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Posts from the ‘Ethnography’ Category

Oct 8

State Fairs: Growing American Craft: Four Questions for Exhibition Contributing Curator Jon Kay

Jon Kay with Jason Baird Jackson
Indiana University Bloomington

Jon Kay is Director of Traditional Arts Indiana and an Associate Professor of Folklore at Indiana University Bloomington. In this exchange I pose questions to him about the new Smithsonian exhibition and catalogue State Fairs: Growing American Craft. Find details about the exhibition at the end of the interview.

Jason Baird Jackson (JBJ):  Jon, you have just returned from a trip to Washington, DC for the opening of the exhibition State Fairs: Growing American Craft, which will run through September 7, 2026 at the Smithsonian American Art Museum’s Renwick Gallery. The Renwick is the part of the Smithsonian devoted to craft. Before I ask you about your role in the exhibition and the associated catalogue (Mary Savig, ed., State Fairs: Growing American Craft. Smithsonian Books, 2025), can you tell me about the opening? What did you see? What did you do? Who went with you? What was most memorable?

Jon Kay (JK): Thank you for the opportunity to reflect on my recent trip to Washington, DC, where I attended the Smithsonian American Art Museum (SAAM)’s after-hours celebration of the exhibition State Fairs: Growing American Craft at the Renwick Gallery. I participated in the event with Keith Ruble, a bowl hewer and longtime demonstrator in the Indiana State Fair’s Pioneer Village (Figure 1). Keith was named a State Fair Master in 2001—well before I became director of Traditional Arts Indiana (TAI)—a testament to the longstanding recognition of his work.

From 2001 to 2021, TAI partnered with the Indiana State Fair to honor its veteran participants through the State Fair Masters program. Each honoree was selected for their skill, excellence, and deep knowledge in their discipline, as well as for their commitment to passing on that knowledge within their communities. The program emerged in the years following the untimely death of Bill Day, an early Pioneer Village demonstrator and Keith Ruble’s bowl-hewing mentor. It was fitting, then, that both Keith’s and Bill’s bowls were featured in the Renwick’s exhibition (Figure 2).

Keith had been invited to demonstrate at the exhibition, but initially declined—he and his wife, Susie, don’t fly, and he didn’t feel up to driving to DC. When he told me this, I offered to take him. He agreed. So, the day before the celebration, Keith, Susie, my wife Mandy, and I made the twelve-hour trip to the Renwick.

On our first morning in DC, we walked to the Renwick Gallery to view the exhibition and deliver several hand-hewn bowls that Keith had made for the museum’s gift shop (Figures 3 and 4). I imagine your future questions will explore the exhibition’s content in more detail, but for now, I’ll say it was a remarkable showcase of crafts by artists who have exhibited, competed, and demonstrated at state fairs—past and present. From pottery and crop art to canned goods and quilts, the exhibition underscored the central role of craft in state fairs since their inception in 1841 (Figures 5, 6, 7, and 8).

The celebration brought together many of the featured artists and their families, including saddle maker Bob Klenda from Kimball, Nebraska; canner Rod Zeitler from Coralville, Iowa; and basket maker Polly Adams Sutton from Seattle, Washington (Figures 9, 10, 11). While the artists enjoyed seeing their work on display, the event also created a meaningful space for state fair craftspeople from across the country to connect and share stories. The atmosphere was one of mutual appreciation. In a culinary nod to fair traditions, the Renwick served corndogs, cornbread, corn pudding, and other fair staples. It was a festive and memorable evening.

The following day, Keith demonstrated his craft at the Renwick. Concerned about wood chips, the events team taped down tarps and provided tables and chairs. Keith’s setup was minimal—just a few tools: a bowl adze fashioned from a ball-peen hammer, a bent gouge, a couple of spoon knives, and a hand-rasp scraper (Figure 12). But what really caught people’s attention was his sassafras stump with luggage handles, which he uses as a chopping block (Figure 13).

Throughout the day, Keith worked on an Indiana-shaped bowl, answered questions, and shared stories. He spoke about his mentor, Bill Day; his wife’s tolerance for him chopping in the living room; and his “mother-in-law” bowls—his name for the ones that crack (Figure 14).

Alongside Keith were two other demonstrators: Martha Varoz Ewing from Santa Fe, New Mexico, who practices traditional straw appliqué, and Samuel Barsky from Baltimore, Maryland, known for knitting custom sweaters of his own design (Figure 15 and 16).

