Series consists of various headlines, notes, and clippings.

Series consists of the texts of interviews with various leaders in the B.C. Chinese community.

Series consists of musical scores, handwritten notes and sketches, and a manuscript of the printed first version of Il divertimento barocco (“Baroque Fun” in Italian) 1999 with hand-written edits and other unique manuscript material related to the work’s revision in 2019/2020. The piece was commissioned by the Orchestre baroque de Montréal with funding from Canada Council for the Arts and completed by Sokolovic in 1999, when it was performed at the Salle Pierre-Mercure in Montréal on November 4th. It was originally written for violin, harpsichord, and string ensemble, but has also been performed by baroque flute, violin, viola da gamba, and harpsichord at the Galerie Montcalm in Gatineau, QC in 2012.

Series consists of photographs, including scans and born digital photographs, depicting Peter Carl Anderson as subject. Spanning childhood, career, and life leading toward retirement. Many productions, not related to Caravan Farm Theatre, are described in the digital file names.

This series contains published journal papers by Granirer. In addition, the series comprises paper corrections, correspondence, and work with Anthony Lau, including math propositions and a notebook.

Series contains photograph albums of various railways, elevators, and bridges associated with Swan's career as an engineer. Series also holds two other photographs outside of albums containing Swan and his associates and military Battalion.

Series consists of final scores, edited scores, notes, and a musical program related to Dorothy Chang’s composition Gateways: Double Concerto for Erhu and Piano. Gateways was commissioned by Nicole Ge Li and Corey Hamm of the Piano-Erhu Project (PEP). Players of the erhu and piano, respectively, they began PEP as a means of exploring the tonal, musical, and cultural blends between two iconic Eastern and Western instruments. For her addition to PEP’s mission, Chang reflected on how she might address the issue of ‘east meets west,’ especially given the solo instruments’ highly distinct and disparate sonic characteristics, performance practices, and musical traditions. Gradually, the piece evolved as a patchwork of musical fragments, moments, and memories gathered from her own multicultural experiences as a first-generation Chinese American, a Western expatriate living in Taiwan, and now an immigrant to Canada. Woven into the three movements are references to a 90’s Chinese pop song, a children’s rhyme, opulent Romanticism, American minimalism, and other influences both subtle and not. The title refers to a Tang Dynasty poem that depicts a gateway as both an opportunity and a barrier, reflecting a deep yearning for a faraway time, place, or memory. The work premiered April 14, 2018 at the VSO Annex Theatre; Ge Li and Hamm served as soloists; William Rowson conducted members of the Vancouver Symphony Orchestra.

Series consists of manuscripts and sections of manuscripts from poems, novels, plays, essays, and other written works by Hood.

Files consisting of many short texts, or untitled texts, have simply been named "Manuscripts." In all other cases, existing file names have been respected or, where available, have been attributed by the archivist according to the manuscript contained in the file.

In the mid-1980s, Anna Banana began to seriously consider ways that she might be able to create income outside of performance art. Using skills she learned while working at printers and publishers in San Francisco and Vancouver, Banana began to create and sell artistamps, and collected multiple artistamps created by others. Artistamps are a kind of Cinderella stamp used often in mail art, which differ from forgeries or other illegal stamps in that they do not intent do defraud authorities or stamp collectors, but rather are created with the intent to be art. They make up an important aspect of the mail art genre. Banana’s activities often included the production and use of artistamps, especially after she gained access to perforation machines and colour printing in the 1980s.

This series is made up of many of her artistamp sheets, as well as various sketches, final drawings, and printer transparencies created during the process of artistamp production, as well as stamps collected from others.

Series is made up of published materials collected by Anna Banana. Series was collected between 1970 and 2019, from before Anna’s beginnings in the mail art network up until the donation of the fonds to UBC.

Many items were created out of mail art collaborations, while others were collected because of reference to Anna’s work, reference to the mail art network as a whole, because the creators were friends or colleagues of hers or because the items held personal interest. Banana loosely divided this series into a number of different categories, which were the basis of the subseries found here: Zines, Periodicals, Books, Exhibit Catalogs, and “Best Examples of how Mail Art Evolved.” Items which do not fit into these specific categories have been set aside into a subseries labeled “Ephemera”.

Series consists of artifacts, general files, photographs, sound recordings and ephemera (publicity predominant).

Series consists of records documenting the history of the Volkov/Vokkoff family and includes correspondence, a cloth mail-bag which once held much of the correspondence, official documents such as passports and marriage certificates, hand-written accounts of family history by Mikhail Mikhailovich Volkoff, transcriptions of correspondence and family history manuscripts translated into English from the original Russian, and digital copies of these transcriptions stored on CDs. Files are arranged in chronological order. Many manuscripts, correspondence, and official documents are written in Russian (Cyrillic alphabet). Some official documents originating from Harbin, Manchuria, are written in Chinese. Some manuscripts are hand-bound.

