Susan Rowley

This study examines the Longsheng Longji Zhuang Ecomuseum in Guangxi Zhuang Autonomous Region, China, as a case study to explore the dynamics of a government-led ecomuseum project and its impact on local community engagement and empowerment. Set against the backdrop of the unique "1+10 Guangxi Model," which places emphasis on preserving minority culture and fostering collaboration between traditional museums and ecomuseums, the research addresses three critical questions: the functioning of the ecomuseum under this model, the extent of its engagement and empowerment within the local community, and insights gleaned from its operations for rethinking ecomuseum practice in China and beyond. Through an investigation of the museum spaces, including the Exhibition & Information Centre, Ethnic Cultural Transmission Centre, and Cultural Model Households, the study seeks to understand the level of community participation in the project. Furthermore, by examining the interactions and stories of community members and museum experts, the research reveals diverse perceptions of the ecomuseum and its challenges. The findings contribute to a deeper understanding of community engagement and empowerment in ecomuseum practice in China, prompting a rethinking of ecomuseum philosophy and practices, and recognizing their potential and possibilities for making a difference in marginalized and neglected communities' lives.

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The fashion industry is one of the largest economic systems in the world. Prior to the COVID-19 pandemic the fashion Industry was generating upwards of 2.5 trillion U.S. dollars of global revenue, employed billions of workers, and resulted in the consumption of 80 billion pieces of new clothing each year. While the pandemic brought minor setbacks for many brands, the fashion industry has seen rapid growth in recent years, and with this growth comes major issues to the social and environmental impacts involved in the making of clothing. People working in textile and garment factories are often faced with poor working conditions, miniscule wages, and regular contact with hazardous materials, risking their lives and safety to produce trendy, often inexpensive clothing for overseas consumption. The use of chemical manufacturing processes, synthetic materials and dyes, industrialized farming of natural fibers, and considerable amounts of pre- and post-consumer waste has made the fashion industry one of the most substantial in terms of its negative environmental impact. As consumers become more aware of these issues, there is an increasing demand for ethical and environmentally sustainable clothing brands that support equitable conditions for their workers, ensure fair pay throughout the supply chain, and reduce the use of hazardous manufacturing processes and associated environmental impacts.This thesis includes a case study of a small textile and clothing business located in Vancouver, BC, Maiwa Handprints (Maiwa). Maiwa utilizes a “human scale” or “slow” business model to prioritize building and strengthening relationships with the artisans they work with by focusing on preserving traditional production methods, fostering creative exploration and education, and building a community of thoughtful producers, consumers, and crafts peopleivaround the world. The Maiwa case study is compared with data from leading fashion industry experts to assess the impacts of a slow fashion business model in creating economically, environmentally, and socially sustainable practices in the textile and fashion industries. Anthropological analysis also reveals deep human connections to cloth and clothing and the ways in which it can reflect, shape, and even create our social and cultural realities.

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Archaeologists often attempt to identify rock type in the field and laboratory based on generalized visual characteristics. This approach has a great potential to produce incorrect categorizations that would detrimentally impact sourcing studies. This thesis research explores a green toolstone found in the archaeological assemblages of the Burrard Inlet region and surrounding area of North Vancouver, on the southern coast of British Columbia. Previously, this toolstone was called green andesite based solely on visual identification, and the designation has been reproduced in the literature and a handful of circular citations. The goal of this research was to use several geochemical methods, including wavelength dispersive X-ray fluorescence (WD-XRF) and portable energy dispersive X-ray fluorescence (ED-XRF), to answer the question “Is the toolstone known as green andesite actually andesite?” The secondary goal of this project was to compare the toolstone data to publicly available geologic data from the nearby Indian River watershed to see if any locations could be eliminated as geological origins for the toolstone. The general conclusions of this research are that, based on major element concentrations, the material known as green andesite is not actually andesitic. However, if this research looked at trace element concentrations alone, green andesite dykes of the Indian River Valley could not be excluded. Taking time to establish rock type with standard geological and geochemical techniques before attempting to eliminate potential source affinities using only trace elements is an important step often overlooked in archaeological sourcing studies. The material formerly known as green andesite has been incorrectly labeled, and archaeological reports, collections, and catalogues have been reproducing this miscategorization. Through this research, I identified a possible rock type for the toolstone known as green andesite and using the provenience hypothesis (Wilson and Pollard 2001) I identified several geological contexts within the Indian River watershed that cannot be excluded as possible places of origin.

