The sub-series contains records related to the Women’s Initiatives for Support and Education (WISE) project. The project was launched to support the target population of young women living with HIV/AIDS with a specific focus on indigenous women, young women who used intravenous drugs, or women involved in sex-work. Objectives included increasing access to care and treatment, creating a peer-driven supportive environment, decreasing isolation and vulnerability to secondary infections, promote involvement of women in the design and implementation of the project, promote awareness to community resources, and to promote testing. PWN partnered with YouthCo AIDS society to implement the project, and the project was funded by the AIDS Community Action Program (ACAP).

Record types include correspondence, project proposals, work plans, related research, funding forms, contracts, and amendments, budgets and cash flows, progress reports, and volunteer information.

Scope and content: The sub-series contains records related to the Women and AIDS Virtual Education (WAVE) project. The project was launched to support HIV + women in British Columbia to share dialogue about being HIV positive, to provide access to medical and treatment information, peer support, counselling, resources, education, ‘experts’, such as doctors, lawyers, nutritionists and treatment experts, and to break-down isolation and stigma faced by HIV + women, particularly women in rural areas. WAVE was modelled as a ‘virtual drop-in clinic’ website, and contained question and answer online modules, bulletin boards for HIV + women and community members, and resources such as newsletters, brochures, and links to other important websites.

Record types in the sub-series include project reports, correspondence, financial records, strategy documents, web design and marketing proposals, press releases, and materials related to website such as domain name purchase and IBM customer agreement.

Subseries was created and collected from 1992 to 1998. Banana at this time continues to collect and engage with mail art, but also was beginning to shift towards a practice which could provide her with a more stable income, therefore restricting her mail art activities to active subscribers of her various publications. During this time, the scope of the mail art network is shifting. While many influential network pioneers were dying, including Cavellini in 1991, Ray Johnson in 1995, and Partz and Zontal of General Idea in 1994, many other artists shifted their focus elsewhere, causing mail art to change. Many networkers also attempted to sell their archives or determine ways to make a living off their network of artist correspondents, which is also reflected in Banana’s mail art and correspondence activities. Significant discussions about the role (and erasure) of women in histories of mail art occur at this time, and Banana is often central to these discussions.

Items in this subseries are predominantly letters and envelopes, often decorated, but also include photographs, drawings, xerox art, found objects and small sculptural items, collage, and other visual mediums, often integrated into the letters and envelopes.

Subseries was created from 1999-2000. While the internet had been present previously, more and more correspondence is conducted virtually during this period, with discourse occurring which questions the validity of email as “true” mail art, which is reflected in much of the material. Printing also becomes a digitally sourced endeavor, with more mail art reflecting access to stylization made available with programs like Microsoft Word and Adobe Photoshop.

Items in this subseries are predominantly letters and envelopes, often decorated, but also include photographs, drawings, xerox art, found objects and small sculptural items, collage, and other visual mediums, often integrated into the letters and envelopes. Banana would often print out emails as well, especially those which were distinctly related to the question of mail art and its transition into a digital sphere, and received much correspondence and art obviously created through digital means.

Subseries originates with Banana’s earliest performance art while she was Victoria’s Town Fool. It consists of various certificates in bananology (including bachelors and masters degrees) which Anna would give out to individuals who had “Gone Bananas”, often after providing Anna with a piece of Banana paraphernalia or a Banana-related fact or story. This activity often took place within the context of her mail art actions, where she would mail the certificates back to networkers who had provided her with banana-related mail. However, it began while she was still Town Fool, prior to or concurrent with her entry into the mail art network.

The subseries consists almost entirely of various certificates, as well as letters to correspondents.

Subseries consists of documents relating to an interactive art project called “But Is It Art?” that Banana carried out throughout various European cities in the late 2000s and early 2010s. Under the auspices of the Specific Research Institute, Banana (in her role as Dr. Anna Freud Banana) would ask participants to show if various (often banana related) items were, in fact, art.

