MOA and guest curators: Karen Duffek, Bill McLennan and Jordan Wilson.

Shake Up: Preserving What We Value December 2, 2018 – Ongoing Earthquakes have long been part of the reality of living along the Northwest Coast. Through multimedia installations, contemporary First Nations art and cultural objects, Shake Up explores the connection between cultural knowledge and natural seismic events. Bringing together the perspectives of different cultures with the arts and sciences, this exhibition reflects on what we value and how we preserve it. MOA Curators: Jill Baird and Jennifer Kramer.

Beneath Our Feet, Above Our Heads: The Stories Hats and Shoes Tell September 2020 – March 2022 Beneath Our Feet, Above Our Heads is an exhibition by the students of Anthropology 431: Museum Practice and Curatorship. It explores how hats and shoes tell stories and communicate where we are from, who we are, and what we believe in. Supported by MOA Curator: Sue Rowley.

Blessed & Well-Dre$$ed: The Roles of Women in Our Communities October 2, 2020 – Ongoing Blessed & Well-Dre$$ed celebrates "all of the women who have shaped us as Indigenous peoples since time immemorial.” This installation was created by the first three interns in the Indigenous Internship Program: Shoshannah Greene (Haida), Trevor Isaac (Kwakwaka’wakw) and Melvina Mack (Nuxalk). Cultural treasures from their own nations are featured, including a rare dowry board, fibre-optic headdress, labret, aprons and stacks of carved bracelets, to honour the women who sustain and nourish families and communities by playing integral roles in ceremony and everyday life.

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 DJ O Show performs at Sound House: Trick or Beats in MOA's Haida House. Photo by Sarah Race.

ENCOURAGING ACTIVE ENGAGEMENT In ways that honour contributions to our shared society Public Programming It was another topsy-turvy year for public programs, affected by the ongoing COVID-19 pandemic. Early in September, MOA had to inform event attendees that dancing was not allowed at music performances due to provincial health mandates. This didn’t dampen their enthusiasm, however! DJ O Show and other musicians went on to headline the Sound House series in MOA’s Haida House, and when the restrictions were lifted months later, the dance floor filled up with people and joy. The public programming team continued to find creative ways to activate the Museum and the collections through hands-on workshops with artists. This year, MOA’s ceramic artist-in-residence, Denise Jeffrey, worked with clay, and Amy Walker taught mending and upcycling.

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 Members of African Descent Society’s Heritage Keepers give tours of Sankofa: African Routes, Canadian Roots as part of Kids Take Over UBC celebrations for Family Day. Photo by Sarah Race.

Working with community groups is a critical part of MOA programming and is guided by an important principle: “Nothing about us without us.” The department continues to focus on programming BIPOC and LGBTQ+ artists in the different performance series at MOA. This opens MOA up to be more engaged with diverse publics in different ways. This year included a family sing-along in hən̓q̓ əmin̓əm̓! Much of public programming in the fall and early winter was designed to complement the Sankofa: African Routes, Canadian Roots exhibition. Working with members of the local Black community, the programs reflected issues of relevance to them and the people’s creativity and resilience. Exhibition programs included storytelling, musical performances, walking tours of Strathcona, film screenings and artists talks—some online and many in-person.

Educational Programming MOA’s education programs continued to excel through the pandemic. Keeping engaged with teachers and students during the pandemic was a challenge well met by MOA’s Volunteer Associates and school programs staff. The Education team expanded digital programs to two days a week while also welcoming classes back into the Museum to experience hands-on programs. Teaching kits continued to be valuable classroom resources and were booked solid for the year.

This year, the MOA Education team welcomed Squamish plant specialist and artist Cease Wyss as an artist-in-residence at MOA. She hosted ReciprociTEA, a program that introduced students to Indigenous plant knowledge by walking on the land, sharing stories and enjoying a cup of her homemade herbal tea. This was the tenth year that MOA co-hosted the Vancouver School Board’s First Peoples Festival. Indigenous artists returned to the Museum to offer in-person workshops to elementary and secondary students, and all were delighted to be able to gather together again. This was complemented by a series of digital programs ensuring that those who couldn’t make it to MOA had virtual opportunities to learn from Indigenous artists and knowledge holders. With the Great Hall closed for seismic upgrades, the Education department had to get creative in order to host the Dancers of Damelahamid. It was spectacular to witness their performances in the Haida House. Students and teachers alike were enthralled. Educator After Hours was a new initiative to introduce teachers to MOA and educational resources. It was great to see teachers from diverse teaching backgrounds mingling in the evening and experiencing the Museum in a new way.

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PUBLIC PROGRAMS A Future for Memory: Art and Life After the Great East Japan Earthquake | 記憶のための未来 －東日本大震災 後のアートと暮らし

Conversation Series, co-sponsored by the Centre for Japanese Research at UBC Conversations were pre-recorded in Japanese, with English subtitles, followed by live Q+A. The recordings were then published online on the MOA website and YouTube channel. The Japanese transcription by Shota Iwasaki, PhD student at UBC and the English subtitle by Josh Trichilo, PhD student at York University, reviewed and revised by MOA Curator Fuyubi Nakamura. A Conversation with Masao Okabe and Chihiro Minato May 18, 2021, 7 – 8:15pm The conversation was followed by a live Q+A session with Chihiro Minato, Dr. Ignacio Adriasola, Assistant Professor in UBC’s Department of Art History, Visual Art and Theory and Bianca Chiu, UBC student, facilitated by MOA Curator Fuyubi Nakamura. Online event – approx. 80 attended. A Conversation with the Lost Homes Scale Model Restoration Project Team June 29, 2021, 6 – 7:15pm The conversation with Kazuki Isomura and Saki Kojo, members of the Lost Homes Project was followed by a live panel discussion with them and local architects Arthur Leung and Katherine Co, both graduates of UBC’s School of Architecture + Landscape Architecture (SALA). The panel was co-moderated by Professor Mari Fujita of SALA and MOA Curator Fuyubi Nakamura (in English and Japanese). Online event – approx. 60 attended.

A Conversation with Kenji Kai August 17, 2021 A virtual conversation with Kenji Kai, Artistic Director at Sendai Mediatheque and manager of the “center for remembering 3.11” at the Mediatheque, facilitated by MOA Curator Fuyubi Nakamura.

VocalEye Almost Live Virtual Tour: A Future for Memory

August 11, 2021, 6:30 – 9pm The virtual tour in partnership with VocalEye, a not-for-profit organization dedicated to making public programming accessible for the blind and partially sighted, included highlights from A Future for Memory with visual descriptions. This event was hosted by Amy Amantea, a member of the blind/low vision community and VocalEye Executive Director, Steph Kirkland. A post-tour conversation and Q+A with MOA Curator Fuyubi Nakamura. Online event – approx. 50 attended.

Sankofa: African Routes, Canadian Roots Opening Celebration

November 4, 2021, 5 – 9pm Free admission access to the new exhibition, with recorded and live speeches, and music from DJ Nea. In-person event – approx. 300 attended.

A Conversation with Atsunobu Katagiri and Fumihiko Futakami July 15, 2021, 6 – 7:30pm The conversation was followed by a live Q & A with Atsunobu Katagiri, Diana Freundl, Vancouver Art Gallery’s Interim Chief Curator/Associate Director/Associate Curator of Asian Art and Yuval Kehila, UBC student, facilitated by MOA Curator Fuyubi Nakamura. Online event – approx. 60 attended. A Conversation with Hiroyasu Yamauchi August 3, 2021 A virtual conversation with Hiroyasu Yamauchi, long-time curator and recently appointed director of the Rias Ark Museum of Art in Kesennuma City, Miyagi Prefecture, facilitated by MOA Curator Fuyubi Nakamura. A Conversation with Yuichi Shindo + Munemasa Takahashi August 3, 2021 A virtual conversation with Yuichi Shindo and Munemasa Takahashi of the Lost & Found Project and the Omoide (Memory) Salvage Project, facilitated by MOA Curator Fuyubi Nakamura.

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 Nya Lewis, co-curator of Sankofa: African Routes, Canadian Roots, at the exhibition opening celebrations. Photo by Sarah Race.

Mitigating Sites of Harm: Deconstructing or Resisting Cultural Identity of Colonial Institutions November 6, 2021 Guest co-curator Nya Lewis invited Black, Indigenous, and people of colour to join her for a discussion on the experiences of BIPOC curators. In-person event – approx. 15 attended.

Storytelling for Kids with Njamba Koffi

March 19, 2022 Stories and perspectives of the African diaspora. Njamba Koffi shared a Congolese origin story from his upcoming children’s book. In-person event – approx. 7 attended.

Black History Here, Now, Then, Always: A Conversation Across Exhibitions

March 27, 2022 Curators from the exhibitions Sankofa: African Routes, Canadian Roots and Hope Meets Action: Echoes Through the Black Continuum dive deep into conversation as they explore intersections across these two exhibitions that highlights Black history and belonging in BC and beyond. Online event – approx. 39 attended.

Closing Celebrations

 Author Njamba Koffi reads from his children's book. Photo by Sarah Race.

Artists Unscripted: Benin Reimagined

November 20, 2021 Nigerian-based artists Peju Layiwola and Victor Ehikhamenor in conversation with exhibition co-curator Titilope Salami. Online event – 13 attended.

Sound House: Take Root

November 25, 2021 A night of music that celebrated “sankofa,” the act of taking pride in one’s heritage in order to help move forward into the future. Featuring Ghanian-British songstress Maia Wallace; award-winning Nigerianborn Afro R&B artist Sade Awele; and up-and-coming Zimbabwean rapper Brandon Bwanakocha. In-person event – approx. 85 attended.