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Collaborative museology aims to foster relationships between museums and relevant stakeholders. Reflective and reflexive conversations about exhibits with stakeholding audiences are rarely built into museum practice post-exhibit installation. This thesis is an exploration into how discussions about exhibit representations with these audiences can continue after exhibits go up. I examine curatorial decisions and Indigenous responses to the design and messaging of one exhibit in the Museum of Anthropology (MOA) at the University of British Columbia (UBC). Specifically, I consider 'In a Different Light: Reflecting on Northwest Coast Art,' the inaugural exhibit for the Elspeth McConnell Gallery of Northwest Coast Masterworks. Through semi-structured interviews and self-guided exhibit viewings, I discussed the exhibit’s displays with the associated curators and with four Indigenous women, who are current students or recent graduates of UBC programs. The exhibit reviewers picked up on core themes of 'In a Different Light,' including continuity, longevity, and the intangible meanings attributed to works displayed. The critiques they expressed point to two recommendations: 1) situate curators in relation to the exhibit topic; 2) continue to include nuanced, critical information that culturally contextualizes displayed works with their associated histories and stories. Challenging critiques raised important issues between how museums treat collections and how belongings are used within communities. I assert that it is a missed opportunity to treat installed exhibits as finished products, as representations that would not benefit from continued examination.

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The Musqueam First Nation are a hən̓q̓əmin̓əm̓-speaking people whose traditional, ancestral, and unceded territory encompasses what is now the Greater Vancouver area. Our main village and reserve is located at mouth of the Fraser River, and the ancestors of present-day Musqueam people have lived in this estuary for thousands of years. This thesis responds to a two-part research question: what forms does biography take, and what role does it have in the contemporary Musqueam community? As a Musqueam community member and researcher, I provide an ethnographic account of two distinct experiences to answer this question: a life history recording project conducted with a Musqueam Elder, as well as several sessions spent with an advisory group for the community-based museum exhibit "c̓əsnaʔəm: the city before the city." By drawing on the first account, I underscore the continued importance of place and place-based practices, particularly in remembering and sharing lived experiences. I also highlight the personal nature of how individuals relate to place. By drawing on the second account, I demonstrate a) the inseparability of narrating lived experiences and carrying forward our community’s distinct values, worldviews, laws, history, practices (otherwise known as snəw̓eyəɬ – teachings received since childhood); b) the collective nature of telling and remembering biographies and community history; and c) how this form of oral tradition – of life-telling – requires its own set of skills. I conclude that conversation, and more particularly, listening to expert storytellers gathered together, influenced not only the curation of an exhibit, but also how it can potentially inform other forms of representation such as biography and ethnography. This thesis seeks to contribute to the literature and discourses around the production of Indigenous life histories, oral history, Coast Salish and Northwest Coast ethnography, and the representation of Indigenous communities, particularly in the realm of museum work.

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In Nunavut at present there exist only a small number of visitor’s centres and only one museum, which has rather limited capacities. This means that very few residents of Nunavut have access to a comprehensive museum, especially one that holds Inuit cultural material—unless they travel outside of the territory. There is an opportunity, therefore, to look at how a well-developed Nunavut museum could affect Inuit social well-being by exposing people to their own cultural material as well as how this could affect other social realms such as education and cultural revitalization. Through research on existing cultural centres in Canada and the United States I demonstrate the importance of access to museums for cultural well-being, cultural preservation and revitalization. Employing qualitative research methods in the study of existing cultural centres in Canada I explore the question of what museum and heritage centre models work best for indigenous and isolated communities. This research shows that there is enormous potential for significant positive cultural impacts in Nunavut with the development of a museum to call our own.