Soon after Keith began, the rhythmic chop, chop, chop of his adze echoed through the gallery, drawing visitors to the demonstration area. From 10 a.m. to 2 p.m., the artists worked and engaged with the public. Keith noted that he didn’t even finish the bowl he brought to work on. I assured him that the Smithsonian didn’t mind. There was a steady stream of visitors throughout the day, and the exhibition, as a whole, was very well attended.

JBJ:  I am glad that you and Mandy, Keith and Susie had a great time at the exhibition and its opening events! With the scene set now, can you tell me about your role as one of the “contributing curators” working with lead curator Mary Savig?

Two men standing side-by-side outside a museum building.
A man standing looking at wall-mounted exhibition cases holding carved wooden trays.
A man holding two carved wooden trays shaped like a map of the continental USA outside a museum building.
A group of carved wooden bowls in a sales case.
A ceramic figure of a seated person with many small child-like people all ccovering the large figure's body.
Portrait images of people mounted and lit in a museum environment.
Many jars of preserved fruits and vegetables displayed in an array.
A floral design quilt mounted on a wall.
A man in a western-style hat stands in front of a saddle on display in a museum.
Many jars of preserved fruits and vegetables displayed in an array.
A large brown object made with basketry techniques on display in a museum. The form is of many curved surfaces.
A set of tools sitting on a surface ready for use.
A man uses tools for carving on a wooden stump, used as a bench. Indoors, inside a museum.
A man uses tools for carving on a wooden stump, used as a bench. Indoors, inside a museum.
A woman seated is doing delicate craftwork on a table with craft materials nearby.
A man is seated in a museum environment working on knitting yarn.
A bench-sized seat of wood placed on display in a museum.
A basket of round elements (willow) in a round bowl-like shape.
A vase-shaped wooden object on display.
A blue and whie ceramic vase holding what appear as corn dogs as if the corn dogs were flowers in a vase.
A ceramic vessel of tan pottery with colored designs and two handles on opposite sides.
A man stands in an exhibition space next to two wall-mounted cases with carved wooden trays.

JK: From 2004 to 2022, I coordinated the Indiana State Fair Masters Program as part of my work directing Traditional Arts Indiana. For this program, I conducted oral history interviews, created exhibition panels, and produced documentary films.* My friend Betty Belanus, a retired curator at the Smithsonian Institution’s Center for Folklife and Cultural Heritage and Indiana’s first state folklorist in the 1980s, was aware of my long-standing work with the Indiana State Fair. When Mary Savig, Chief Curator of the Renwick Gallery, began planning the exhibition State Fairs: Growing American Craft, Betty suggested that she reach out to me to help identify potential Indiana craftspeople to feature.

Mary and I met at the 2023 Indiana State Fair, where I gave her a tour of the fairgrounds. The State Fair Masters program, as I mentioned earlier, celebrated the work of longtime fair participants—from apple growers and hog breeders to pie bakers and weavers—highlighting the artistry embedded in fair traditions. While many of these practices have aesthetic dimensions, the Renwick is a craft gallery, so performance-based traditions, such as baton twirling, clogging, and washboard playing, were outside the scope. I joked that while I could make a case for seedstock swine breeding or miniature donkey husbandry as art forms, jars of jelly and pickles were probably as close as the exhibition would get to these more ephemeral crafts.

As we walked the fairgrounds, Mary and I discussed her vision for the exhibition and my nearly two decades of work with the Indiana State Fair. The State Fair Masters program had ended in 2023, so I was especially reflective during our visit.

Our first stop was the Indiana Arts Building, formerly known as the Home and Family Arts Building. In the basement, baked goods and canned items were exhibited; the main floor featured quilts, needlepoint, weaving, crochet, and knitting. The building also featured paintings, photographs, and other artworks that had been entered in various fair competitions. I introduced Mary to longtime building coordinator Nancy Leonard, and then we talked with Mary Schwartz, a 2013 State Fair Master who was recognized for her needlepoint artistry.

Next, we visited the Pioneer Village, located across the fairgrounds and surrounded by antique tractors and historic farm implements. The Village showcases farming practices, music, and crafts from Indiana’s Depression Era and earlier. I introduced Mary to the wheelwrights and blacksmiths, and Charlie Carson who trains oxen and makes yokes. In the Pioneer Village Building, Mary talked with quilters, weavers, and broom makers—but what truly captured her interest was the bowl hewing.