March 27, 2022 Talks and reflections from exhibition co-curators, along with select participating artists, followed by a final exhibition tour. In-person event – approx. 100 attended.

Other Public Programming Artists Unscripted: Queer Homelands

May 20, 2021 An evening of poetic performance and conversation by non-binary Fillipinx artist Kimmortal, transgender Russian-Jewish poet Angelic Proof and first-generation Afro-Caribbean artist Alisha. Online event – approx. 60 attended.

Artist Talks with Chase Keetley and Chantal Gibson January 22, 2022 Talk from Chase Keetley, who created the multimedia altar installation We Lost People: Diasporic Departure (2021) with Berlynn Beam. Followed by poetry readings and a book signing from Chantal Gibson, who created the installation, Souvenir (2017). In-person event – approx. 39 attended.

Sankofa: Films from the Diaspora

February 12, 2022 A series of short documentaries about the African diaspora in the Americas: Return to Africville, Hogan's Alley Secret Vancouver: Return to Hogan's Alley, and They Are We (with discussion with Coral Santana). Inperson event – approx. 35 attended.

  Attendees at Sound House in MOA's Haida House. Photo by Sarah Race.

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The Work We Do: In a Different Light

May 27, 2021 Featuring MOA Curator Karen Duffek and Musqueam guest curator Jordan Wilson discussing the ideas behind In a Different Light: Reflecting on Northwest Coast Art, and screening of a short documentary about the exhibition. Online event – approx. 40 attended.

Artists Unscripted: The Mothers of Native Hip Hop

June 17, 2021 Featuring Christie Lee Charles, MzShellz and DJ Kookum provided perspectives on the experience of being at the forefront of the Indigenous hip hop and rap scene. Online event – approx. 35 attended.

Native Hip Hop Festival

June 21, 2021 MOA co-presented 7th annual Native Hip Hop Festival, in celebration of National Indigenous Peoples Day. A powerful evening of politics, activism, and storytelling woven through each musical performance. Online event – approx. 75 attended.

Love Intersections: Film Screenings

July 31 – Aug 1, 2021 For Vancouver Pride 2021, screening of eight films by Love Intersections, a Vancouver-based media arts collective made up of queer artists of colour. In-person event.

 Kids Conservation Lab as part of Kids Take Over UBC celebrations for Family Day. Photo by Sarah Race.

Sound House: Never Forgotten

September 30, 2021 Honouring National Day of Truth and Reconciliation with Indigenous poetry and spoken word related to themes of identity, intergenerational trauma, healing and reconciliation. The evening began with a lantern procession in memory of residential school survivors and the children who didn't make it home. In-person event – approx. 50 attended.

QUEER Coded: Slam + Spoken Word

October 13, 2021 An intimate and inspirational evening of queer and feminist slam and spoken word with UBC Slam Poetry. Presented as part of UBC ARTIVISM Festival: Queering the Self. In-person event – approx. 64 attended.

Cloth + Clay: Ceramics Workshop with Denise Jeffrey

October 16, 2021 MOA’s ceramics artist-in-residence Denise Jeffrey led an exploration of textiles and ceramics, with inspiration from MOA’s rich collections from around the world. Participants sketched designs and motifs to incorporate into their unique ceramic work. In-person event – 8 attended.

Artists Unscripted: QUEER Imprints

October 21, 2021 This special edition of Artists Unscripted was presented as part of the UBC ARTIVISM Festival: Queering the Self, and featured illustrator and comic artist Syan Rose alongside comedian and poet Tin Lorica who discussed queer expression in the digital era. Online event – 18 attended.

Book Launch — Where the Power Is: Indigenous Perspectives on Northwest Coast Art  Workshop participants make orange paper lanterns in honour of The National Day of Truth and Reconcilation / Orange Shirt Day. Photo by Nadin Hassan.

Honour with Orange: Lantern Workshop and Indigenous Stories

September 25, 2021 Reading of children's stories and discussion about residential schools followed by lantern- and button-making. In-person event – approx. 42 attended.

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October 28, 2021 The launch of Where the Power Is: Indigenous Perspectives on Northwest Coast Art by Karen Duffek, Jordan Wilson and Bill McLennan. Speeches from authors Karen Duffek and Jordan Wilson and contributors Willy White and Jim Kew, followed by book signings. In-person event – approx. 112 attended.

Sound House: Trick or Beats

October 28, 2021 DJ O Show provided a night of hip hop and R&B and attendees were encouraged to wear costumes. In-person event – approx. 49 attended.

 MOA Artist-in-Residence Tsamiianbaan, William White (Tsimshian) talks to visitors about his Chilkat weavings. Photo by Sarah Race.

hən̓q̓ əmin̓əm̓ Sing-Along

November 13, 2021 Vanessa Campbell and Lawrence Guerin, from the Department of Musqueam Language and Culture, facilitated a sing-along, followed by a button-making with words in hən̓q̓ əmin̓əm for visitors to take home. In-person event – approx. 26 attended.

Melody Courage Performs Tania Willard's “Woodpile Score”

November 18, 2021 Presented in partnership with The Chan Centre, Métis soprano singer Melody Courage interpreted “Woodpile Score” from Tania Willard's Surrounded/Surrounding (2018) through vocal performance in the Haida House. In-person event – approx. 40 attended.

MOA Food + Culture Fest

November 23, 2021 Celebration of food and culture in support of the UBC Community United Way Campaign. Visitors enjoyed delicious treats and musical performances, while supporting an important cause. In-person event.

Ask a MOA Conservator Day

November 25, 2021 In celebration of the annual Ask a Conservator Day, the MOA Conservation team offered a behind-the-scenes look at conservation work with live demos and examples of past projects, followed by a Q+A. In-person event – approx. 16 attended.

ExperiMending Workshop with Amy Walker

December 4, 2021 Expert maker Amy Walker discussed the historical role of mending, reflected on how the relationships humans have with clothing, and looked at innovative examples of contemporary mending. This was followed by a mending session with participants. In-person event – 25 attended.

Double Book Launch: Mischief Making: Michael Nicoll Yahgulanaas, Art, and the Seriousness of Play and Bodies of Enchantment: Puppets from Asia, Europe, Africa and the Americas

December 4, 2021 MOA, Figure 1 Publishing and UBC Press celebrated the launch of two new publications on art, performance and play. Authors, artists and curators Michael Nicoll Yahgulanaas, Nicola Levell, Sutrisno Hartana and Jill Baird were in attendance to profile their writings, art practice and MOA’s collections. In-person event – approx. 30 attended.

Black History Month Showcase with UBC Black Student Union

February 16, 2022 A celebration of Black talent and culture in an inclusive event for members of the UBC community. This was a night of performances from various artists. In partnership with Exposure UBC, UBC Arts and Culture District, and the UBC Black Student Union. In-person event – approx. 40 attended.

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 Gigaemi Kukwits (Musgamakw Dzawada’enuxw) speaks at the book launch of Where the Power Is: Indigenous Perspectives on Northwest Coast Art. Photo by Sarah Race.

Black Strathcona Heritage Walking Tour with African Descent Society February 19, 2022 African Descent Society BC led a heritage walking tour of Strathcona, tracing through the history of the Black Canadian community in Vancouver. In-person event – approx. 50 attended.

Kids Takeover UBC at MOA

February 20, 2022 MOA celebrated the Family Day weekend by welcoming families for an afternoon of activities and events such as storytelling about African and Black Canadian heritage, youth-led tour of Sankofa: African Routes, Canadian Roots, exhibition, hands-on conservation work, and Chilkat weaving demonstrations from MOA Artist-in-Residence William White. In-person event – approx. 650 attended.

Arts Night Out: A Concert in Celebration of Women

March 31, 2022 A concert featuring two incredible BIPOC and femme-identifying performers: Maia Wallace and Turunesh. In partnership with Exposure UBC, the UBC Arts and Culture District, and the UBC Blank Vinyl Project. In-person event – approx. 88 attended.

Responsive Dialogues: Racism in Canada Series

This dialogue series was sparked by recent anti-Black and anti-Asian violence in communities across North America, and the continued racism and oppression directed at Indigenous communities. It derived from the Rapid Response Case initiative to curate a small display case to address pressing issues of the moment by making connections to what we do at MOA. As we transitioned many things to #MOAFromHome during the COVID-19 pandemic, we continued to promote constructive social activism that aims to create positive change through different channels. Dialogue 1: Racism in Colonial Canada: An Indigenous Perspective March 2, 2021 We started this series with Racism in Colonial Canada: An Indigenous

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Perspective, a dialogue with Jacqueline (Jacquie) Adams from Ahousaht and ʔiiḥatisatḥ činax̣int First Nation and Emily Teh, of Lakȟóta, Métis, and Portuguese descent, MOA Library + Archives Assistant. Dialogue 2: Anti-Asian Racism in the Historical Context: The Dispossession of Japanese Canadians May 3, 2021 In this dialogue, Sherri Kajiwara, director/curator of the Nikkei National Museum and Fuyubi Nakamura, MOA Curator consider anti-Asian racism in the context of historical injustice done to the Japanese Canadian communities in relation to the Broken Promises exhibition at the Nikkei National Museum, which derives from the seven-year collaborative research project, Landscapes of Injustice. Dialogue 3: A Dialogue on Anti-Chinese Racism: Linking the Past to the Present May 26, 2021 In this dialogue Dr. Tzu-I Chung, Curator of History at the Royal British Columbia Museum and Bonnie Sun, MOA Senior Marketing and Communications Manager consider anti-Asian racism, particularly anti-Chinese racism, through the lens of history and the contributions of the first generations of Chinese immigrants to Canada. As illustrated by recent RBCM exhibitions curated by Dr. Chung, the resilience of the Chinese Canadian community has prevailed for centuries.

