The author of the present paper has been conducting linguistic fieldwork on Koryak in Severo-Evensk district, Magadan region, Russia, from 1994. In 2004, following the request from the Hokkaido Museum of Northern Peoples, she began collecting Koryak native material; mainly reindeer skin products such as cloth and tent. In the process of accumulating the native material, she collected detailed information about them and their Koryak names in order to clarify the folk taxonomic system of Koryak. Such multidirectional work not only enabled the author to conduct a more detailed linguistic anthropological analysis of Koryak material culture but also allowed the museum to gain deeper insights into and acquire richer information about Koryak native material. In this paper, the author aims to point out the significance of collaboration between museums and linguists and to suggest an appropriate and beneficial method of collecting native material, through her own experience of this Koryak Collection.

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From June to September of 1961 and from June of 1962 to January of 1963, Hiroko Hara who was a Ph.D. student of Bryn Mawr College did ethnographical study on the Hare Indians in Canadian arctic by a fund from the Canadian Government. Hiroko Hara's Collection is composed of ethnological materials, dried plants, photographs and recorded tapes, and in March 2006 these were donated to our museum. In the special exhibition, “Hiroko Hara's Collection” which was held in our museum, 28 items of all ethnic materials, 30 photographs and some specimens of dried plants were exhibited. Though materials in this collection are not numerous, all these are items that were needed for her living and study there, such as mittens and cuttings of fur. Photographs are very important records such as the scenes of smiling children, working women and a process of tanning of moose skin. The Hiroko Hara's Collection contains very important materials for giving us information on the culture of Hare Indians 45 years ago along with her many reports. As like the case of Hara's Collection, the materials collected by anthropologists have high value, because of the large amount of information that accompanies it.

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The Ainu Cultural Information Center “Riwka” was opened in January 2006 inside the Obihiro Centennial Museum. Riwka is a place where patrons can learn about Ainu history and culture through books, CDs, and the internet. Riwka also provides information about new publications, exhibitions, lectures, events, and festivals related to Ainu culture. In the Ainu language, “riwka” means “bridge ”. This information center was given this name because because it was designed to serve as a bridge between Ainu and Japanese, and to introduce Ainu culture to Obihiro citizens. In 1995, the City of Obihiro drafted the “Obihiro Utari General Welfare Promotion Plan, ” including the plans for Riwka. At Riwka, information about Ainu history, culture, and current condition will be collected and organized. Research to further understanding of Tokachi Ainu culture will also take place here. Information generated from these studies will be used for transmitting and spreading knowledge of Tokachi Ainu culture. In addition information generated from Riwka will contribute to study of Ainu culture in local schools, and to support cultural activities in Obihiro. Presently, Riwka is being coordinated with schools, a home page, mini-exhibitions of Ainu culture, reference materials, and many other types of support available for patrons. In the future we anticipate creating a network between museums and research facilities that address Ainu culture, as well as serving as a clearinghouse for information about Tokachi Ainu culture. Moreover, if facilities like Riwka are established around Hokkaido, it is expected that the transmission, preservation, and study of Ainu culture, as well as the collection and transmission of information will be connected by a network, leading to a new era for the development of Ainu culture and related studies.

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Hokkaido Museum of Northern Peoples has had special (temporary) exhibitions that focus on the themes not included in the permanent exhibition. I have prepared a case report on some features and results of the 19th special exhibition titled “Nomads of the North” (2004). The exhibition was composed of three parts: “steppe nomads in Mongolia”, “reindeer herders in taiga” and “reindeer herders in tundra”. In each part, we chiefly displayed materials related to livestock and the nomadic life of pastoral peoples. For example, the Mongolian “ger” tent, saddles and bridles for riding reindeer, reindeer skin clothing, and so on. Furthermore, we used some new devices in making this exhibition. First, the curator took a direct part in collecting materials displayed at the exhibition and carried out field works about them. Up till then we had collected materials from foreign antique shops and from researchers studying in the northern areas. Second, a related event was held before the exhibition was opened. The “Let's build a Mongolian ger!” was an event for local residents to build a Mongolian “ger” tent, and display it as one of the exhibits in the special exhibition. This event was not only fun itself, but also aroused participants' interests in the exhibition. Third, some exhibits were displayed outside the special exhibition room. The Mongolian tent was used as part of the partition for the exhibition room, so visitors could see it without entering. Furthermore, some Mongolian clothes were placed out of the room so that visitors could view and try them on. Forth, admission fees were discounted about ten percent for visitors who saw both the regular and special exhibitions. “Nomads of the North” special exhibition was open for 69 days, and had 5271visitors. This number is relatively good, considering that the number of visitors to the museum is decreasing. However, it seems that many of the visitors were tourists, rather than local residents. This is not a good result for the local museum as an institution for social education. We will evaluate the methods and devices of this and other exhibitions, and in future, we hope to increase visitors from the local area.