I had recently curated an exhibition at the Swope Art Museum in Terre Haute, Indiana that featured several bowl makers who demonstrated at the fair. I introduced Mary to Keith Ruble and Blaine Berry, both of whom would later be featured in the Renwick exhibition. I also secured a large sassafras bowl made by Bill Day for the exhibition. I loaned the gallery a tulip poplar bowl shaped like Indiana, which Keith had made for me for the 2016 Bicentennial of Indiana Statehood. In addition to recommending artists, I shared ideas for potential craft inclusions. Mary ultimately acquired a settee and two Windsor chairs from Blaine, which the Smithsonian purchased (Figure 17).

By the end of our visit, Mary had identified about ten potential Indiana artists for the exhibition. A few months later, she told me that she needed to pare down the list, because the exhibit included more craftspeople from Indiana than any other state. The final roster included bowl maker Keith Ruble, chairmaker Blaine Berry, basket weaver Viki Graber, woodturner Betty J. Scarpino, and potter Kelly Bohnenkamp, who loaned her whimsical “corndog vase” (Figures 18-20). The exhibition also included works by two historical Indiana craftspeople: a vase by Mary Overbeck (1878–1955) and the large bowl made by Bill Day (1915-1999) (Figure 21).

JBJ:  I am glad that you could help the craftspeople of Indiana gain recognition from this major exhibition at a key world museum devoted to craft. I mentioned the catalogue for the exhibition at the start. Can you tell readers what they will find in that catalogue and what your contribution to it is?

JK: The exhibition catalog, State Fairs: Growing American Crafts, is a companion book published by Smithsonian Press (Savig 2025). It connects the narrative threads of the exhibition, as outlined by editor Mary Savig in the introduction. The chapters then highlight key themes, including “4-H and Youth Participation,” “Creative Arts Competitions and Women’s Collectivity,” “Indigenous Fashion Shows,” and “Studio Craft Competitions.” My chapter ended up being more focused than the others, centering on the Pioneer Village at the Indiana State Fair.

Mary and I initially discussed framing the essay around creative aging in heritage events, but ultimately, she felt a tighter focus on the Pioneer Village would serve the book better. For my chapter, I drew on decades of interviews with participants in the Pioneer Village. In fact, I had to work hard to stay within the word count. I hadn’t realized at the time that mine would be the only chapter focused on a specific event. While the other essays explore broader themes across multiple fairs, mine is grounded in my long-term work at the Indiana State Fair—and especially in the Pioneer Village.

I feel fortunate to have served as a contributing curator for the exhibition. Much of my role involved sharing nearly two decades of research into craft traditions at the Indiana State Fair. I’ll be returning to the Renwick Gallery this winter to participate in a panel discussion, where I’ll speak about my work in arts and aging, drawing on experiences with longtime fair participants, including those in the Indiana Arts Building and across the fairgrounds.

JBJ: The new exhibition, book and public program series at the Renwick Gallery is one of scores of projects that you have pursued related to craft and craftspeople in Indiana, in the United States, and overseas. Looking ahead, what is your next big project related to craft all about?

JK: As you know, I tend to keep several projects going at once, so questions like this always make my head spin a bit. I recently submitted a manuscript for a book on Indiana basketry, which is currently under review at the press. It examines the social function of craft in everyday life and the cultural changes that have undermined it.

In addition, I co-authored a new, public-facing book, Lifelong Arts: A Creative Aging Handbook, for the Indiana Arts Commission. The Indiana Arts Commission will publish it. I wrote it with Stephanie Haines and Anna Ross, and it explores creative aging practices. The book is based on a series of public workshops and trainings that we conducted across the state in 2022-23. Lifelong Arts will be my third public-facing creative aging guide. This one is a more general guide to arts and aging. In contrast, my other two projects were regional and based on traditional arts and everyday creative practices: Memory, Art & Aging (Kay 2020) and Everyday Arts in Later Life (Kay, Jackson, and Islam 2024).