Academic Programs Visual and Material Culture Research Seminar

An interdisciplinary seminar series on visual and material culture. Conveners: Fuyubi Nakamura (MOA/Asian Studies), Nuno Porto (MOA/Art History, Visual Art and Theory) and Kelly Midori McCormick (History). All sessions were held online via Zoom.

Reverse Diaspora: The “Brazilians” in West Africa September 16 Antje Ziethen, Assistant Professor, Department of French, Hispanic and Italian Studies, UBC Orúkọ Mi Ni: Táíyéwò ati Kẹ́hìndé October 7 Oluwasayo Olowo-Ake, MA student, Department of Art History, Visual Art & Theory, UBC Groundedness as Risk: Adaptation Strategies for Ground Failures in Seattle October 14 Arthur Leung, Architect and Adjunct Faculty, School of Architecture and Landscape Architecture, UBC The Grievability of Japanese Sex Workers in the Transpacific Underground October 28 Ayaka Yoshimizu, Assistant Professor of Teaching, Department of Asian Studies & UBC-Ritsumeikan Academic Exchange Programs, UBC Beyond the Visual: The Roles of the Body in Spain’s “PostComics” Scene November 18 Jennifer Nagtegaal, doctoral student, Department of French, Hispanic & Italian Studies, Hispanic Studies, UBC 1b, black legs, 52" January 20 Karice Mitchell, Lecturer, Department of Art History, Visual Arts & Theory, UBC From the Clock to the Maze: The Knowledge of “IncenseSeal Pictures” between Premodern Chinese Compilers and a Modern Oriental Author February 3 Haoyue Li, PhD student, Department of Asian Studies, UBC Visual Politics: Documenting Black Western Canadian Diasporic Cultural Production February 17 Nya Lewis Williams, Curator, Founder and Director of BlackArt Gastown, Programmer Vancouver Queer Film Festival Japanese Girls’ Science Fiction Manga and Women Manga Artists February 17 Yuki Ohsawa, Postdoctoral Teaching Fellow, Department of Asian Studies, UBC Materializing Haa Aaní: Tlingit Beading Practices and the Land March 17 Megan A. Smetzer, Acting Curator of Western Ethnology, Canadian Museum of History and Lecturer, Art History Department, Capilano University Belonging at the Table: Curators’ Reflections on the ‘A Seat at the Table’ exhibition March 31 Denise Fong, PhD candidate, Interdisciplinary Studies Graduate Program, UBC and Henry Yu, Associate Professor, Department of History and the Principal of St. John’s College, UBC

TOTAL STUDENTS SERVED Elementary + Secondary Programs

Archaeology of the Lower Fraser River . . . . . . . . . . . . . . 168 Cedar Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 Cedar: Tree of Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375 Framing Stories: Northwest Coast Art . . . . . . . . . . . . . . . . 185 Indigenous Plants + Connections . . . . . . . . . . . . . . . . . . . . . 81 Kwakwaka’wakw Potlatch . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Outdoor Pole Walk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 Transforming Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Supervisors/Teachers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 Total . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,813

Elementary Live Digital Programs

Archaeology of the Lower Fraser River . . . . . . . . . . . . . . . 427 Cedar: Tree of Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 789 Kwakwaka’wakw Potlatch . . . . . . . . . . . . . . . . . . . . . . . . . . 211 Total . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,427

Special Programs

Dancers of Damelahamid . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 Online Vancouver School Board Festival . . . . . . . . . . . . . 600 Professional Development Workshop . . . . . . . . . . . . . . . . 126 ReciprociTea with T’uy’t’tanat Cease Wyss . . . . . . . . . . . . 61 Volunteer Associates Hosting Program . . . . . . . . . . . . . . . . 75 Washed Up Virtual Workshop with Pete Clarkson �������������� 16 Total . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,112

Self-Guided Tours

Elementary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 Secondary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576 Post-secondary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,095 Adult ESL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Supervisors/Teachers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Total . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,282

Guided Tours

Elementary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Secondary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Post-secondary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388 Adult ESL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Supervisors/Teachers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Total . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544 Total: 7,178

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 Thunder Bird Dance Masks, by Chief Henry Speck (Tlawitsis), 1959. MOA Collection 3546/1. Photo by Nancy Bruegeman.

CARING FOR CULTURAL OBJECTS To serve our communities

Acquisitions for MOA’s Collection MOA’s collections were enhanced this year with generous donations of historical and contemporary items from around the world. Our global ceramics collection continued to grow with gifts of works made in Mexico, China, Nigeria, Liberia, New Mexico and Europe, and with several ceramics from the 1970s and ’80s by British Columbia potters including Masatado Funo and Marion Goddard. Highlights from the First Nations, Inuit and Métis works offered to the Museum include a rare, superbly carved Nuu-chah-nulth ceremonial figure representing a child in a cradle (c. 1900), and a Salish rattle representing a duck (c. 1890). Another unique contribution was a carved bow-and-arrows set inscribed with the name of the maker: “Made by Joe Dally, Sechelt Indian, August 19th 1932.” Adding to our representation of northern Canadian and Greenlandic cultural production in the 1970s and ’80s, moreover, MOA received an excellent and well-documented donation of 40 Inuit stone and ivory carvings. From the Pacific, MOA was grateful to receive a hand-painted Arawe shield from New Britain, a collection of contemporary Indigenous

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 Daris (or Dharis), made by Jimmy K. Thaiday (1987- ), Erub, Torres Strait, MOA Collection 3541/2 and 3541/1. Photos by Alina Ilyasova.

paintings from Australia, a storyboard from Yap (Federated States of Micronesia), and a number of masks, body ornaments and carvings from Papua New Guinea. A variety of items from Asian countries—including India, Japan, Malaysia, Nepal, Pakistan and Thailand—were donated to MOA this year. Having shown the compelling work of the ikebana master Katagiri Atsunobu (片桐功敦) in MOA’s 2021 exhibition A Future for Memory: Art and Life After the Great East Japan Earthquake, we were pleased to accept into our permanent collection three photographic prints of his ikebana work made in Tohoku in the aftermath of the 2011 disaster. Another donation, especially notable because of the rich fieldnotes accompanying it, was a collection of various objects from Thailand collected by a retired anthropology professor who conducted research in that country in the 1980s and 1990s. Of the many donations related to South America and Africa, a gift of 28 Mbuti bark paintings is particularly significant. Less well-known by the public than are African carvings and masks, such bark paintings are created by women and are enmeshed in the everyday nomadic life of the Mbuti, who are hunter-gatherers living in the Ituri rainforest of the Democratic Republic of Congo. The paintings are made as a form of cooperative production described as an egalitarianism of visual expression that establishes every woman as an artist. These works provide a critical platform from which to consider Western forms of painting and living through Mbuti knowledge and aesthetics. The O’Brian Strategic Acquisitions Fund enabled MOA, in consultation with Nuxalk community members, to purchase a significant 19thcentury S7ayulh (Thunder) mask, a dance prerogative belonging only to the Nuxalk Nation of Bella Coola, BC. From the Tla-o-qui-aht (Nuu-chah-nulth) artist Marika Echachis Swan, we acquired two contemporary woodblock prints expressing the ceremonial power of women: We Dance Them Back In (2020) and Side Dancer’s Gift

(2019). We also continued to build MOA’s collection of works by the Kwakwaka’wakw artist Udzistalis, Chief Henry Speck (1908–1971), with the purchase of four gouache paintings (c. 1959). From the island of Erub (Darnley) in the Torres Strait, the Fund enabled the purchase of two contemporary ceremonial headdresses known as Dari (or Dhari): the artist Jimmy K. Thaiday created one traditional feathered version and another using discarded fishing nets—a commentary on the ongoing harms of ocean pollution.

