Limited supplies; first come, first served.

About Culture Club at MOA

Join MOA on the last Sunday of each month for Culture Club! Drop in and enjoy engaging art-making activities designed for families. This series offers young visitors artful learning opportunities, allowing families to get creative and connect with MOA’s diverse collections and exhibitions. See the full schedule.

Culture Club at MOA is made possible by the generous support of UBC Campus + Community Planning

Catch MOA’s feature exhibition I Use My Haida Eyes: The History Robes of Jut-ke-Nay–Hazel Wilson before it closes October 12 in a special tour led by curator Jordan Wilson in dialogue with Raymond Boisjoly, a contemporary artist and citizen of the Haida Nation, based in Vancouver.

Between 2005 and 2006, Jut-Ke-Nay Hazel Wilson created a powerful, untitled series of 51 “history robes,” which recount specific episodes of Haida history in stunning detail – from a Haida perspective.

I Use My Haida Eyes exhibition marks the first time that nearly the entire body of work, most of which have never been displayed publicly, is shown together. This exhibition brings Wilson’s full vision for her landmark series to life.

In this tour through the exhibition, Jordan Wilson and Raymond Boisjoly will engage in a dialogue to take an in-depth look at Jut-Ke-Nay Hazel Wilson’s powerful art, and the significance and impact of her work through and beyond the lens of this exhibition.

Limited tour capacity; first come, first served.

Bios

Jordan Wilson is a member of the Musqueam Indian Band, on whose traditional, ancestral and unceded territory MOA is located. His connection to MOA spans more than a decade, including as co-curator of c̓əsnaʔəm, the city before the city and In a Different Light: Reflecting on Northwest Coast Art, and co-author of Where the Power Is: Indigenous Perspectives on Northwest Coast Art.

At MOA, Wilson curates exhibitions and stewards collections related to Pacific Northwest and contemporary Indigenous art, working closely with Indigenous communities, artists and knowledge holders to support culturally grounded, community-informed approaches.

Raymond Boisjoly is a contemporary artist and citizen of the Haida Nation, based in Vancouver. Boisjoly is Associate Professor at Simon Fraser University. He received a BFA from Emily Carr Institute of Art and Design (2006) and an MFA from the University of British Columbia (2008). He was a recipient of the VIVA Award (2016), presented by the Jack and Doris Shadbolt Foundation for the Visual Arts, Vancouver. In 2026, he was awarded a Guggenheim Fellowship in Fine Arts.

Tupananchiskama: Ancient Andean Cosmovision explores the enduring worldviews of ancient Andean civilizations through nearly 100 exquisite pre-Columbian ceramic, textile, bone and wood works, some dating back more than 2,500 years.

These works were collected by former UBC Professor Alan R. Sawyer and donated to MOA. This exhibition highlights Andean cosmovision—a holistic and spiritual understanding of the universe grounded in reciprocity, balance, and the recognition of nature as a living being. Far more than artistic objects, the belongings on display embody relationships between humans, ancestors, and sacred forces.

These 45-minute Not Your Average Tours invite visitors to encounter Tupananchiskama through the perspectives of specialists in ceramics, Andean cosmology, and collecting history, offering layered insights into the objects, their meanings, and the complex journeys that brought them to the museum.

Capacity of 25 people per tour; first come, first served.

Schedule
Select Thursdays | 7 pm

April 30: Carol Sawyer (visual artist and daughter of Alan Reed Sawyer and Erika H Sawyer whose donated collection form the basis of the exhibition)

CANCELLED — May 28: Dr. Alexandra M. Peck (inaugural Audain Chair in Historical Indigenous Art & Assistant Professor at the University of British Columbia’s Department of Art History, Visual Art, & Theory) — Cancelled due to unforeseen circumstances

June 25: Pao Noriega (Indigenous Andean Ñusta Paqo, Mesa Carrier, Original Peoples Advocate, conscious coach, and knowledge keeper)

Tour in Spanish/Visita guiada en español | 6 pm
Tour in English | 7 pm

September 24: Dr. Aleksa Alaica (Assistant Professor at the University of British Columbia’s Department of Anthropology).

Bios

Carol Sawyer (she/her) is a visual artist and singer working with photography, installation, video, and improvised music. Since the early 1990’s her visual art work has investigated the connections between photography and fiction, performance, memory, and history. Collection donations from her parents, Alan Reed Sawyer and Erika H Sawyer, form the basis of the exhibition.

Dr. Alexandra M. Peck serves as the inaugural Audain Chair in Historical Indigenous Art & Assistant Professor at the University of British Columbia’s Department of Art History, Visual Art, & Theory. She is an anthropologist and material culture specialist with a research focus on Pacific Northwest Native art, archaeology, and geography.