Subseries contains response forms arranged into various city files where Banana conducted her research, as well as travel ephemera, reports, posters and programs, as well as exhibition documents related to the project.

Between 1991 and 1995, Anna Banana published Artistamp News, a newsletter which provided information about artistamp production, artists, and networks. There were 8 editions in total. Files contain all of the artistamp news, an inventory of artistamp news, and originals (paste ups) of some volumes.

Subseries documents International Art Post, an artistamp publication. Anna Banana published International Art Post (IAP) from the late 1980s to the early 2010s. The International Art Post was made up of periodically published artistamp editions, which were funded by contributing artists. Artists would provide Banana with small scale artworks to be transferred in full colour to perforated gum-paper. These stamps were then given back to the artists for their own use. Files contain predominantly artistamps, but also include advertising materials and preparatory documentation and sketches.

Anna Banana drew, created collage, painted and printed from the early 1970s up until the late 2010s and beyond. This subseries contains the working drafts, final works, and copies of her visual art. This subseries consists mostly of graphical materials, including drawings, watercolour paintings, xerox art, photocopies of Anna’s original artwork, and postcards.

Subseries contains files from various small Specific Research Institute projects conducted by Anna Banana, between 1993 and 2015. Many of these were small surveys of “Banana Culture” which Banana carried out while she was staying in certain regions or cities, as well as newsletters and updates regarding SRI activities.

Files are made up of textual records, mostly newsletters or reports, as well as some posters and response forms.

In 2015, Anna gave away all of her banana items in an interactive event called “Regifting Bananas.” Each giveaway was accompanied by documentation of what was given away, and to whom. There was also an inventory of banana items for regifting.

Subseries consists of textual records, mainly the inventory and records of regifting.

Subseries is made up of various “One of a Kind Books”, which are small artist books, published between 2006 and 2008. Also included in this series are small edition books authored and published by Anna Banana between 1986 and 2012, as these were filed alongside the “One Of a Kind Books”. Project files include handmade books, binders, and tiny published books.

Subseries is made up of publications collected by Anna Banana, especially books and catalogs, pertaining to exhibitions and collections of artists’ work. Banana’s involvement with the Mail Art Network often included showing her own work all over Europe and North America, by sending mail art, artistamps, drawings and other works to invitational shows and exhibits. Most of those shows in which she partook are noted with small bookmarks, often in yellow, showing those pages where her work is referenced, although not all of the files in this series pertain to her, or even the mail art network. This subseries spans across genres.

Subseries includes exhibition catalogues, publications relating to specific exhibitions, catalogues by artists, product catalogues, directories, some mail art projects which resulted in an exhibit or show, books published in tandem with an exhibit, as well as documentation about invitational shows or competitions. Banana did not distinguish between any of these items and generally categorized them under “Exhibit Catalogs,” “Mail Art Catalogs” or “Artist Catalogs.” The distinction between the items in this subseries and those of Books or Zines often seem superfluous and depend greatly on the whims of Banana’s own boxing system.

Subseries documents the curator files of Arni Runar Haraldsson, Director/Curator of the Or Gallery from November 1984 to December 1985, and James Graham, Director/Curator of the Or Gallery from January to October 1986.

Exhibitions represented in this subseries include:

• Mina Totino, “Stumps” (March 4-16, 1985)
• Phillip McCrum, “Simulacrum” (February 3-15, 1986)
• 25 Young Artists, curated by Petra R. Watson, international youth year project (February 17 – March 1, 1986)

Subseries documents the curator files of Susan Schuppli, Director/Curator of the Or Gallery from September 1991 to December 1993.