Connecting Communities In another year of working under pandemic conditions, the Collections and Conservation team continued to adapt to restrictions and protocols, ensuring that MOA’s exhibition schedule was maintained and incoming and outgoing loans of objects facilitated. In total, the process of 38 new loans of 98 objects began in the 2021– 2022 year. Loan objects—whether coming to or travelling from MOA—must be processed, condition reported, packed, shipped, installed and de-installed before their loans are complete. Eighteen objects from the MOA Collection travelled from the Museum as part of loans for exhibitions at the Nanaimo Art Gallery (We Do Not Work Alone), the Museum at Campbell River (Cecil Dawson: Standing at the Gap) and the Audain Art Museum (Wolves: The Art of Dempsey Bob). The objects on loan to the Audain Art Museum will continue to three additional venues as part of their travelling exhibition. Collections and Conservation staff prepared and installed 80 incoming loan objects from local and international artists, private lenders and galleries, as well as over 170 objects from MOA’s collections. These objects were included in MOA’s feature exhibitions, Sankofa: African Roots, Canadian Routes and Xicanx: Dreamers + Changemakers / Soñadores + creadores del cambio. Another incoming loan was

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 Members of the MOA Collections and Conservation staff were deployed as part of BC HERN to assist with object salvage following the Lytton wild fire. Photo courtesy of BC HERN.

the large, immersive, multimedia installation, Sanctuary, created by Damien Gillis, Cease Wyss and Olivier Leroux, that was installed in the Haida House. In 2021–2022, MOA’s Collections Access program was able to start up again with COVID-19 protocols in place to ensure the safety and wellbeing of visitors and community members. Throughout the year, the Collections and Conservation team facilitated 52 visits with 376 people, who together accessed a total of 567 objects and belongings from the collection. The diverse community groups that visited with their belongings included Cree, Dene, Fijian, Filipinx, Haida, Haisla, Kwakwaka’wakw, Lil’wat, Lower Stl’atl’imx, Lyackson, Maori, Metis, Musqueam, Nisga’a, Nuchatlaht, Sechelt/Shíshálh, Semá:th, Semiahmoo, Spuzzum, Sq’éwlets, Squiala, Squamish, Taku River Tlingit, and Tsleil-waututh. Eight of these groups received funding from MOA through the Indigenous Collections Access Grant, which assisted with travel costs to visit the collections at the Museum. This grant program was created with funding from the UBC Excellence Fund, and is a vital part of MOA’s commitment to the principles of the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP), fostering close working relationships with Indigenous peoples, groups and organizations that have a claim to, or interest in, the materials in MOA’s care. The Collections and Conservation team also received academic

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research and class visits from UBC’s Art History, Asian Studies, Anthropology, Music and History departments and from the Beaty Biodiversity Museum, as well as from Capilano University, Langara College, the Sainsbury Centre (UK), Simon Fraser University, and the University of Victoria.

Care + Conservation of MOA’s Collections MOA Conservators Heidi Swierenga and Mauray Toutloff oversee the preservation of MOA’s collection and conduct research in the field of collections care. In the 2021–2022 year, their work continued in collaboration with Musqueam, Stol:lo and the Canadian Conservation Institute on the preservation of wet-site perishable materials. Another area of research was on African bronzes in the MOA Collection to determine their alloy breakdown in order to try to determine possible manufacturing dates. The results were compared with data provided by colleagues from the British Museum who were researching the attributes of Benin bronzes, and MOA learned that the alloy composition of the bronzes in our collection were elementally dissimilar to the alloy composition of the Benin bronzes at the British Museum. The department staff also assisted interns in evaluating conservation projects using x-ray fluorescence spectrometry (XRF) to detect pesticide residues, and assisted MOA Curators in analyzing culturally sensitive materials and new acquisitions.

The Collections and Conservation team continued to support the BC Heritage Emergency Response Network (BC HERN) in developing resources on emergency salvage and response for heritage collections across the province, including remotely facilitating several online workshops. Three department staff, moreover, were deployed as part of BC HERN to assist with fire recovery in the aftermath of the devasting Lytton Creek wildfire that occurred on June 30, 2021. Mauray Toutloff, with the support of department staff, enjoyed introducing conservation practices to the general public and children. On November 21, 2021, they hosted “Ask a Conservator” and “Open Lab,” and encouraged the public to bring personal belongings for conservation advice. On February 21, 2022, they offered the “Kids Conservation Lab” as part of MOA’s annual Family Day programming, Kids Take Over UBC. MOA’s Collections and Conservation department plays an important role in supporting the Museum’s training mandate through internships and onsite practicums. Following the COVID-19 disruptions in the 2020 – 2021 year that pivoted to virtual participation and online research, MOA was able to host three interns on site over the last year. The team welcomed Meg Soderlund (Museum Studies, University of Toronto) and Lavina Li (Conservation, Queen’s University) for the Summer 2021 term, as well as Kelsey Sparrow (Musqueam) during the winter/spring of 2022. ̓ a   a b o v e Hope La Farge and Rhy McMillan perform material analysis on a Dzunuḵw mask (MOA Collection A3637) using an Olympus Vanta pXRF. Photo by Mauray Toutloff. b e l o w Kelsey Sparrow (Musqueam/Anishnaabe) holds a basket discovered in a mud bank at Musqueam. Photo by Heidi Swierenga.

The MOA Collections and Conservation Instagram continues to gain popularity with engaging and informative posts. The staff demonstrate conservation equipment and techniques and provide a look behind the scenes to 2,050 followers on a weekly basis.

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 MOA Curator Karen Duffek and Jordan Wilson (Musqueam), co-authors of Where the Power Is: Indigenous Perspectives on Northwest Coast Art, at the book launch. Photo by Sarah Race.

CREATING OPPORTUNITIES To promote intercultural understanding MOA’s Curatorial staff undertakes research that enhances the documentation of the collections, links scholars and community members from around the world, and provides the basis for exhibitions, publications, and public and academic programs. This year, highlights included the start to an intensive period of consultation and planning for the renewal and reinstallation of the Great Hall, including ongoing work with families and communities connected to the poles and other monumental carvings displayed there. Publications, exhibition research and programming, and embarking on a new process of collections review involved all members of the department. Karen Duffek became department head in the Fall 2021, while Nuno Porto and Fuyubi Nakamura attained UBC faculty status and are actively integrating their new teaching roles with the rich resources that MOA has to offer. Following the Fall 2021 publication of her new book, Where the Power Is: First Nations Perspectives on Northwest Coast Art (co-authored with Bill McLennan and Jordan Wilson), Karen Duffek has been

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concentrating her research on the archival resources that she and guest curator Dr. Marica Crosby (Ts’msyen/Haida) are assembling for their forthcoming exhibition at MOA, scheduled to open in 2024. Their focus is on revisiting the diverse ways that First Nations represented themselves prominently, and often strategically, in British Columbia’s modern urban spaces between 1900 and the 1960s, through news media and at events like royal visits, civic jubilees and parades. Bringing archival images and contemporary First Nations voices together with elements of MOA’s Northwest Coast collection—a collection formed in those same years—will create an immersive and reflexive experience for visitors. As well, Karen began work with Figure 1 Publishing to reprint the groundbreaking book she coauthored with Bill McLennan in 2000, The Transforming Image: Painted Arts of Northwest Coast First Nations. The much-anticipated volume will be published in Fall 2022, featuring some revisions and redesign plus a preface for the new edition, reflecting on the book’s impact and recent developments in Northwest Coast painting.

Karen collaborated with the Collections team to invite Tsamiianbaan– William White, a master weaver of the Tsimshian Nation, for an artist residency at MOA in February 2022. During his two-week visit William started on his new commission to weave a Chilkat dance apron and pair of leggings. Once finished, the items will not only be displayed to museum visitors as “art” but will also regularly be activated, culturally and spiritually, as ceremonial regalia. Funded by the Michael O’Brian Strategic Acquisitions Fund, the apron and leggings will accompany the Chilkat weaving, or gwiis halayt, that William made as an earlier MOA commission in 2004. Jennifer Kramer continued her long-standing collaborative research with the Nuxalk Nation (Bella Coola) to connect members of the community with their historical treasures now located in museums around the world. Their focus has been on exploring repatriation possibilities through the UBC-supported project “Healing with Heritage: Nuxalk Museum and Exhibition Planning through Collaborative Engagement.” Together with the Nuxalk director of culture, Snxakila Clyde Tallio, Jennifer is curating an upcoming exhibition about the past, present and future of the Nuxalk Nation, anticipated to open at MOA in Spring 2024. In addition, Jennifer has been a co-applicant and research collaborator with Dr. Bryony Onciul of Exeter University on her UK Arts and Humanities Research project, “Renewing Relations: Indigenous Heritage Rights and (Re)conciliation in Northwest Coast Canada,” which explores Indigenous sovereign initiatives—such as the Coastal Guardian Watchmen—in this era of the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP). Together with Susan Rowley, Jennifer taught ANTH 431: Museum Practice and Curatorship, for which the class of 20 students curated Closer, Closer: Miniatures, Models and Their Stories, a display that opened to the public in March 2022 in MOA’s Textile Research Room. Carol E. Mayer continued her research in the Pacific Region. In preparation for her upcoming book Sea of Islands, Carol’s research included many conversations with scholars, artists, knowledge

keepers and staff of cultural centres and museums from across the Pacific. The book will offer new and different ways of seeing and thinking about MOA’s important Oceanic collection through stories and personal connections. Carol also continued her long association with the artists at the Erub Art Centre in the Torres Strait; community members there are bringing attention to the global pollution of our oceans by creating works of art made with the detritus of “ghost nets” abandoned by fishing fleets. As part of this work, Erub artists led a ghost-net workshop held at MOA. Carol’s research and development of MOA’s ceramics collection intensified in readiness for a new installation she is curating for 2023/2024. As well, she continued MOA’s Ceramic Artists-in-Residence program with this year’s featured potter, Denise Jeffrey. During her time at MOA, Denise created new works based on research of MOA’s worldwide ceramics collection and hosted a popular Clay + Cloth workshop, based on textiles as inspiration for surface decoration on ceramics. The exhibition A Future for Memory: Art and Life After the Great East Japan Earthquake, which derived from Fuyubi Nakamura’s ongoing research since 2011, opened at MOA on February 11, 2021. To further disseminate her research during the exhibition, Fuyubi worked with graduate students to provide the English subtitles for pre-recorded conversations with Japanese-speaking collaborators, assisted by support from a Social Sciences and Humanities Research Council Connections Grant. She also gave numerous talks and classes about this research project and exhibition. Fuyubi continued her research on MOA’s Asian collections, focusing on the Japanese print collection and updating its records, and reviewing acquisitions with complicated histories. She co-convened MOA’s Visual and Material Culture Research Seminar Series throughout the year. She is a member of the collaborative research project “Groups, Clubs, and Scenes: Informal Creative Practices in Japan,” led by Dr. Jennifer Coates of Sheffield University in the UK, as well as of UBC’s Disaster Resilience Research Network. In 2021, Fuyubi began a joint appointment with UBC’s Department of Asian Studies and taught ASIA498/ASIA598: Asia in Museums.