Pao Noriega is an Indigenous Andean Ñusta Paqo, Mesa Carrier, Original Peoples Advocate, conscious coach, and knowledge keeper born in Peru and initiated into the sacred Q’ero lineage. She carries the Quechua, Aymara, and Amazonian roots of her ancestors and shares their teachings with integrity and devotion. Her work bridges ancestral Earth based technology with modern science for healing and transformation.

Aleksa K. Alaica is Assistant Professor in the Department of Anthropology at the University of British Columbia. She is an anthropological archaeologist interested in the interactions between humans and animals in the Andes. She investigates the way different animal species influenced and shaped past cultures, with much of her work examining Moche material culture, animal bone remains, and their rich iconographic record.

Celebrate the launch of the new book, Raven Transforms: The Haida Argillite Art of Kihl’yahda Christian White by Gary Wyatt with Kihl’yahda Christian White, with Foreword by Karen Duffek. The event will open with remarks by the artists and authors, followed by a Haida Cultural Performance by the Tluu Xaada Naay Society (Canoe People’s House).

Copies (including a limited number of signed copies) of the book will be available for purchase in MOA Shop throughout the day. Copies can also be ordered in advance through the MOA Shop.

This event is presented in partnership with Kihl’yahda Christian White, Candace Weir, Figure 1 Publishing, and MOA.

Bios

Tluu Xaada Naay Dance Collective was formed in 1996 (known as Old Massett Dancers, becoming TXN Dance Collective in 2006) by a group of singers and dancers dedicated to the preservation and growth of Haida performance arts. The performance group also gives life to the collection of masks and regalia created by and belonging to Tluu Xaada Naay Society.

In the lead-up to the National Day for Truth and Reconciliation, Day Out at MOA aims to encourage learning, reflection, and greater awareness of the rich and diverse Indigenous cultures across our province. Explore MOA’s galleries and feature exhibitions at your own pace to deepen your understanding of Indigenous histories, artistic traditions, and living cultures.

Day Out at MOA offers an accessible and welcoming opportunity for first-time and returning visitors to connect with culture and community through art and heritage.

While you’re here, we encourage you to also check out Come Toward the Fire Festival, an annual celebration of Indigenous culture and creativity, taking place at the Chan Centre for the Performing Arts (five-minute walk from MOA).

Day Out at MOA is sponsored by BC Lottery Corporation (BCLC).
Learn more about BCLC’s Indigenous Reconciliation Action Plan.

As part of the 2026 UBC Harvest Feastival, experience an unforgettable evening with acclaimed Gitga’at musician Wil Uks Batsga G̱a̱laaw (Jeremy Pahl) and G̱a̱mksimoon.

Performed entirely in Sm’algya̱x, the music of G̱a̱mksimoon draws its name and spirit from the awe-inspiring waterspout – a force of nature that embodies movement, power, and transformation. Through soaring vocals, driving rhythms, and masterful storytelling, the performance honours Ts’msyen cultural traditions while creating bold new expressions that speak to contemporary audiences.

Set within MOA’s soaring Great Hall, this immersive concert invites you to experience the vitality of Indigenous language, music, and creativity in a space where culture, community, and place converge.

Schedule
Concert at 7:30 pm (approx. 1 hour)

Please note: this concert is standing-room only; seating will be limited for Elders and those with accessibility needs.

Presented in partnership with UBC Inspired’s Harvest Feastival.

Bios

G̱a̱mksimoon, translating to ‘waterspout’ in Sm’algya̱x, is a rock and roll project created by Wil Uks Batsga G̱a̱laaw (Jeremy Pahl) of the Gitga’at First Nation. Inspired by the powerful and transformative nature of the waterspout, G̱a̱mksimoon’s sound is rooted in pre-contact Ts’msyen rhythms and melodies. By performing entirely in Sm’algya̱x, the project revitalizes the language while crafting music that flows with the force and unpredictability of the natural phenomenon it’s named after.

UBC Inspired‘s annual Harvest Feastival is family-style feast of six locally-sourced dishes, which takes place under tents on the University Commons. The meal is followed by an exclusive lineup of arts and cultural experiences curated especially for Feastival guests, at UBC’s world-class Arts and Culture District. Harvest Feastival tickets on sale now.

In this tour, Jordan Wilson will share the process and stories behind Jut-Ke-Nay Hazel Wilson’s fascinating work and the curation of this exhibition.

Between 2005 and 2006, Jut-Ke-Nay Hazel Wilson created a powerful, untitled series of 51 “history robes,” which recount specific episodes of Haida history in stunning detail – from a Haida perspective.