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This community-based project combined ethnography, history and archaeology to chronicle the life history of the houses and households at Aktis village, the historical home-base of the Ka:'yu:'k't'h (Kyuquot) confederacy on the northwest coast of Vancouver Island. Though there are connections between the material house and the social household, they are not synonymous. Despite changes in architecture at Aktis village, there is continuity in social form. A diachronic perspective extending from the deep past to the present-day was used to examine this transformation. Archaeological mapping and percussion-coring were used to explore the distant past of the site. This revealed deep house depressions, suggesting that the locations of house sites at Aktis village were preserved through time. Core samples indicated shell midden deposits as deep as 3.5 metres, and almost uninterrupted occupation since 1686±126 BP (calibrated radiocarbon years before present), with a possible break between 1627±118 BP and 1384±107 BP. Interviews and historical documents suggest that the big houses and the lineage properties on which they stood acted as powerful symbols for extended family households. Though nuclear families moved out of the big houses, they continued to live in family groups, building smaller homes on their lineage properties. The centrepiece of the lineage properties were the externally-ornate dance houses, which, though vacant, represented family prestige and solidarity. The dance houses were torn down around 1930. However, lineage properties (and the family ties they represented) were maintained. The move away from Aktis village in the 1970s eliminated the community’s daily encounter with the lineage properties, a tangible symbol of household groups. Even so, the traditional ideology of kinship that bound together members of a house persists: Ka:'yu:'k't'h extended families continue to exhibit considerable social solidarity at key moments in the lives of their members.

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Collaboration is an important process for achieving partnerships between Indigenous groups and researchers working in the fields of archaeology and museum anthropology. Julia Harrison (2005) suggests that the unique culture of an institution should be considered a critical factor in developing successful collaborations between museums and communities. This thesis explores the idea of institutional culture further through a case study of the Laboratory of Archaeology at UBC (LOA). The purpose of this research is to examine the ways an archaeological repository can engage in collaborative work and to explore how institutional culture develops over time. This paper draws on interviews, archival research and my own experience working at LOA. I first look at LOA’s institutional history to examine how its culture has developed. Instead of exploring one collaborative project, I discuss key events as part of a larger on-going collaborative process. This provides important context for LOA’s current approaches to working with communities. I explore a number of LOA’s practices and policies, analyzing how they address power asymmetry and facilitate sharing knowledge between communities and archaeologists. Finally, I examine how these approaches have become a part of LOA’s institutional culture through both practice and written policy.

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This thesis is an analysis of the economic context of the occupation of the Curtin site (BbGq-22), a rural farmstead in Ops Township, in the former Victoria County, Ontario. In addition to subsistence farming, the occupants of this rural site were engaging in non-agricultural cottage industries and exploiting the resources of the natural environment they inhabited. The Curtin site is an example of a rural farmstead that was increasingly oriented towards a regional economy throughout the nineteenth and twentieth century. Current literature on the subject of farmstead archaeology emphasizes the importance of constructing regional models of agricultural production and material culture. This thesis aims to contribute to the development of such models in order to facilitate the interpretation of historical archaeological sites in southern Ontario, and specifically in the former Victoria County. To accurately assess the significance of a historical farmstead site in rural Ontario, it must be considered within the context of the socioeconomic systems and physical environments that have influenced its occupational history. As such, this thesis includes a comprehensive review of archival, historical, and geographical information that provides context for the interpretation of the sample artifact assemblage yielded by the archaeological excavation of the Curtin site. I infer that, in addition to being a self-contained unit of production and consumption, the occupants of the Curtin site participated in non-agricultural industrial activities including blacksmithing, pottery and brick-making, which engaged them with a regional economy. [An errata to this thesis/dissertation was made available on 2013-10-25.]

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