 Sankofa: African Routes, Canadian Roots shed light on ideas of Restitution and Repatriation within MOA's African collections. Photo by Cody Rocko.

Nuno Porto took the lead in curating Sankofa: African Routes, Canadian Roots (November 2021 to March 2022) with guest co-curators Nya Lewis (BlackArt Gastown) and Titilope Salami (graduate student in UBC’s department of Art History, Visual Art and Theory). The exhibition incorporated research conducted by a team of students, funded by UBC’s Program for Undergraduate Research Experience (PURE), as part of the project “Decolonizing the African Collections and Displays at MOA.” Nuno also continued working with Frankfurt’s Museum am Rothenbaum on the Digital Benin project, and initiated a new research project on Afro-Brazilian material expressions with the National Museum of Rio de Janeiro. He concluded his collaboration with the UBC President’s Task Force on Anti-Racism and Inclusive Excellence, whose final report was made public in April 2022. Since January 2022, he began a joint appointment with the UBC Department of Art History, Visual Art and Theory and taught ARTH 410: Seminar in African Art— Key Debates in the Art of Africa and African Diasporas. Nuno presented on his ongoing research and curatorial practice in a number of conferences in Canada, Brazil, Germany, Portugal and Switzerland.

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INSPIRING INQUIRY About the diversity of world cultures, arts and ways of knowing Audrey and Harry Hawthorn Library + Archives The Audrey and Harry Hawthorn Library and Archives (AHHLA) continues to support the research of MOA staff, outside scholars and community members, while preserving MOA’s documentary history in the archives and managing and disseminating MOA’s digital assets. In response to ever-changing restrictions and the new ways people are learning and seeking information as a result of the pandemic, AHHLA has been accommodating in-person research when necessary while making more and more resources available in digital form. In addition to digitizing a few collections for both access and preservation purposes, we completed a large collection of Wilson Duff records consisting of documents, maps and audio recordings, and finished scanning over 3,000 images from Audrey Hawthorn’s slide collection. After a couple of slow years for acquisitions, this year brought an uptick in donations. The Archives received accruals to the Vickie Jensen and Jay Powell fonds, the Robert Keziere fonds, Beatrice Pilon fonds, and the Harry Hawthorn fonds, improving the breadth and scope of these holdings. Robin Ridington donated audio recordings of Robert Davidson speaking at MOA. As well, hundreds of slides taken by Lawrence Kristmanson, an artist and friend of Bill Reid, were donated by his family. All library books are now being purchased with funds raised for the Anthony Shelton Library Acquisition Fund in honour of MOA’s former director. The Library also received from Victoria Henry a collection of unique materials related to Nigerian printmaker Bruce Onobrakpeya; Jane Aanen donated a Keur bible from 1730; and photographer Chris Rainier donated a collection of all of his books, including striking images of Indigenous peoples across the globe. Mary Frame, moreover, made two large book donations, with most titles focused on South American textiles; many of these books were written in Spanish, and we were fortunate to have former UBC Work Learn student Clara Giménez-Delgado catalogue them in her native tongue before her term ended. Library and Archives students Devon Farrell and Peyton Moriarty made valuable contributions to several AHHLA initiatives over the winter term. The Library and Archives Volunteer Associates continued their great work by indexing a large collection of press clippings, cataloguing books, and arranging, describing and digitizing archival materials. AHHLA staff fulfilled numerous image and licensing requests, processed a significant number of records from recently retired MOA staff, grew our social-media presence, created new

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 a b o v e D  igitized map by Wilson Duff. MOA Archives: Wilson Duff fonds CM-67. Photo by Alissa Cherry. b e l o w Bruce Onobrakpeya Special Collection, donated by Victoria Henry. Photo by Alissa Cherry.

research guides, and supported the work of the Indigitization Program. AHHLA also participated in MOA’s Indigenous Internship Program by hosting interns and giving them a taste of library and archives work.

Oral History + Language Lab “Slow but steady” characterizes the year for the Oral History and Language Lab. The OHLL continued to assist community partners in digitizing important language and cultural heritage recordings including memorable Dakelh, Haida and Nuxalk recordings. In partnership with MOA’s Conservation department, we are developing processes of mould removal from open reel audio tapes to enable safe

digitization of contaminated media that is common in many coastal collections. We also helped the UBC Indian Residential School History and Dialogue Centre in responding to community requests to record new testimonies relating to the ongoing discoveries of unmarked graves at residential schools in British Columbia. The OHLL continues its work with the Indigitization Program. We have worked to make our textual digitization guides more accessible and create video training resources to better enable remote learning. Several new lending kits have been created and will be available soon. We are also in the process of redesigning our grant program to better align with all of these new resources. In preparation for these new grants, this year we supported a number of pilot projects targeting the digitization of cultural heritage recordings on the open reel audio, micro-cassette and MiniDisc formats.

Native Youth Program For the 2021 Native Youth Program (NYP) MOA hired  2021 cohort of the Native Youth Program with guest speaker Nancy Lee, Emily Carr University's Safoura Rigi-Ladiz as the Program Manager and River Summer Institute for Teens (second row). Photo courtesy of the of the Native Youth Program. Ironeagle-Mindel as the Program Assistant. This was Indigenous Internship Program the NYP’s 42nd year and the 2021 cohort consisted of six Indigenous youth ages 15 to 18 years. The NYP began with a vision that continues Launched in February 2020, the Indigenous Internship Program (IIP) to be a core mission: to engage Indigenous youth in meaningful work/ is taking action to improve the lack of representation of Indigenous learn experiences at MOA that embrace the youth’s lived experiences, people working in museums and to offer essential tools to Indigenous build personal confidence, build their cultural knowledge and communities to support self-determined heritage-management competency, expose the youth to arts and cultural institutions, and initiatives. offer workplace experiences and responsibilities. The IIP is directed by an Indigenous-majority collective that is deeply During the seven-week program the youth participated in a range of committed to building Indigenous capacity by creating inclusive and unique opportunities, workshops, projects and fieldtrips. Throughout transformative training opportunities. Six Indigenous community these varied activities, the group engaged with a range of Indigenous partner organizations—Musqueam Indian Band, Squamish Lil’wat artists and knowledge holders, and learned about their own and Cultural Centre, Haida Gwaii Museum, U’mista Cultural Society, other Indigenous cultures. They developed valuable skills such as Nlaka’pamux Nation Tribal Council, and Coqualeeetza Cultural researching and assessing sources, professional writing, podcasting, Society—worked with MOA to create this program, and they continue filmmaking, social media management, 2-D and 3-D design and public to shape its strategic development. Funding for the Indigenous speaking. Internship Program is provided by the Andrew W. Mellon Foundation. The NYP participants also became experts in MOA’s feature In October 2021, after an interruption brought on by the COVID-19 exhibitions that were on at the time: A Future for Memory: Art and Life pandemic, the IIP was thrilled to welcome its second cohort: Elsie Joe After the Great East Japan Earthquake, and Shake Up: Preserving (Nłeʔkepmx), Ks’aan Moody (Haida), Kelsey Sparrow (Musqueam/ What We Value. The students participated in curator talks with the Anishnaabe), Marc Williams (Squamish/Wet'suwet'en). During their exhibitions’ curators, as well as two design workshops with MOA’s eight-week internship at MOA, these four interns were embedded curatorial design team, Cody Rocko and Skooker Broome. in departmental teams and engaged in a variety of projects, from The Program Manager and Program Assistant hosted an engaging cleaning wet-site basketry in the conservation lab to exploring the and insightful Instagram Takeover of MOA’s account on Indigenous history of Indigenous rodeo performers through curatorial research. Peoples Day in June. The youth then held their own Takeover to great This practical museum work was grounded in Indigenous knowledge success on World Indigenous Peoples Day on August 9, 2021. and practices and focused on collaboration, inclusivity and selfThrough exploring their identity and culture the NYP created unique representation. All of the interns produced short articles about their spoken work pieces focused on their personal origin stories. These work that provide insight into their positive and meaningful learning aired on CiTR on August 20, 2021 with an original song composed experiences. Their articles were published on MOA’s website and in by NYP Alumnus Mackenzie Fong. Where We Begin: A Collection MOA Magazine, and have been shared across social media. of Origin Stories won Best Audio Documentary at the 2022 National Throughout the program, the interns participated in monthly all-staff Campus and Community Radio Association Awards. meetings, weekly Indigenous staff meetings and weekly lunches in

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the First Nations Longhouse at UBC. The group went on several study visits to local museums and galleries and met with a diversity of museum professionals. Interns enjoyed and “felt grounded” by weekly lunches with local Musqueam Elder-in-Residence Mary Roberts, who shared her cultural knowledge, humour and support. The group also enjoyed connecting with representatives from the Indigenous partner organizations, providing the interns with powerful role models of Indigenous museum professionals.