The series consists of undated handwritten notes and printed material about Turnbull's classes at UBC.

Series consists of programmes, pamphlets, brochures, and memorabilia collected by Sage.

Series consists of genealogical charts, notes, correspondence, photographs, and wills from members of the Warren family.

The series contains records pertaining to the AUCE’s efforts to advocate for their members and bargain as a collective unit. Record types include agendas, minutes, and dockets of the Annual Conventions and Special Conventions held by AUCE, agenda and minutes of the meetings of the General Membership, contracts documenting the collective agreements between the workers and employers, and records of conferences, strikes, working conditions, news releases, as well as training records on stewardship, bargaining, striking and picketing.
While many of the records relate directly to equal pay, increased benefits, and cost-of-living increases, the advocacy and bargaining efforts of the union also changed in response to the changing provincial government and University of British Columbia administrative measures.
With the 1983 election and the introduction of the Social Credit Government, the union worked with other labor organizations throughout the province, forming the province-wide Solidarity Coalition to resist the conservative measures being proposed through legislation. The records also reflect the related efforts to defeat Bill 19, introduced by Bill Vander Zalm in 1987, which directly affected labour unions and their right to strike.
The union also directly opposed choices made by the UBC administration including a decision to bring in Ritchie & Associates, a management consulting firm to assess efficiency in the workplace, as well as budget cut-backs. This resulted in the formation of the UBC. Campus Community Alliance. These and other specific efforts are documented in the series.

Series consists of a small notebook containing typed copies of poems from Tao Te Ching by Lau Tzu, translated by Gia-fu Feng and Jane English, printed by Wildwood House, London. Also included in the notebook is Land of the Reed Plains: Ancient Japanese Lyrics from the Manyoshu, translated by Kenneth Yasunda.

Series consists of offprints and publications collected by Sage.

Series consists of the text of speeches, notes, a draft manuscript, conference proceedings, reports, correspondence, printed material, and photographs about the field of Education.

Includes papers and emails exchanged between James Birren and James E. Thornton and other miscellaneous documents. Please ask archives staff regarding access to digital copies.

This series consists of research compiled by Fred Hume on the history of athletics at UBC. Included is a chronological outline of the history of many of the university’s sports teams and the development of sporting facilities at the university. Materials also contain research on coaches and profile write-ups on sports people for the UBC Sports Hall of Fame. Football programs can be found in this series 1952-2019.

Series consists of newsletters produced by the Chemical Engineering Department. The 2003-2019 issues were deposited in the Archives by the Department in 2019.

Series reflects Jean Rands’s involvement in labour organizing in the B.C. lower mainland and in Saskatchewan, predominantly in the 1970s and 80s, both independently and in connection with the various unions and labour organizations she was part of. These include the Association of University and College Employees (AUCE), where she was a founding member; the Working Women’s Association (WWA), which disseminated information about labour issues faced by women; the Service, Office and Retail Workers Union of Canada (SORWUC), where Jean was a founding member and served as president at the national level; SORWUC Local 2, United Bank Workers; SORWUC Local 4, Bank and Finance Workers, where she served as president; Union Sisters, a grassroots group for women’s labour organizing in the B.C. lower mainland; and the British Columbia Teachers’ Federation (UTFE/TFEU).

The records consist of documents arising from Jean’s involvement as an executive and active member of these groups, such as meeting agendas and minutes, leaflets and flyers, legal documents, conference planning records, and correspondence. The records also consist of newspaper clippings and articles on topics of women and labour issues, reflecting Jean’s ongoing interest in these topics throughout her life.

Series consists of plays written by Peter Carl Anderson and related documentation leading to and reflective of performance of live theatre. Comprised of scripts, sheet music, rehearsal and production notes, administrative files, publicity, photographs, and audio recordings of performances. Plays covered include Caravan Farm Theatre Productions such as Animal Farm; Bull By The Horns; Caravan Music Revue; Hands Up!; Head Over Heels; Horseplay; Law of the Land; Sleigh Ride Christmas Carol; The Ballad of Weedy Peetstraw; The Blue Horse; and The Coyotes.

Series consists of written works by Robert McDonald, and includes typescript drafts, off-prints, written notes, handwritten notes, conference papers and related correspondence.

File consists of newspaper and magazine clippings collected by Hood, some of which relate to his publications.