So, I am in the starting phase of two larger projects. One explores bowl hewing in Indiana, which connects to Keith Ruble, Bill Day, and the State Fair. While this tradition is deeply rooted in Indiana, I’ve also discovered that bowl hewing is part of a broader international network of green woodworkers, toolmakers, and heritage events. Many of these makers speak about how the craft supports their emotional, physical, and social well-being, which aligns with my ongoing interest in craft and wellness. The second project, which may eventually merge with the bowl hewing project, is a scholarly study on “Folklife and Creative Aging” (Figure 22).

Of course, my academic research runs in parallel with (and within) my work directing Traditional Arts Indiana at Indiana University. TAI continues to operate the TAI Apprenticeship and the Indiana Heritage Fellowships. I am also exploring the development of an online version of TAI’s Community Scholar Training. It’s a lot to think about and seeing it all laid out like this feels a bit daunting.

In closing, Jason, thanks for your ongoing interest in craft, museums, and folklore. It was great to reflect on this moment and to think about my years at the fair and the exhibition at the Renwick. I know that the exhibition has helped me approach the fair with fresh eyes and to see the many crafts and communities that the fair has helped cultivate.

JBJ: Thanks Jon for sharing these valuable reflections and thanks for all that you do for Indiana and its peoples.

Learn more about the exhibition State Fairs: Growing American Craft online at: https://americanart.si.edu/exhibitions/state-fairs 

A version of this post will be preserved in the Published Work and White Papers collection of the Material Culture and Heritage Studies Laboratory community in IUScholarWorks. [Update: See https://hdl.handle.net/2022/33755 for the archival version.]

Notes
*Twenty documentary videos profiling State Fair Masters are accessible via Indiana University’s Media Collections Online. See the “Traditional Arts Indiana’s State Fair Master Documentaries” collection via https://media.dlib.indiana.edu/.  

References Cited

Kay, Jon, ed. 2020. Memory, Art, and Aging: A Resource and Activity Guide. Traditional Arts Indiana. https://hdl.handle.net/2022/33323

Kay, Jon, Joelle Jackson, and Touhidul Islam. 2024. Everyday Arts in Later Life. Traditional Arts Indiana. https://hdl.handle.net/2022/33322

Savig, Marty, ed. 2025. State Fairs: Growing American Craft. Smithsonian Books.

Nov 13

Article: “A Survey of Contemporary Bai Craft Practices in the Dali Bai Autonomous Prefecture, Yunnan, China” in Museum Anthropology Review 16(1-2)

I am very happy to note a new co-authored article titled “A Survey of Contemporary Bai Craft Practices in the Dali Bai Autonomous Prefecture, Yunnan, China.” It was jointly written with Wuerxiya (first author), C. Kurt Dewhurst (third author) and Cuixia Zhang (fourth author) and it appears in Museum Anthropology Review volume 16, numbers 1-2. This is the special double issue published in honor of Daniel C. Swan, as noted in an earlier post on Shreds and Patches. The article is based on work undertaken by a much larger bi-national team within the “Collaborative Work in Museum Folklore and Heritage Studies” sub-project of the broader “China-US Folklore and Intangible Cultural Heritage Project,” a collaboration (2007-present) of the American Folklore Society and the China Folklore Society. In particular, it describes work undertaken through the auspices of, and in partnership with, The Institute of National Culture Research at Dali University. Special thanks go to the Institute and its leadership.

Find the article online at Museum Anthropology Review: https://scholarworks.iu.edu/journals/index.php/mar/article/view/34101

In this image is the first page of a journal article as typeset. The article pictured is "A Survey of Contemporary Bai Craft Practices in the Dali Bai Autonomous Prefecture, Yunnan, China." Visible are the names of the authors, the abstract, the key words and the first paragraph of text.
Presented as an image is the first page of the journal article “A Survey of Contemporary Bai Craft Practices in the Dali Bai Autonomous Prefecture, Yunnan, China.”

Oct 30

Museum Anthropology Review Volume 16: Studies in Museum Ethnography in Honor of Daniel C. Swan

Social media is changing again and it seems like a good time to give Shreds and Patches more love and attention.

My collaborator and special issue co-editor Michael Paul Jordan and I are very pleased to announce the publication of a new double-issue of Museum Anthropology Review titled Studies in Museum Ethnography in Honor of Daniel C. Swan

Find the new collection in honor of Dan in Museum Anthropology Review online here: https://scholarworks.iu.edu/journals/index.php/mar/issue/view/2153 Thanks to all of the authors, production staff, publishers, peer-reviewers, and helpers who made this collection possible.