Exhibitions represented in this subseries include:

• Bill Burns, “When Pain Strikes” (September 10-28, 1991)
• Laura Lamb, “There are more things in heaven and earth, than are dreamt of in your philosophy, Horatio” (October 8-26, 1991)
• Marian Penner Bancroft, “Holding” (November 5-23, 1991)
• Sutapa Biswas, “Synapse” (December 3-21, 1991)
• Jamelie Hassan, “The Conference of the Birds” and “Baghdad Commemorative Billboard Project” (January 14 – February 1, 1992)
• Marianne Nicolson, “A House of God” (February 4-22, 1992)
• Henry Tsang, “Love Stories” (March 3-22, 1992)
• Lisa Kokin (USA), “Unearthing”, installation (April 7-25, 1992)
• Paul Landon, “Heavy Weather”, (May 12-30, 1992)
• Jean Macrae, “Two Walking Days” (June 9-27, 1992)
• Kathryn Walter, “Regarding Places”, installation in an office space on the 7th floor of the Dominion Building, and “A Working Project”, Gallery installation (July 7-25, 1992)
• Deborah Koenker, “Bar-ba-loot” (September 8 – October 3, 1992)
• Frances Grafton, “Stripped of Sense” (October 8-30, 1992)
• Patrick Mahon, “Spectacular Viewhome” (November 10-28, 1992)
• Clare Gomez-Edington, “Don’t Let Them See You Coming” (December 8-23, 1992)
• Julie Arnold, “List” (February 9-27, 1993)
• Holly Owen, “Les Demoiselles de la Transfiguration; How Will We Recognize our Allies?” (March 2-27, 1993)
• Andrew Forster, “my favourite things” (April 6 – May 1, 1993)
• Carol Sawyer, “Vessels” (May 11 – June 5, 1993)
• Sarindar Dhaliwal, “Heart, Home & Hearth” (June 9 – July 3, 1993)
• Ingrid Bachmann, “Berlin Stories” (July 6-31, 1993)
• Susan Stewart, “Lovers and Warriors: Aural/Photographic Collaborations” (October 2-30, 1993)
• Donna Nield, “Cicatrix” (November 9 – December 4, 1993)
• Kathy Slade, “by dint of groping” (December 7-31, 1993)

Subseries documents the curator files of Reid Shier, Director/Curator of the Or Gallery from April 1996 to March 2002.

Exhibitions represented in this subseries include:

• Patricia Deadman, Stan Douglas, Deanna Ferguson, Philippe Raphanel, Lawrence Paul Yuxweluptun, “Rough Bush” (July 13 – August 10, 1996)
• Robin Peck, “Sculptures of Gypsum Crystals” (September 14 – October 12, 1996)
• Corinne Carlson and Larry Krone (October 19 – November 16, 1996)
• Bruce Hugh Russell, “Sala dell’ermafrodito” (November 23 – December 21, 1996)
• G.B. Jones, “Bad. Good.” (November 23 – December 21, 1996)
• Tonel, Rene Francisco, Ponjuan, “New Art From Cuba: Utopian Territories”, co-curated by Keith Wallace of the Contemporary Art Gallery, Scott Watson of the Morris and Helen Belkin Gallery, Eugenio Valdez, and Juan Molina (March 21 – April 19, 1997)
• Kevin Ei-ichi De Forest, “The Record Shop” (May 31 – June 28, 1997)
• Myfanwy Macleod, “My Idea of Fun” (May 31 – June 28, 1997)
• Tass Mavrogordato and Ann Newdigate, “Truth or Consequences”, co-curated with guest curator Anthony Kiendl (July 4 – August 2, 1997)
• Karin Geiger, “Plush Toys and Poster Boys” (September 13 – October 11, 1997)
• Jerry Allen (October 18 – November 15, 1997)
• Luanne Martineau, “Ryan’s Arcade” (October 18 – November 15, 1997)
• Lise Soskolne and Yunhee Min (November 22 – December 20, 1997)
• Nancy Davenport, “Accident Prone” (January 10 – February 7, 1998)
• Phillip McCrum, “Tear” (February 14 – March 14, 1998)
• Philip Dion, “Selected Projects for the Reconstruction of Vancouver” (February 14 – March 14, 1998)
• Tyler Ingolia, “Somewhere”, co-curated with guest curator Geoffrey Farmer (March 21 – April 18, 1998)
• Euan Macdonald (April 25 – May 23, 1998)
• Fiona Bowie, “Deliverance” (April 25 – May 23, 1998)
• Judy Radul, “Documents for Performance” (May 30 – June 27, 1998)
• Francis Alÿs, “Dog Rose” (July 4 – August 1, 1998)
• Christine Corlett, “Salon: As You Keep Hurting Me, I'm Leaving” (September 12 – October 10, 1998)
• Edith Dekyndt and Damian Moppett (October 17 – November 14, 1998)
• Karin Bubas, Trevor Mahovsky, Scott Myles, “Monument Valley” (November 21 – December 19, 1998)
• Emily Carr and Jack Shadbolt, “Heart of Darkness”, co-curated with Scott Watson of the Morris and Helen Belkin Art Gallery (January 16 – February 27, 1999)
• Priscilla Yeung, “No Matter What” (May 29 – June 26, 1999)
• Daniel Anhorn, Renée Burgess, Maura Doyle, Polly Gibbons, Kirsten Harry, Herman Kao, Alison MacTaggart, Nadine Nickull, Shauna Oddleifson, Ellen Pollard, Crystal Przybille, Kate Stefiuk, Kenneth Sherman, Donna E. Szokem, Maria Patricia Yam, “Helen Pitt Awards” (July 3-31, 1999)
• Martin Boyce, Martin Creed, Angela de la Cruz, Jeremy Deller, Liam Gillick, Douglas Gordon, Lucy Gunning, Dean Hughes, Gareth Jones, Jeff Luke, David Shrigley, Jemima Stehli, T.S.U. Toronadoes, “Getting the Corners”, co-curated with guest curator Matthew Higgs (September 15 – October 23, 1999)
• Evan Lee, photographs (February 12 – March 11, 2000)
• Muu Blanco, Jose Gabriel Fernandez, Diana Lopez, Carlos Julio Molina, Alfredo Ramirez, Javier Tellez, Meyer Vaisman, “Demostrationräume: A Case Study”, co-curated with guest curator Jesus Fuenmayor (March 25 – April 22, 2000)
• Michelle Lopez, Peter Schuyff, Marina Rosenfeld, Sandeep Mukherjee, Marnie Weber, Alex Slade, “Philosophy in the Bedroom”, co-curated with guest curator Anne Walsh (May 5 – June 10, 2000)
• Stephen Shearer, “Swinging Lumpen” (July 8 – August 5, 2000)
• Malin Bogholt, Karin Persson, March 21, “Curatorial Mutiny Part 3”, organized with Konstakuten, Stockholm (January 20 – February 24, 2001)
• Mark Lewis, “North Circular & After (Made for TV)” (March 3-31, 2001)
• Isabelle Pauwels (April 7 – May 5, 2001)
• Kyla Mallett and Allison Hardy, Zin Taylor, “Secondhand”, guest curated by Damian Moppett (October 13 – November 10, 2001)
• Shannon Oksanen, “Spins” (February 16 – March 16, 2002)

Subseries documents the curator files of Sydney Hermant, Director/Curator of the Or Gallery from March 2002 through 2005.

The following exhibitions are represented in this subseries:

• Emily Vey Duke, Cooper Battersby, Shary Boyle, “Perfect Nature World” (May 7 – June 8, 2002)
• Una Knox, Corrin Sworn, Jace Lacek, Amy Lockhart, Holly Ward, Warren Auld, Terrence Dawes, Sabine Bitter, Helmut Weber, “The Village” (June 15 – July 13, 2002)
• Johanna Burke and Matt Dilling, “Welcome to Vancouver” (July 20 – August 10, 2002)
• Jason McLean, Holly Ward, Scott Evans, Shayne Ehman, “The Log Family” (September 7-28, 2002)
• Lesley Hope Farley, “Moving and Shaking It” (October 19 – November 16, 2002)
• Shayne Ehman, “Free Jazz Pinball” (October 19 – November 16, 2002)
• Sonja Ahlers, “We Didn’t Start the Fire” (January 11 – February 8, 2003)
• Una Knox, “In Love With Possibilities” (February 22 – March 2, 2003)
• Jason Breeden, Tony Romano, Corrin Sworn, “Explorations in Psychic Geography” (March 29 – April 26, 2003)
• Kim Austin, Stephanie Aitken, Tyler Brett, Marina Roy, Antik Sandor, Igor Santizo, Sam Shem, Rhonda Weppler, “Saturday Society: Explorations in Psychic Geography II” (May 10 – June 14, 2003)
• Danica Phelps, “Ten Day Trade” (June 18-28, 2003)
• Adalgisa Campos and Carol Sawyer (July 5 – August 2, 2003)
• Derek Root, Tim Lee, Maura Doyle, Kathy Slade, Sarah Edmonds, and Shannon Oksanen, “Confidence” (March 10 – April 16, 2004)
• Hannah Jickling and Valerie Salez, Demian Petryshyn, Eleanor Morgan, Jeremy Diggle, Leigh Bridges, Nadia Myre, Jen Weih, “Hurry Slowly” (March 20 – April 17, 2004)
• Dani Gal, “Holdup” (May 1-29, 2004)
• Shary Boyle, “Companions” (June 4 – July 3, 2004)
• Rhonda Weppler and Trevor Mahovsky, “Rhonda Weppler and Trevor Mahovsky” (September 8 – October 2, 2004)
• Vanessa Kwan, “Your Private Sky” (April 23 – May 2, 2005)
• Anika Yuzak, “Pictures of Myself When I Think That I Look Good” (June 4 – July 2, 2005)
• Annie Dunning, “The Pigeon Homing Project” (July 1 – August 31, 2005)
• Daina Warren, “Transference” (July 6 – August 6, 2005)
• Robyn Laba, “Thinking/Judging” (July 9 – August 6, 2005)

Subseries consists of materials dating from 1967 to 1990. Records include a collective agreement, negotiation documents, correspondence and other reference materials.

Sub-series reflects Mary Bishop’s interest in and writing about the topic of abortion, both historical and contemporary. The sub-series mostly comprises Bishop’s accumulation of newspaper articles reflecting perspectives on abortion access covered in news media from the 1960s to the 1980s. It also reflects Bishop’s research and published writing on the subject of abortion; perspectives within the Roman Catholic Church for and against abortion; abortion statistics in Canada; and medical information on abortion.

Records include newspaper clippings and magazine articles; reports on the subject of abortion; communication on abortion by pro-life movements (e.g., pamphlets, newsletters, articles); draft articles authored by Bishop on abortion; as well as some briefings, memorandums, press releases, and correspondence between Canada members of parliament.

Sub-series reflects a set of interviews conducted by Mary Bishop in the late 1970s relating to her long-term project of documenting the history of the birth control movement in Canada between 1920 and 1980. Bishop interviewed several individuals with lived experience connected to this history, including physicians; religious leaders; and women and couples who spoke about their experiences seeking reproductive healthcare. The interviews were funded by a grant from the Explorations Programme supplied by the Canada Council.

Records in this sub-series include interview transcripts; typed and handwritten notes; interview releases; accompanying documentation on the history of birth control and dissemination of information about family planning; and one photograph.

The International History of Nursing Conference was co-sponsored by the Canadian Association for the History of Nursing and the B.C.History of Nursing Group. The conference was held June 12-15, 1997 in Vancouver at St. Paul’s Hospital. Both sponsoring groups aim to discover, disseminate, and preserve nursing history in Canada and British Columbia. The conference was held just prior to the meeting of the International Council of Nurses 21st Quadrennial Congress.