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The Shiraoi Foundation for the Preservation of Ainu Culture was established in 1976. Despite the unfavorable social conditions for the inheritance and preservation of Ainu Culture at that time, Poroto-kotan, one of the tourist facilities operated by the Shiraoi Foundation attracted many tourists who had a keen interest in observing Ainu and their culture. The revenue from tourism made it possible for the Shiraoi Foundation to be financially independent, allowing activities to support the inheritance and preservation Ainu culture. At the same time, the staff of the Poroto-kotan were exposed to the curious eyes of the tourists who had gained inaccurate images of Ainu that were reflected in the representation of the traditional Ainu culture in tourist facilities. In 1985 the Ainu Museum was opened as a museum specialized in exhibiting Ainu culture. Establishment of the museum brought about various changes including the recognition that the museum can be used for the study of Ainu history and preservation of Ainu culture. Furthermore, the fact that Ainu themselves manage the museum began to enhance the appreciation of Ainu culture and led to a higher evaluation of the Ainu Museum both within and outside of the country. We also have been making an effort to introduce Ainu culture outside of the country, as well as promoting exchanges with minority and aboriginal groups overseas.

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The Historical Museum of Hokkaido (HMH) has adopted a permanent exhibition in which exhibits are presented in chronological order since 1992, the last time the exhibition was completely updated to reflect social changes and the results of research. Regarding special exhibitions, taking the theme of Ainu culture as an example, HMH generally exhibits numerous historical materials in keeping with the character of a historical museum, while maintaining a comprehensive cultural image that considers the importance of recent research results from the perspective of a museum, not the respective experience of individuals. Of late, the above-mentioned chronological organization of exhibits and exhibitions featuring traditional historical and cultural materials have been increasingly condemned, primarily in North America, for encouraging the reproduction of inherent cultural assets without conveying the status quo of indigenous peoples. Although, we recognize the difficulties for people with different memories to share history and/or culture, HMH has attempted to overcome such criticism, inspired by the experience of the Royal Alberta Museum (RAM), which founded the Syncrude Gallery of Aboriginal Culture, and the exchanges that took place between staff members of the HMH and RAM. In April 2005, HMH hosted a special exhibition titled “Russian Ethnological Museum's Exhibition of Ainu Materials: People in the Island Country Seen from Russia” under the joint auspices of the Foundation for Research and Promotion of Ainu Culture (FRPAC). The exhibition was characterized by the returning home of Ainu materials that are owned by the Russian Ethnological Museum, which were collected in the early 20th century. Six Ainu craftworkers were given the roles of planning officers and were heavily involved from the initial stage of preparations. They were responsible for the substance of the event, ranging from the selection of exhibits to drafting exhibition titles and to writing the description of materials. While the exhibition realized cooperation with indigenous peoples, as is the case in North America, it left room for improvement: the title of the exhibition that was agreed to in a Planning Committee meeting was changed immediately before the exhibition's opening due to a request from the lender and other political reasons; the intention of the indigenous people was also not fully reflected in all of the exhibition concepts. It is not preferable for us to simply follow in the footsteps of North America when it comes to exhibitions concerning indigenous peoples. We are committed to finding the best way forward for exhibitions best suited for Hokkaido and Japan by mulling over the historical background unique to the region and the current state of cooperation with indigenous communities.

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