Daniel C. Swan pictured wearing glasses and holding a water bottle while standing in front of a large building and a plaza filled with many tourists. He wears a plaid button-down shirt in blue and white and he looks towards the camera while the other people in the scene face away from the camera as they move into the plaza and the building beyond. The sky is vivid blue with streaks of high white clouds. The tile roofs of the buildings behind the subject are orange.
The above image appears in the introduction to the special collection “Studies in Museum Ethnography in Honor of Daniel C. Swan” with the following camption. “In the days following the Seventh Forum on China-US Folklore and Intangible Cultural Heritage and on the eve of the global COVID pandemic, Daniel C. Swan was one of 19.3 million reported visitors to the Forbidden City (a.k.a Palace Museum) in 2019. May 21, 2019. Photograph by Michael Paul Jordan.”

Jul 3

The Seventh Forum on China-US Folklore and Intangible Cultural Heritage: Collaborative Work in Museum Folklore and Heritage Studies

The following is a report on The Seventh Forum on China-US Folklore and Intangible Cultural Heritage: Collaborative Work in Museum Folklore and Heritage Studies (第七届中美民俗学与非物质文化遗产论坛: 博物馆民俗与遗产研究的协作工作). The version of record appears on the website of the American Folklore Society. This version adds more images. You can find a copy of the conference program here. –Jason Baird Jackson (杰森. 拜尔德. 杰克逊)

During three beautiful spring days in Beijing, a group of Chinese and American scholars and cultural workers gathered to discuss practices of collaboration in folklore studies and intangible cultural heritage work, with a focus on collaborations between ethnographic museums and between such museums and other groups in society. Held on May 19-22, 2019, this was the Seventh Forum on China-US Folklore and Intangible Cultural Heritage, one of a long-running series of conferences organized cooperatively by the China Folklore Society (CFS) and the American Folklore Society (AFS), as part of a broader binational collaboration begun in 2007. These forums have explored various aspects of cultural heritage policy, practice, and theory, giving US and Chinese participants an opportunity to learn about the state of the field as pursued in the national context that is not their own (Lloyd 2017).

This Seventh Forum, focusing on Collaborative Work in Museum Folklore and Heritage Studies, was held at the Indiana University China Gateway office in Beijing. Meeting under the auspices of the CFS and the AFS, the conference’s program was organized by the Mathers Museum of World Cultures and the Anthropology Museum of Guangxi (Guangxi Museum of Nationalities), with extensive logistical and practical support provided by the two societies and the gateway office staff. Generous financial support was provided by the Henry Luce Foundation and the Office of the Vice President for International Affairs at Indiana University.

Delegates to the forum came from a diversity of American and Chinese museums and universities. Chinese institutions represented included the Chinese Academy of Social Sciences, Sun Yat-sen University, the Anthropology Museum of Guangxi, the Nandan Baiku Yao Ecomuseum, Beijing Normal University, the Sanjiang Dong Ecomuseum, East China Normal University, Fudan University, the Guizhou Nationalities Museum, Minzu University of China, Shandong University, and the Yunnan Nationalities Museum. American institutions represented included the Michigan State University Museum, the Museum of International Folk Art, Texas Tech University, the Mathers Museum of World Cultures (Indiana University), History Miami, the Sam Noble Oklahoma Museum of Natural History (University of Oklahoma), and the American Folklore Society (Figure 1).