The conference attracted 144 people from 18 countries. Sixty papers were presented on topics including the impact of the World Wars on nursing in Canada, the U.S., Poland, Slovenia, and Germany; religious traditions in nursing; black nurses’ struggles; the impact of traditional Chinese medicine on nursing in China; epidemics; psychiatric nursing development; nursing education; and Florence Nightingale.

Subsubseries consists of delegate packages, schedules, presentations and other related materials. A commemorative scrapbook with 53 photographs is also included, and one wall hanging.

Photographs are of society members attending various functions and events related to military nursing displays.

Sub-series consists of a Pulp Press magazine, calendars, broadsheets, flyers, posters, advertisements and Press catalogues published or printed by Pulp Press.

Sub-series consists of records from Burch’s school days and boyhood, from his early years at University of British Columbia, and from school reunions. The sub-series is divided into 3 files: Public schooling, Reunions, and Photographs. The Reunion file also contains several photographs. Among the textual records are school report cards from 1930 till 1936, a high school entrance certificate, university entrance examination certificates, a high school graduation certificate, and newsletter and correspondence regarding high school reunions. The photographs are reflective of Burch’s extra-curricular activities through boyhood and his teenaged years.

Series documents Burch’s time at the University of British Columbia, where he studied forest engineering, and his summer employment with the B.C. Forest Branch. The series consists of one file, made up entirely of photographs. Most of the photographs are of the summer employment, but also includes a composite photograph of the Gamma Omicron of Beta Theta Pi of 1947-1948, a photograph of the UBC Forestry faculty of 1946, and a photograph of the Forestry Engineering class of 1948.

Sub-series contains correspondence, minutes of meetings, notes, and other records reflecting Mild’s role on the organizing committee for the conference Culture in struggle: Canada—Japan minority forum. The conference was held in Vancouver in 1995. The sub-series contains photographs of individuals who participated in the conference as speakers, attendees, and performers and of ceremonies and performances in progress as well as audio recordings of the conference proceedings. Finally, the sub-series contains drafts of the manuscript of the conference proceedings which Mild co-edited with Rita Wong. The proceedings were published as Across Currents: Canada—Japan minority forum in 2001. Files related to conference organizing precede the manuscript drafts.

Sub-series consists of six complete and successive drafts of the manuscript of meanwhile: the critical writings of bp nichol, a retrospective compilation which Miki edited.

Sub-series consists of drafts and editor notes of Miki's book of poetry titled Mannequin Rising. The back cover on the book reads, "In Mannequin Rising, Miki describes a world of consumerism, and answers the visual cacaphony of commodities and window displays with a series of poems and photomontages that reflect the uncanny juxtapositioning he sees all around him."

Sub-series consists of correspondence and other records documenting Miki’s
activities as editor of West coast line followed by drafts of the manuscripts of issues of the journal arranged chronologically according to date of publication and drafts of articles which were submitted to the journal. The sub-series also contains photographs of illustrations and plates appearing in issues of West coast line. Miki founded West coast line (under the title Line) in 1983 and was editor of the journal until 1999.

Sub-series contains photocopies of material gathered by Miki from the Public Archives of Canada and other sources in the course of compiling A record of writing. The sub-series contains audio tapes of conversations between Miki and Bowering regarding books Bowering published recorded between 1985 and 1989 as well as transcripts of some of those discussions. The sub-series also contains copies of poems by George Bowering and drafts of the manuscript of George Bowering selected. Files related to A record of writing precede those related to George Bowering selected.