Volunteer Associates The Volunteer Associates, comprising nearly 100 members working in ten committees, continued to inform and engage visitors and support museum staff during the global pandemic. Collectively, they contributed nearly 6,300 hours of volunteer work. As a collective, the VAs asked big questions of themselves: What does it  MOA Education Volunteer Associate Elaine Klein delivers a digital school program over Zoom. Photo by Amina Chergui. mean to live or work on unceded land? What are settlers' responsibilities? How should settlers learn and talk about Indigenous peoples and cultures? in Canada and about repatriation. Collection and Conservation They continued on their path of decolonization by working through Committee member Steve Weisman monitored and recorded the Indigenous Strategic Plan self-assessment toolkit, adding relevant environmental readings at 30 locations in the museum weekly. The content to the weekly VA internal newsletter, and implementing land Library and Archives Committee transcribed and catalogued countless acknowledgements. Invited guest speakers at VA meetings who materials, and continue to transcribe Roy Henry Vickers’ audio tapes. spoke about decolonization included Amy Perrault, Senior Strategist, The National Docent Symposium (NDS) Conference representative Indigenous Initiatives at the Centre for Teaching, Learning and Susan Fisher communicated throughout the year with members of the Technology at UBC, and her team; Nuno Porto, MOA Curator; Bernard NDS, discussing how volunteers can continue to contribute during Perley, Director, Institute for Critical Indigenous Studies; Susan a pandemic and how to further address the issues of inclusivity, Rowley, MOA Director; and Damara Jacobs-Petersen, Curator of diversity and accessibility within museums. Indigenous Programming at MOA. The Research Committee helped with the exhibition Sankofa: The Education Committee presented over 100 in-person and online African Routes, Canadian Roots, co-curated by Nuno Porto, Nya school programs to classrooms across the province, and even across Lewis and Titilope Salami. The exhibition provided the committee the country. They also assisted with hosting school performances with opportunities to see up close some of the belongings in African by the Dancers of the Damelahamid. Separately, the Archeology collection that they researched. Understanding the appropriate Committee presented online and in-person school programs to over classification and history of those objects gave committee members a 500 students. Both committees supported the Educators After-Hours unique and meaningful experience. And congratulations to Research events at MOA for teachers. Committee member Cliff Pereira who was awarded the Canadian Museum Association Volunteer of the Year! The Gallery Hosts and Visitor Information Desk Committees helped visitors on the gallery floor with wide range of questions. The Gallery Membership Hosts introduced visitors to the MOA’s multimedia guide (now also available in French and Chinese), and explained how to use the MOA Members continue to be great supporters and champions of the MOA-CAT (online catalogue) stations located in the Multiversity Mwuseum. This year, our 1,000 member households were surveyed Galleries. The Gallery Guides developed nine new short tours for the by the ANTH 431 class to learn more about their interests and coming year, each of which includes a land acknowledgment and a motivations in their ongoing relationship with MOA. Throughout the positionality statement. year, MOA Members responded positively to digital content and the new Multimedia Guide, and returned enthusiastically to the Museum The Continuing Education and Enrichment Committee organized in-person to celebrate exciting new exhibitions and programs. two tours for VAs, at the Nikkei Museum and the Belkin Art Gallery. The committee screened two movies about decolonizing museums

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PUBLICATIONS

“A Future for Memory.” Life Beyond Survival: Care, Creativity and Hope in Post 3.11 Tohoku panel: 3.11, Ten Years On: Reflections on contemporary Japan after the Great East Japan Triple Disaster series. Ca’ Foscari University of Venice, Italy, September 11, 2021.

Duffek, Karen

“The Role of Art and Collaboration in the Memory of 3.11.” Art and Voice in the Memorialization of 3.11. Ludwig-Maximilians-Universität Muenchen, Germany, January 14, 2022.

Levell, Nicola

“Twilight of the Idols: From Contemporary to Classical African Art.” Department of Art History, Visual Art & Theory, UBC, April 14, 2021.

With Bill McLennan, Jordan Wilson. Where the Power Is: Indigenous Perspectives on Northwest Coast Art. Figure 1 Publishing: Vancouver/Berkeley, 2021. 372 pp. Bodies of Enchantment: Puppets from Asia, Europe, Africa and the Americas. Figure 1 Publishing: Vancouver/Berkeley, 2021. 243 pp.

Mayer, Carol

“Women's Art as Activism in the Pacific.” Tok Blong Pasifik. 45th Anniversary Issue. Pacific Peoples Partnership: Victoria, 2021. pp. 29-31

Porto, Nuno

“African Collections in Times of Restitution.” Under Different Moons: African Art in Conversation. Edited by Anthony Shelton. Figure 1 Publishing: Vancouver/Berkeley, 2021. pp. 189-210.

Shelton, Anthony

With Titilope Salami, Nuno Porto. Under Different Moons: African Art in Conversation. Figure 1 Publishing: Vancouver/Berkeley, 2021. 256 pp. Theatrum Mundi: Masks and Masquerades in Mexico and the Andes. Figure 1 Publishing: Vancouver/Berkeley, 2021. 239 pp.

TALKS + PRESENTATIONS Duffek, Karen

With Jordan Wilson. “Where the Power Is.” Musqueam 101: Vancouver, November 24, 2021. “Unforeseen Potential: New Historical Northwest Coast Artworks at MOA.” Burke Museum: Friends of Northwest Coast Art, Friends of Northwest Coast Art Association. Burke Museum, University of Washington, February 15, 2022. Virtual: https://youtu.be/4YPP23TIbYw

Lawson, Gerry

With Kayla Larson. "Rights Management, IP and Copyright." Advancing Futures for Canadian Independent Media Art Festivals 2021, October 28, 2021. Virtual.

Nakamura, Fuyubi

“A Future for Memory.” Annual International Festival at Community College of Philadelphia, US, April 7, 2021. “A Future for Memory: Art and Anthropology Around the 3.11 Disaster in Japan.” Pitt Rivers Museum Research Seminar in Visual, Material and Museum Anthropology, University of Oxford, May 21, 2021.

“A Future for Memory.” UBC’s Japan Association, September 13, 2021.

Porto, Nuno

“Do Projeto ao Processo: Descolonizar as coleções Africanas no Museu de Antropologia da Universidade da Columbia Britânica.” 2nd International Lusophone Conference All the Arts / All the Names. Universidade do Porto, Portugal, July 1, 2021. “Decolonizing the African Collections and Displays at MOA: From Projects to Process.” 27th Annual Meeting of the European Association of Archaeologists, Panel 517: Consider the Collections: Rethinking Approaches to Colonial Museums for the 21st Century. Kiel University, Germany, September 10, 2021. “Sankofa: African Routes, Canadian Roots.” Folklore and Popular Culture course, module on Dialogue of Museum Objects and Ethnographic Narratives (Curso Livre de Folclore e Cultura Popular 2021 O diálogo entre objetos museológicos e as narrativas etnográficas). Centro Nacional de Folclore e Cultura Popular, October 6, 2021. Virtual. “Museums: Indigenous Communities, Truth and Reconciliation.” Indigenous Histories conference series, Museum of Art Assis Chateaubriand, November 9, 2021. Virtual: https://youtu.be/1YIOJmTSxuc With Renata de Castro Menezes. “Cosme & Damião: A Project for a Twin Collection for the National Museum of Rio de Janeiro–Federal University of Rio de Janeiro and for the Museum of Anthropology at UBC.” Decolonizing Provenance Research: Experiences in Co-constructing Knowledge and Negotiating the Future of Colonial Collections, Museum of Ethnography of Geneva, Switzerland, November 25, 2021. Virtual: https://youtu.be/MSPpURVmy08 With Nya Lewis. “Curator Tour—Sankofa: African Routes, Canadian Roots.” Vancouver Public Library, February 28, 2022. Virtual: https:// youtu.be/4Wh8byfKUUo With Josh Robertson, Nya Lewis, Titilope Salami. “Black History Here, Now, Then, Always. A Conversation Across Exhibitions: Connecting Hope Meets Action: Echoes Through the Black Continuum and Sankofa: African Routes, Canadian Roots.” Royal BC Museum, BC Black History Awareness Society, Museum of Anthropology at UBC, March 27, 2022. Virtual: https://www.facebook.com/RoyalBCMuseum/ videos/269747382013932

AWARDS Mayer, Carol E. + Contributing Artists

BC Museums Association Award for Outstanding Achievement, Honourable Mention: Playing with Fire: Ceramics of the Extraordinary.

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MAKING A DIFFERENCE Encouraging active participation and honouring contributions MOA would like to acknowledge those who gave so generously in 2021 – 2022 to support the Museum during this second difficult year of the COVID-19 pandemic. We thank our federal and provincial funders for providing muchneeded supplemental funding, and our ongoing donors for continuing to include us in their giving. Many thanks to the 507 people who donated online while booking their admission ticket to visit MOA. Your support is much appreciated! This year, MOA received financial support from individuals, public agencies, corporations and foundations totaling $1,350,258. MOA also received donations of objects and materials valued at $356,365.