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Figure 1. Delegates to the Seventh Forum on China-US Folklore and Intangible Cultural Heritage held at the Indiana University Gateway Office in Beijing, May 19, 2019. Shu Caiqian (Guizhou Nationalities Museum), Zhang Yibing (Guizhou Nationalities Museum, Zhu Gang (Chinese Academy of Social Sciences), Li Mingjie (East China Normal University), Wang Wei (Shandong University), Jessica Anderson Turner (American Folklore Society), An Deming (Chinese Academy of Social Sciences), Luo Wenhong (Fudan University), Marsha MacDowell (Michigan State University Museum), Surna (Minzu University of China), Kristin Otto (Mathers Museum of World Cultures), Felicia Katz-Harris (Museum of International Folk Art), Sarah Hatcher (Mathers Museum of World Cultures), Yang Lihui (Beijing Normal University), Lu Chaoming (Nandan Baiku Yao Ecomuseum), Jason Baird Jackson (Mathers Museum of World Cultures), Chen Xi (Sun Yet-sen University), Carrie Hertz (Museum of International Folk Art), Chao Gejin (Chinese Academy of Social Sciences), Wuerxiya (Mathers Museum of World Cultures), Fan Miaomiao (Anthropology Museum of Guangxi), C. Kurt Dewhurst (Michigan State University Museum), Yang Quanzhong (Sanjang Dong Ecomuseum), He Chun (Nandan Baiku Yao Ecomuseum), Michael Paul Jordan (Texas Tech University), Wu Dawei (Sanjang Dong Ecomuseum), Ou Bo (Anthropology Museum of Guangxi), Michael Knoll (History Miami), Lan Yuanyuan (Sanjang Dong Ecomuseum), Gong Shiyang (Anthropology Museum of Guangxi), Jon Kay (Mathers Museum of World Cultures), Luo Yong (Nandan Baiku Yao Ecomuseum), Mai Xi (Anthropology Museum of Guangxi), Zhao Fei (Yunnan Nationalities Museum), Wang Yucheng (Anthropology Museum of Guangxi).

On the afternoon of May 19, the conference began with warm words of welcome from AFS Executive Director Jessica Turner and CFS Past President Chao Gajin (Chinese Academy of Social Sciences), standing in for current CFS President Ye Tao (Chinese Academy of Social Sciences) who was unable to attend (Figure 2). Also offering brief opening remarks on behalf of the program committee were Jason Baird Jackson (Mathers Museum of World Cultures) and Gong Shiyang (Anthropology Museum of Guangxi) (Figure 3). These remarks preceded the forum’s keynote address by C. Kurt Dewhurst (Michigan State University Museum). Extending an earlier discussion of principles for museum collaboration (Dewhurt and MacDowell 2015), Dewhurt reflected on a range of museum collaborations in which he and the MSU Museum have participated. Among the collaborations that Dewhurst addressed were earlier phases of the AFS-CFS partnership, which has included two museum sub-projects (2013-2016; 2017-2019). The first of these encompassed the Fifth and Sixth forum events, the traveling exhibition and bilingual catalogue Quilts of Southwest China (MacDowell and Zhang 2015), and numerous other elements (Lloyd 2017). In this phase, three Chinese museums and three US museums partnered together (Dewhurst and Lloyd 2019). In the more recent phase, collaborators from the three U.S. museums have joined with the Anthropology Museum of Guangxi for a program of joint research focused on textiles and intangible cultural heritage policy in two northern counties of the Guangxi Zhuang Autonomous Region. Central to this new phase of work are the Nandan Baiku Yao Ecomuseum and the Sanjiang Dong Ecomuseum. Thus, while Dewhurst’s keynote was a general reflection on museum collaboration, his presentation also served to orient conferees to the specific joint AFS-CFS supported projects that gave the forum its organizational context.

The keynote address was followed by a panel discussion in which representatives from the Sanjiang Dong Ecomuseum and Nandan Baiku Yao Ecomuseum described their work and the community and organizational collaborations in which they participate (Figure 4). American participants appreciated this opportunity to learn about the innovative work of these ecomuseums first-hand and drew comparisons to various kind of community-based museums in the US. While Chinese delegates were more knowledgeable about the form that ecomuseums take in China, they also appreciated the chance to engage with the ecomuseum leaders directly in a comparative scholarly context.

It was an honor that many Beijing-based leaders in the CFS and in Chinese folklore studies overall could attend these opening events, which also included a welcoming banquet generously hosted by the CFS. This gathering was enlivened further when the leaders of the Sanjiang Dong Ecomuseum introduced both Dong flute music and toasting songs to the group. For many American delegates, this was a memorable first experience with the richness of Chinese banquet customs and the beauty of Dong music (Figure 5).

The second day of the conference was a full day featuring presentations from Chinese and American delegates. In line with the goals of the forum, the presenters described specific museum collaboration projects, using them as the basis for broader reflections on the work of museum ethnography and heritage studies today. Translation for most conference presentations was very ably done by Chen Xi (Sun Yat-sen University) and Luo Wenhong (Fudan University) (Figure 6). A number of themes emerged through the juxtaposition of presentations throughout the conference. These included: (1) the nature of museum-based ethnographic and exhibition projects in urban contexts, (2) the dynamics unique to heritage-oriented fieldwork pursued across differences of language, culture, and institutional context, (3) the place of objects and material culture studies within museum collaborations, (4) the use of exhibitions as catalysts for broader collaborations and relationship building, (5) the value of older museum collections for contemporary communities and craftspeople, (6) the place of documentary video in museum ethnography, and (7) the special importance that attaches to national folk costume in diverse museum and local cultural contexts in the current era (Figure 7).