I Use My Haida Eyes: The History Robes of Jut-ke-Nay–Hazel Wilson exhibition marks the first time that nearly the entire body of work, most of which have never been displayed publicly, is shown together. This exhibition brings Wilson’s full vision for her landmark series to life. I Use My Haida Eyes marks the first time that nearly the entire body of work, most of which have never been displayed publicly, is shown together. This exhibition brings Wilson’s full vision for her landmark series to life.

Limited tour capacity; first come, first served.

Bio

Jordan Wilson is a member of the Musqueam Indian Band, on whose traditional, ancestral and unceded territory MOA is located. His connection to MOA spans more than a decade, including as co-curator of c̓əsnaʔəm, the city before the city and In a Different Light: Reflecting on Northwest Coast Art, and co-author of Where the Power Is: Indigenous Perspectives on Northwest Coast Art.

At MOA, Wilson curates exhibitions and stewards collections related to Pacific Northwest and contemporary Indigenous art, working closely with Indigenous communities, artists and knowledge holders to support culturally grounded, community-informed approaches.

The Nanwang Sisters are part of a transformative generation of Indigenous artists who have helped shape contemporary Indigenous music in Taiwan. Through their music, they preserve their mother tongue, honour cultural memory, and embrace music as a powerful form of resistance, healing, and cultural continuity.

This special pop-up performance offers a rare opportunity to experience their remarkable musical journey across lands, oceans, and mountains.

Schedule
Pop-up performance at 2 pm (approx. 30 minutes)

Please note: this performance is standing-room only; seating will be limited for Elders and those with accessibility needs.

Presented in partnership with TAIWANfest. 

Bios

The Nanwang Sisters—Samingad, Lavaus, and I hua—represent a highly symbolic generation in the development of Taiwan’s Indigenous music. They grew up during a time when society was still rife with prejudice against Indigenous identity, an era when many singers were forced to conceal their Indigenous background or were cast by the mainstream market as “mountain singers.” Yet the Nanwang Sisters chose music as a means of resistance and healing—using their voices to preserve their mother tongue. Through their harmonies, the mountains become more than just mountains; they are the enduring spirit of a people and a resonance that transcends time and place.

TAIWANfest is an annual cultural festival, this year on from September 5 to 7, that explores the connections between Taiwan, Canada, and the world. Through live performances, films, talks, culinary programs, exhibitions, workshops, and more, the festival examines the influences of history and human migration on today’s culture.

During their residency at MOA, Jai will be designing ceramic works in the Judy Cranmer Ceramics Laboratory (located in the Multiversity Galleries).

Bio

Jai Sallay-Carrington (they/them) is a figurative ceramic sculptor whose practice examines human identities, behaviours, and emotions through anthropomorphic forms. Drawing from their queer and transgender identity, their work uplifts queer and trans communities while interrogating dominant heteronormative and cis-normative structures. Their sculptures explore hidden aspects of selfhood through zoomorphic symbolism — each creature enriching the narrative of the human form it merges with, and deepening our understanding of internal, often unseen identities.

Attending artist residencies, installing exhibitions and teaching workshops has brought them and their artwork throughout Canada, USA, several European countries and to China. They earned their MFA at the University of Washington in 2023, receiving the De Cillia Graduating with Excellence award and the HUB Purchase award. Following their graduation, they received a grant from Canada Council for the Arts and attended a year-long residency at Baltimore Clayworks as the Lormina Salter Fellow.

Visit Jai’s website for more information.

Follow Jai on Instagram.

In this special tour, Sesemiya—Tracy Williams provides a deeply personal look into Hazel Wilson’s art and life. Tracy offers a particularly intimate and direct connection to the exhibition, having called Hazel her friend and mentor for many years.

Between 2005 and 2006, Jut-Ke-Nay—Hazel Wilson created a powerful, untitled series of 51 “history robes,” which recount specific episodes of Haida history in stunning detail – from a Haida perspective. I Use My Haida Eyes marks the first time that nearly the entire body of work, most of which have never been displayed publicly, is shown together.

These 45-minute Not Your Average Tours invite visitors to engage with I Use My Haida Eyes through the perspectives of artists, family members, and community voices, offering layered insights into the works, their meanings, and the knowledge they continue to carry forward.

Capacity of 25 people; first come, first served.

Bio
Sesemiya—Tracy Williams is a knowledge seeker, dreamer, water protector, land defender, lover, mother, auntie, weaver, and cultural practitioner. Her work has appeared in exhibitions at the Vancouver Art Gallery (2020); Bill Reid Gallery (2017); The Polygon Gallery (2017). In 2021, her commissioned work was included in the Vancouver Art Gallery’s presentation of Yoko Ono’s Water Event. Sesemiya is a proud member of the Sḵwx̱wú7mesh (Squamish) Nation.