Subseries consists of correspondence, programs, articles, draft speeches, speaking notes, press clippings, posters, photographs, and slides relating to Miki’s attendance and participation in literary and cultural conferences, panels, talks, and other local, national and international events. The majority of these cultural events concern racism, ethnicity, multiculturalism, and the Japanese Canadian experience. The subseries also includes a photo album documenting Miki’s participation on the Canada Council’s Racial Equity Committee, the 1997 book launch of Roy Kiyooka’s Pacific Windows (edited by Miki), Miki’s 2003 trip to Japan with Hiromi Goto, Miki’s 2003 trip to Berlin with Glen Lowery to present a paper at the Free University of Berlin conference on multiculturalism, Miki’s 1999 trip to Australia with Ashok Mathur, Miki’s trip to the Alberta badlands with Scott McFarland for the Race/Pedagogy retreat, Miki’s 2000 Australia trip with a group of Canadian authors (including Ashok Mathur, Aruna Srivastava, Rajinder Pal, Hiromi Goto, Rita Wong, Larissa Lai, and Tamai Kobayashi), and Miki’s 2001 trip to Calgary for an exhibit curated by Harry Kiyooka.

The subseries includes slides used in a performance of “This is Munal Kitagowa” at Expo ’86 and a painting presented to Miki as a thank you gift for speaking as aguest writer for the “American Odysseys: Literary Explorations of Historic and Current Events in the Multicultural Americas” at Utah State University in 2008.

Sub-series consists of originals and copies of journals detailing Belcher’s travels during the period 1821-1827, including his travels in Britain in 1821 and as part of the crew of the HMS Blossom during the Beechey expedition, 1825-1827.

Sub-series consists of correspondence received by Belcher while in the South Pacific on a voyage of the HMS Sulpher, 1837-1840, and letters received from his brother, Alexander Brymer, in 1844 and 1845, during Belcher’s command of the HMS Samarang.

Sub-series consists of printed drawings depicting scenes of native peoples and ships in Asia and original watercolours, including watercolours of the Columbia River attributed to Belcher, a watercolour of a waterfall at Panang by B.F. Browne, and watercolours of native peoples of New Guinea and Marquesa.

Sub-series consists of a copy of Andrew Wright’s last will and testament and an associated document.

Sub-series consists of a letter to his father, Andrew Belcher.

Sub-series contains agendas and minutes of meetings, correspondence and memoranda, reports, notes and notebooks, news clippings, published updates and newsletters, research notes, drafts, conference programs, transcripts of conferences and symposia proceedings, the NAJC constitution, and other records related to Miki’s involvement with the NAJC. The sub-series also contains audio recordings of National Redress Committee and National Council meetings and telephone conferences, press conferences, and proceedings of other events. Miki served on the NAJC National Council between 1984 and 1988. He was also officially employed by the NAJC as National redress coordinator for several months in 1985. The sub-series documents Miki’s activities in these and other capacities within the NAJC and the activities of the organization particularly as they relate to the redress movement. General files and National Council records, and Strategy Committee records are arranged chronologically followed by alphabetically arranged subject files.

Subseries includes recordings of Japanese Canadian Redress Committee meetings in Toronto as well as an index to the sound recordings complied by Miki.

Sub-series consist of the proposal and outline, research, chapter drafts, the final proof, publicity and correspondence with Random House Publishing all pertaining to Brown’s autobiography.

Subseries consists of files related to speaking engagements and speeches given or planned by Thomas Berger during 1985 and 1986 primarily in venues in Alaska, British Columbia and across Canada, on various topics including the environment, native land claims, family law, human rights, and Japanese Canadians’ redress, among others.

Subseries consists of files related to speaking engagements and speeches given or planned by Thomas Berger from 1987 to 1989, in a range of venues in Canada, the United States, Australia and Europe, on a variety of themes including native rights, the Arctic, the environment, human rights, multiculturalism in Canada, and J. S. Woodsworth, among others. This subseries is the third within a series entitled Speeches. Title based on contents of subseries.

Manuscripts.

Subseries consists of records relating to the work 'Whatever Happened to Wenceslas?'

Subseries consists of records relating to the work 'Po Usi V Americe'

Subseries consists of records relating to the autobiographical work 'Hledani Stesti U Cizaku'