Series consists of three subseries: Unfinished artwork, drawings, and sketches; Reproductions and prints; and Art inventory files. Records contain original artwork by Lansdowne (most of it unfinished paintings and sketches) as well as a few pieces by amateur artists who were fans of Lansdowne's work and reproductions of Lansdowne’s artwork which include prints, posters, banners, exhibit catalogues and cards, order forms, stamps, road maps, calendars and the like. Records also include Art inventory files which contain records on pieces of art that Lansdowne produced, including an art inventory card index, and files varying in contents, but which typically included at least one reproduction of the artwork, an envelope containing an alpha-numeric code and the name of the bird(s) featured in each piece. Art inventory files may also include photographs, negatives, positives, slides, and photocopies and the like.

Series consists of assorted memorabilia collected by Somerset, including a photocopy of a land grant to John Somerset and other related documents.

Series consists of notes, photostated documents, and published material collected by Sage in carrying out his research. Series contains two subseries: B.C. History and Canadian History subseries.

Series consists of photocopies of Coulthard's idea book, pamphlets, and a collection of annotated, published books that influenced Coulthard in her musical compositions and lyrics.

Series is made up of the various periodicals, books and textual items which Banana published over the course of her career. Most of these were published under the aegis of Banana Productions, a company first created while Anna was living in San Francisco. Project files contain magazines, newsletters, and artistamp editions; documents related to the creation of these publications, press and promotional materials; books and binders.

Series is arranged into seven subseries: VILE Magazine, Encyclopedia Bananica, Banana Rag, OOK (One Of a Kind) Books, Artistamp News, International Art Post, and Other publications.

Series consists primarily of family photographs. Other photograph subjects include scenes of Vancouver, particularly Stanley Park, as well as images and objects of historical interest. A small amount of textual material,a drawing, and a print are also included.Files names and order have been respected where they existed.

Series consists of both published sacred, secular, and popular music as well as hand-copied, transcribed music, collected by the members of the Icelandic community in Vancouver. Records include manuscript sheet music, part books, solo sheet music, and etude books; as well as vinyl recordings of various Icelandic music. Documents are arranged into files according to genre of music and language.

The music was collected from V. Baldwinson, the Icelandic Lutheran Church choir, H. Johnson, G. Thorleifson, Anna Camb, Gwen Dowding, E. Sigmar, R. Einarson, J. Goodmundson, R. Rasmussen, O. Stefanson, T. Thorsteinsson, O. Howardson, T. Friđliefosn, R. Ásgeirsson, j. Reykdal, A. Sveinsson, S. Sigurdson, and B. Gudmundson.

Series consists of clinic notes.

Series consists of unidentified notes and other materials.

Series consists of documentation of the Allard School of Law History Project, including interview consent forms, printouts from the project website, and two USB drives containing digitized copies of the consent forms and digital recordings of the interviews. Access copies are available. However, access to digital-born material will be given on a case-by-case basis; please contact archives staff. Appendix III in the finding aid lists the filenames and formats present on the digital media.

Series consists of articles and reports about education and children's play.

Series consists of various published journals collected by Scarfe.

Series consists of the text of addresses given by Scarfe.

Series consists of audiovisual recordings that document Schlesinger’s work. Most are recordings of TV broadcasts of his news reports, interviews, and commentaries. Others are original recordings. Some of the materials in this series depict war scenes. User discretion is advised.

The series consists of general correspondence and includes personal materials, teaching aids, records about a Canadian literature correspondence course taught by New, talks given by New, and other miscellaneous materials he collected.

The series consists of incoming and outgoing correspondence with friends, fellow writers, publishers and organizations. A large proportion of the correspondence consists of printed emails. The emails were printed out and placed in folders by the donor. Please see the Digital Media series for further correspondence.

Series consists of original graphic scores, conductor's score, working templates, notes, art prints, and photographs related to the work ‘slippages’ by Montréal based composer and interdisciplinary artist Deborah Carruthers. In 2017, Carruthers served as the inaugural Artist in Residence at the Peter Wall Institute for Advanced Studies, University of British Columbia (UBC). Deborah teamed up with science researchers at the institution as well as the UBC School of Music to find a way to creatively combine sound, science, and visual art for the purpose of increasing public awareness of the climate crisis. Carruthers conducted field work for the project in the Columbia Icefield along the border of British Columbia and Alberta. Inspired by the threatened glacial landscape, Carruthers returned to her Montréal studio and completed a series of paintings, 27 of which were selected and arranged to produce a graphic score. Graphic scores use visual symbols to represent music rather than traditional music notation. Because of their emphasis on the visual, graphic scores are frequently considered works of art in and of themselves. Moving from sight to sound is accomplished through the creation of a geography of the orchestra on a sheet of transparent plastic which is then used to map over Carruthers’ art works and determine which instruments take responsibility for which parts of the images. ‘Slippages’ premiered Friday, October 5th, 2018, at the Chan Centre for the Performing Arts with the UBC Symphony Orchestra under the baton of the symphony’s Director, Dr. Jonathan Girard. Project documentation includes a notebook holding hand-written texts revealing assimilation of glacial theory, inspirational preliminary sketches, and unique inserts; an audio/video recording of the premier; and a copy of a video component to be shown above the orchestra as it performs the work.