MOA Support Anonymous (2) Private Giving Foundation (Ralph David and Cara Fraser) Ann Artuso Kim Aughtry Scott Barney Ursula Beale Brad Berman Kathryn Birmingham Students of Hugh Boyd Secondary Janie Chang Maureen Coleman Laverna Costantini

Maureen A. Frederiksen Donald E. Forsyth Lauretta Granberg Peggy Gunn Evelyn J. Harden Megan C. Hiltz Frans J. Jansen George Jorgensen James Kellner Stephen G. Kennedy Kathleen E. Larkey Sam A. Klein-Laufer Danielle L. Peacock William Longstaff

Indigenous Internship Program

The Andrew W. Mellon Foundation

MOA Intern Support Judith Eyrl

Acquisition Fund

Anonymous Millie Morton Natalia G. Popoff Michael Silverbrook Yosef Wosk

Bill McLennan Indigenous Northwest Coast Student Research Endowment Fund Doggone Foundation

Hilary Stewart Endowment for First Nations Education Programs

Robyn Stewart

Audrey and Harry Hawthorn Library + Archives Carol Givton

MOA Publication Fund Charlotte Lawson Yosef Wosk

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Sidney M. Madden Leonard Mah Reva Malkin E.D. Marshall Barbara C. McGillivray Patricia J. Montpellier Molly Moriarty Dieter Nachtigall Patricia Phillips Anne B. Piternick Elizabeth A. Pollard Dominique F. Prinet Jocelyn Pritchard

Janet A. Prowse Debra Sloan Jane J. Srivastava James Tiampo Robert J. Tompkins Andrew Walker Allison Webb Karen Williamson Jane E. Wolverton Kathryn J. Woodward Alexandra Wrage

Native Youth Program

Anonymous Patrick and Beryl Campbell Charitable Trust Diana Filer Robert M. Kellogg Patricia Leibik Terrence Linkletter Salma Mawani Edmund Price Sheila R. Romalis Chiara Tabet Constance Wun Saffron Fund held at the Vancouver Foundation

Anthony Shelton Library Acquisition Fund

Anonymous Gift Yosef Wosk Yoshiko Karasawa The Michael and Sonja Koerner Charitable Foundation Scott McIntyre Cheryl Stevens Laura Stoker Colette Storrow Gwendolyn Yip

Audrey Hawthorn Fund for Publications in Museum Anthropology Endowment Doris Livingstone

Other Support

Aboriginal Community Career Employment Services Society BC Arts Council Canadian Heritage Museums Assistance Program Canadian Heritage Cultural Spaces Program Canadian Heritage Youth Canada Works Ministry of Tourism, Arts, Culture and Sport British Columbia Major Anchor Attractions Program

Donations to the Audrey and Harry Hawthorn Library + Archives

Jane Aanen Karen Duffek Mary Frame Clara Giménez-Delgado + Jorge Ortega-Calvo Victoria Henry Vickie Jensen + Jay Powell Betsy Johnson Robert Keziere Kim Lawson Carol Mayer Laurence A.G. Moss Michael Nicoll Yahgulanaas Chris Rainier Robin Ridington Sue Rowley Carol Segal Murray Tolmie Jane Wagner

Acquisitions made possible by the Michael O'Brian Family Foundation

3 drawings, 1 etching by Lawrence Paul Yuxweluptun (Cowichan-Syilx) 2 prints by Marika Echachis Swan (Tla-o-qui-aht) 4 Nupe pots (Nigeria) 2 headdresses by Jimmy K. Thaiday (Erub Island) 4 paintings by Henry Speck (Tlawitsis) Nuxalk Thunder mask

Acquisition made possible by the Michael O'Brian Family Foundation and Dr. Brenda Focht

Lightbox photograph by Tsema Igharas (Tahltan)

Acquisition made possible by the MOA Shop Vase by Nan Cheney (Canadian)

 Naa'yak'pa'tuu (cradle figure) (Nuu-chah-nulth), maker unrecorded. MOA Collection 3525/1. Gift of Gary R. Bell. Photo by Alina Ilyasova.

Donations to the Collection Joan Acosta: 21 objects from Mexico, Guatemala, West Africa, Japan Bryan Atkins: cape by Betty Ann Pennier (Sto:lo) Daina Augaitis: 4 ceramics by Canadian artists Gary R. Bell: Nuu-chah-nulth cradle carving Ariadne Bursewicz estate: Kainai drum Ralph Davis and Cara Fraser: 4 Inuit prints, 8 paintings from Australia Judy Eggleton: Cowichan sweater (Salish) Dorothy Field: 4 cloths from India, clothing from Peru, Mexico, Thailand, Afghanistan Martha Foschi: 2 sashes, 3 pieces of jewelry from Argentina Josephine de Freitas: 8 objects from Guyana David Garner: 4 Inuit drawings, Inuit print, Inuit hanging Marilyn Grandy and Kathleen Thomson: Northwest Coast model pole, bow, basketry Carole Hainsworth: 7 objects from Papua New Guinea Muriel Haw: Chinese dragon robe Mary Hayes: Nepalese drum Victoria Henry: collection of prints, books, ephemera by Bruce Onobrakpeya (Nigerian) Debra Hollett: Inuit parka Eleanor Hooley: 6 objects from Papua New Guinea, 4 from Australia Jim Hope: 49 objects from Botswana and Southern Africa Patricia Horner: 6 Pueblo ceramics, Hopi vase Cara Joy Hughes estate: mask by Art Thompson (Ditidaht) Victor and Louise Irving: 40 Inuit carvings Atsunobu Katagiri: 3 photographs by the donor (Japanese) John T. Kelsall: 11 Inuit objects Peter Kowalczyk: Arawe shield (New Britain) Ross Lea: 7 Bidayuh objects (Sarawak) Glenn Lewis: 3 ceramics from the Leach Pottery (England) Aleksander Lorencic: Slovenian puppet Richard Donald Lyle estate: Salish rattle Patrick Mackie: ceramic by Makituk Pingwartuk (Inuit) Ingeborg Marshall: Australian basket, 2 tools from New Britain Gordon Jeffrey McNeill estate: 5 Inuit carvings Kathy Morrissey: 9 Inuit prints, carvings Darwin Osarchuk: container, lyre from Kenya Matthew Pattinson: man’s outfit from Guatemala Patricia Phillips: Kalash doll (Pakistan) Louise Reid: 4 Bedouin objects (Saudi Arabia) Sumi Ross: 3 Kwakwaka’wakw dolls, Onondaga doll, 5 Inuit dolls Donna Runnalls: Dutch tile Darren Schemmer: 7 textiles from Ethiopia, Ghana, Kenya, Liberia, Mali, Swaziland Nicholas Scott: 11 Indonesian textiles Anthony Shelton: 56 objects from Mexico, Peru, Portugal, Slovenia, Ukraine, China, Brazil Michael Silverbrooke: 2 ceramics by Ed Drahanchuk (Canadian) Jaime A. Smith: 8 ceramics by Makituk Pingwartuk (Inuit) Ken Stephens: 2 Inuit model kayaks, 30 figures from Mexico, South Africa, Canada Geoffrey Stubbs: 16 miniature objects from Papua New Guinea Arturo Tejuco estate: Inuit print, Salish print, Cree hair tufting George E. Thompson: Yapese story board Murray Tolmie: 2 Inuit carvings Marilyn Walker: 73 objects and textiles from Thailand Peter Wall: 28 Mbuti paintings (Democratic Republic of the Congo) Rosalind Whalley: parka by Myra Kukiiyaut (Inuit) Donald White: 104 objects from Liberia, Ghana, Sierra Leone Laura Yu: 8 Chinese ceramics Transfer from Burnaby Art Gallery: 7 ceramics by Canadian artists

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BUILDING A LEGACY MOA STAFF Director’s Office

Administration + Outreach Department

Anthony Shelton ��������������������Director (through June 30, 2021) Susan Rowley ��������������������������Director (as of July 1, 2021) Tara Pike ������������������������������������Assistant to the Director

Anna Pappalardo ��������������������Assistant Director – Department Head Kristi Fuoco ������������������������������Communications Coordinator Sharon Haswell ����������������������Shop Manager Melanie Lawrence ����������������Financial Clerk (through September 12, 2021) + Manager, Administration (as of September 13, 2021) Jill Lindsay ��������������������������������Shop Floor Supervisor Hollie Lo ������������������������������������Museum Shop Clerk Salma Mawani ������������������������Manager Administration (retired November 1, 2021) Seth Mendoza ������������������������Admissions/Shop Assistant (as of November 1, 2021) Bonnie Sun ������������������������������Senior Marketing + Communications Manager Gwilyn Timmers ����������������������Public Services Manager Katherine Ransom ����������������Admission Floor Supervisor

Curatorial Department Carol E. Mayer ������������������������Curator, Pacific + Ceramics – Department Head through October 26, 2021 Karen Duffek ����������������������������Curator, Contemporary Visual Arts + Pacific Northwest – Department Head as of October 26, 2021 Skooker Broome ��������������������Manager, Design Jennifer Kramer ����������������������Curator, Pacific Northwest Fuyubi Nakamura ������������������Curator, Asia Nuno Porto ������������������������������Curator, Africa + Latin America Susan Rowley ��������������������������Curator, Public Archaeology

Programming + Engagement Department Jill Baird ������������������������������������Curator, Education – Department Head Damara Jacobs-Petersen ���� Curator, Indigenous Programming (as of April 19, 2021) Amanda Morris ����������������������Receptionist/Booking Coordinator Amina Chergui ������������������������Education Intern (through August 31, 2021) + Education Coordinator (as of September 1, 2021) Nadin Hassan ��������������������������Programming Intern (as of June 21, 2021) Anna Nielsen ��������������������������Programming Intern (as of September 1, 2021) Rea Saxena ������������������������������Programming Intern (through June 30, 2021) Coral Santana ��������������������������Programming Assistant