Series is made up of correspondence and mail-art related items received and collected by Anna Banana from the late 1960’s to the 2000s. The series reflects Banana’s involvement in the Mail Art movement (through what was then called the Mail Art Network – referring to a global network of artists who communicate through the post as an act of decentralization of artistic communication among the arts community) as well as her own personal mail. Beginning in the mid 60’s, mail art was a movement inspired by the Dadaists and futurists of the early 20th century, and made popular by notable artists such as Ray Johnson, as well as artist groups such as Image Bank and the New York Correspondence School. It remains a highly collaborative and decentralized global movement, with artists like Banana sending out, receiving, and manipulating artworks through the mail. It focuses on small form artworks, including rubber stamps, artistamps, decoration and adornment of letters and envelopes, chain mail and other creative forms.

Subject matter includes mail-art received through the Mail Art Network, personal mail to friends and family, and collected invitations to participate in mail art shows, publications and magazines, as well as catalogues of artists displayed in mail art shows, publications and magazines. Media in this series varies greatly due to the nature of the mail art movement, and the lines between textual and graphic records are blurred, so that many letters, envelopes and other classically textual mediums are often decorated with the use of paints, stamps, drawings, collage and other mixed media.

The series is arranged into 11 subseries using Banana’s existing filing system: Original mail art network, 1990s Mail art (Part 1), 1990s Mail art (Part 2), Mail art Fin de Siecle 2000, 2000s Mail art (Part 1), 2000s Mail art (Part 2), Mail art final years, Personal mail, Mail art show and publication invitations and catalogues, Unfiled mail, and Envelopes.

The series consists of handwritten and typed drafts of collected, published and unpublished poems and correspondence that includes McWhirter's notebooks.

Series consists of correspondence, manuscripts, notes, and materials related to the book and general publicity. It also contains general personal files. Material arranged in two sub-series: Files, Audio Recordings, and Video Recordings

Series consists of various publications by Blais for several journals, newsletters, writer's festivals as well as research she performed on Madeline Harrower.

Records consist primarily of building permit applications, newspaper clippings, awards, diplomas, certificates of membership in professional organizations and posters of various lecture series in which Cardew participated. The series also includes records related to the operation of Cardew’s firm, Peter Cardew Architects, such as account ledgers, stamps, an embossing machine, the firm profile and an exhibition catalog for his best known exhibit Peter Cardew, Ordinary Buildings.

Series consists of materials related to Ainslie’s book, Okanagan Artists in their Studios, which was published in 2013. The book focuses on thirteen artists who live and work in the Okanagan, highlighting their art as well as their thoughts about their lives, beliefs, and work. Ainslie was welcomed into the artists’ homes and studios, allowing her to get a better picture of the specific environments that inspire them. The materials in the series are those she used to write the book, including notes, interview transcripts, correspondence, promotional materials, audio and video cassettes, photographs, and copies of other published materials on the chosen artists.

Series consists of scores, edits, correspondence, and a publication related to two compositions by Barbara Monk Feldman: The Northern Shore for Percussion, Piano and Chamber Orchestra; and, The Pale Blue Northern Sky. The Northern Shore for Percussion, Piano, and Chamber Orchestra is a 2018 revision of Monk Feldman’s 1997 work, The Northern Shore. Whereas the earlier version was written for violin, piano, and percussion, the revision is scored for chamber orchestra. Monk Feldman wrote the piece as an abstracted impression of the colors, textures, and atmospheres evoked by a specific place and time in nature, in particular the Gaspé Peninsula in Quebec where the St. Lawrence River widens into the ocean. Here, the opposite shore appears across the water to Monk Feldman as a sort of mirage that is either enhanced or diminished by the intensity of light on the water during the day. It is this memory of light that Monk Feldman found inspiring, utilizing the way that differing registrations of the violin are sustained in relation to the percussion and piano as an intimation of light and horizon. The Pale Blue Northern Sky was similarly inspired by the same Gaspé location and thus acts a ‘sister piece’ to The Northern Shore. It was written in 2007 for two guitars and a mandolin.