Collections Care + Management Department Heidi Swierenga ��������������������Senior Conservator – Department Head Nancy Bruegeman ����������������Collections Manager Kaitlin Chamberlain ��������������Collections Assistant Alissa Cherry ��������������������������Research Manager Teija Dedi ����������������������������������Loans Manager Katie Ferrante ������������������������Museum + Digital Asset Archivist Shabnam Honarbakhsh ��������Conservator, Preventive Conservation Esther Knegt ����������������������������Project Conservator Hope La Farge ������������������������Project Conservator Alina Ilyasova ��������������������������Imager (on maternity leave) Gerry Lawson ��������������������������Oral History Lab Manager Cait Pilon ����������������������������������Collections Coordinator (on maternity leave) Mauray Toutloff ����������������������Conservator Emily Teh ����������������������������������Library + Archives Assistant

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Operations + Special Projects Moya Waters ��������������������������Associate Director Anthony Barker ����������������������IT Manager Brannen Bell ����������������������������Facility Manager Kate Melkert ����������������������������Exhibition Manager Cody Rocko ������������������������������Graphic Designer

Development + Alumni Engagement, Faculty of Arts Simone Doust ��������������������������Associate Director, Development

Indigenous Internship Program Sarah Holland ��������������������������Indigenous Internship Program Lead Elsie Joe (Nłeʔ kepmx) Ks’aan Moody (Haida) Kelsey Sparrow (Musqueam, Anishnaabe) Marc Williams (Skwxwú7mesh, Wet’suwet’en)

Exhibition Support Staff Dave Biddle Caius Chew

Evan Follweiter Blake Kriedemann

Brandon Rivas Jeremy Vreeken

Student Work-Learns, Interns + Post-Doctoral Assistants Devon Farrell �������������������������������Library + Archives Clara Gimenez Delgado �������������Library + Archives Adelia Lee �������������������������������������Communications + Programming Anna Nielsen �������������������������������Shop Anya Maves ���������������������������������Curatorial Peyton Moriarty �������������������������Library + Archives Emma Renaerts �������������������������Communications Gill Stickles �����������������������������������Shop Laura Guglielmin �������������������������Curatorial Liliana Martinez Castro �����������Programming Safoura Rigi-Ladiz ���������������������Programming

Museum Assistants Chih-Ying Chan Elsa Cyr Laura Derby Tamara Dzeletovic Zara Evans Camila Mendes Lauria Ferreira Billie Fortin Payton Gallagher Niklas Groschinski Laura Guglielmin Nelly Holch

Native Youth Program Emily Ison Sarah Lafleur Sam Avi Klein-Laufer Carson Lamont Amancio LeRoux Carmen Lockhart Seth Mendoza Zoe McDaniel Tessa McDermid Karen McInnes Sara Moore Chase Nelson

Yvonne Nguyen Kagiso Pupp Kiana Rashidi Megan Soderlund Gill Stickles Leo Stone Wai Lin Suen Zoe Tokarchuk Nick Toney Kieran Weber

Safoura Rigi-Ladiz (St’at’imc, Iranian). . . . . . . . . . . . . . . . . NYP Coordinator River Ironeagle-Mindel (Cree, Saulteaux, Metis). . . . . . . NYP Assistant Kiera Yeomans-Stevens (Tsimshian, Nisga’a) Makenzie Kew (Nlaka'pamux Nation, Caucasian) Mackenzie Fong (Haida, Chinese, Filipino, Irish, Scottish) Gabrielle Ironeagle (Metis, Cree, Saultaux) Tamara Hall (Mohawk, Ojibwe, Cayuga, Musqueam) Amai Campbell (Musqueam, Zimbabwean)

UBC Undergraduate Research Experience Project: Decolonizing the African Collections and Displays at MOA Nat Andre-Peirano Akouvi Edah Asmaa Heban Lauryn Kimara Omojadesola Olaniyan

Rawie Ibrahim Marie Reine Mukazayire Moussa Niang Karl Theopold

Nick Toney Maia Wallace

VOLUNTEERS MOA’s Volunteer Associates and other volunteers play a vital role in supporting exhibitions, programs and research, as well as connecting us globally to new audiences and opportunities for growth and sustainability. We are grateful for their energy, enthusiasm and unwavering commitment to MOA’s vision for the future.

Director’s Advisory Council Robert Brain (through September 2021) Nika Collison Yoshiko Karasawa (through September 2021) Martin Kyle Sheryl Lightfoot (through September 2021)

April Liu Scott McIntyre (through September 2021) Altaf Nazerali (through September 2021) Robert Paterson (through September 2021) Titilope Salami

Gillian Siddall (through September 2021) Leona Sparrow Wendy Yip (through September 2021)

Carol Givton Kay Grandage George Grant Claire Hancock Dianne Harkness Harriet Hay Donna Henning Mi Ho Barbara Holder Issaku Inami Kathleen Johnstone Kamshi Kanavathy Elaine Klein Martin Kyle Wenshu Li Patricia Lim

Mary Peck Cliff Pereira Christine Perrier Rosemary Pitzer Arita Rai Jenny Ross Helen Russell Shirley Salomon Kemo Shedlosky Kathryn Scheideman Liz Schuetz Patricia Seipp Jane Shumka Patience Silbernagel Isla Smith Janet Smith

Volunteer Associates Humaira Akhtar Joyce Anderson Brian Anderson Steven Atkin Barbara Baker Leslie Baker Martha Basset Glenda Bennion Marilyn Bild Kathy Birmingham Clyde Brown Dorothy Cameron Sheila Carnahan Pat Christensen So Young (Faith) Chung

Brian Clarke Peter Delaney Michael Diack Sophia Dikeakos Lourdes Estrada Chris Evans Judith Eyrl Josette Faure Margery Fee Kristi Ferguson Ann Ferries Chris Finch Susan Fisher Oscar Franco Arlee Gale Ida Giordano

Jean Lubin Reva Malkin Rita McAllen Jill McKnight Cynthia McLean Margot McLure Mary McMahon Linda Morrison Sarah Munro Sue Murphy Jeannette Neutce Christel Nierobisch Rita O'Grady Tracey Osachoff Portia Pascuzzo Brian Paul

Helga Sova Patricia Stevens Andrea Stevenson Colette Storrow Beverley Tamboline Megan Toews Trine Tvedten Lillian Varnals Gordon Watkins D. Laurie Watson Donna Webb Steven Weisman Kay Weisman Endie Williams Lucia Yang

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OPERATING STATEMENT April 1, 2021 – March 31, 2022 Operating Funds Revenue

UBC Operating Funding ��������������������������������������������������������2,566,129 Earned Revenue ����������������������������������������������������������������������1,567,769 Public Sector Funding ��������������������������������������������������������� 1,084,394 Private Sector Support ���������������������������������������������������������������85,538 Intrafund Transfers ���������������������������������������������������������������������44,893 Total Revenues ������������������������������������������������������������������������5,348,723

Operating Carryforward Opening ���������������������������������������� 254,423 Surplus/(Deficit) ����������������������������������������������������������������������(245,000) Adjustments ������������������������������������������������������������������������������������� 4,607 Operating Carryforward Closing ���������������������������������������������14,030

Expenses

Salaries + Benefits ����������������������������������������������������������������� 3,965,869 Earned Revenue Expenses �����������������������������������������������������485,587 Research + Programming Expenses �������������������������������������597,903 Operating Expenses �������������������������������������������������������������������506,775 Intrafund Transfers ��������������������������������������������������������������������� 37,588 Total Expenses ������������������������������������������������������������������������5,593,722

Restricted Funds Carryforward Opening ��������������������������������������������������������� 2,088,947 Funding ����������������������������������������������������������������������������������������� 327,293 Expenses ������������������������������������������������������������������������������������ 463.843 Carryforward Closing ����������������������������������������������������������� 1,952,398

Photo by Sarah Race.

Grant Funding Received

30

Aboriginal Community Career Employment Services Society ����������������������������������������������������������������������������������������������������������������������� 35,491 BC Arts Council Operating Support ������������������������������������������������������������������������������������������������������������������������������������������������������������������� 70,000 BC Arts Council Arts and Culture Resilience Supplement ��������������������������������������������������������������������������������������������������������������������������� 101,500 Ministry of Tourism, Arts, Culture and Sport British Columbia Major Anchor Attractions Program ����������������������������������������������������� 805,370 BC Arts Council Arts Pivot Funding ������������������������������������������������������������������������������������������������������������������������������������������������������������������� 49,950 Canada Council Operating Support ������������������������������������������������������������������������������������������������������������������������������������������������������������������� 50,000 Canada Council Supplemental Funding ����������������������������������������������������������������������������������������������������������������������������������������������������������� 10,000 Canadian Heritage Museums Assistance Program (BC-HERN Initiative) ��������������������������������������������������������������������������������������������������� 41,130 Canadian Heritage Covid Re-opening Fund ����������������������������������������������������������������������������������������������������������������������������������������������������� 35,000 Canadian Heritage Young Canada Works ��������������������������������������������������������������������������������������������������������������������������������������������������������� 16,323 Japan Foundation ������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������� 17,500 Patrick and Beryl Campbell Foundation ������������������������������������������������������������������������������������������������������������������������������������������������������������� 35,000

MOA BY THE NUMBERS 2021-2022 69,330

1,000

Total attendance

Member households

7,178

6,214

Education Program attendance

Volunteer hours served

41

17

61

94

Permanent staff

Term staff

Student staff

Volunteer Associates

MOA website

230,068 320,396

Users

MOA social media

66,167 264,789

Followers

Sessions

Post engagement

cover

From Atsunobu Katagiri’s Sacrifice series, 2013–2014. Flower: Southern magnolia, Location: Ukedo, Naime Town.