The conference’s third day featured a morning of additional presentations followed by a special outing in which conferees visited Beijing’s Shichahai historic area to learn about cultural preservation and heritage tourism activities centered there (Figures 8-9). Participants enjoyed a hutong tour and a visit to the Drum Towner of Beijing (Gulou). While she could not attend the forum, this outing was curated by Zhang Lijun (George Mason University) and drew upon her folklore research interpreting the narrative performances of hutong tour guides (Zhang 2016, 2019). The conference concluded with a banquet, hosted by AFS and featuring Yunnan cuisine. Highpoints of this concluding gathering were many individual expressions of friendship and goodwill as well as a vigorous singing competition staged between the binational groups gathered around two large banquet tables. Heartfelt singing in Dong, Yao, Mandarin, Mongolian and English brought the seventh forum to a joyful close.

References Cited

Dewhurst, C. Kurt, and Timothy Lloyd. 2019. “The American Folklore Society-China Folklore Society Folklore and Intangible Cultural Heritage Project, 2013-2016.” Museum Anthropology Review 13 (1): 59-68. https://doi.org/10.14434/mar.v13i1.25405

Dewhurst, C. Kurt, and Marsha MacDowell. 2015. “Strategies for Creating and Sustaining Museum-Based International Collaborative Partnerships.” Practicing Anthropology 37 (3): 54–55. https://doi.org/10.17730/0888-4552-37.3.54

Lloyd, Tim. 2017 “The Inside Story of the AFS China-US Project.” https://www.afsnet.org/news/349609/The-Inside-Story-of-the-AFS-China-US-Project.htm, accessed June 12, 2019.

MacDowell, Marsha, and Lijun Zhang, eds. 2016. 中国西南拼布 | Quilts of Southwest China. Nanning: Guangxi Museum of Nationalities. [Distributed in the United States by Indiana University Press.]

Zhang, Lijun. 2016. “Performing Locality and Identity: Rickshaw Driver, Narratives, and Tourism.” Cambridge Journal of China Studies 11 (1): 88-104. https://www.repository.cam.ac.uk/handle/1810/260292

Zhang, Lijun. 2019. “A Brief Guide to Shichahai.” Video Presentation Prepared for The Seventh Forum on China-US Folklore and Intangible Cultural Heritage: Collaborative Work in Museum Folklore and Heritage Studies, Beijing, China.

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Figure 2. Figure 2. Chao Gajin welcomes delegates to the Seventh Forum on China-US Folklore and Intangible Cultural Heritage: Collaborative Work in Museum Folklore and Heritage Studies. May 19, 2019. Photograph by Jon Kay.

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Figure 3. Figure 3. Gong Shiyang addresses delegates to the Seventh Forum on China-US Folklore and Intangible Cultural Heritage. May 19, 2019. Photograph by Jon Kay.

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Figure 4. Wu Dawei offers remarks on the work of the Sanjang Dong Ecomuseum during the ecomuseum panel discussion. Left to Right: Lu Chaoming, He Chun, Lan Yuanyuan, Yang Quanzhong, Wu Dawei, Luo Wenhong (translating), Jason Baird Jackson. May 19, 2019. Photograph by Jon Kay.

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Figure 5. Wu Dawei performs Dong flute music at the opening banquet. May 19, 2019. Photograph by C. Kurt Dewhurst.

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Figure 6. Zhang Yibing discusses the work of the Guizhou Nationalities Museum with Luo Wenhong providing English translation.. May 20, 2019. Photograph by Jon Kay.

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Figure 7. Carrie Hertz discusses research related to the exhibition Dressing with Purpose. May 20, 2019. Photograph by Jon Kay.

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Figure 8. Surna discusses her research on Mongol national dress. May 21, 2019. Photograph by Jon Kay.

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Figure 9. Lan Yuanyuan and He Chun begin a rickshaw tour of the Shichahai neighborhood in Beijing. May 21, 2019. Photography by Jason Baird Jackson.

Mar 17

Fieldwork: Highlights from the Textile Group

This post in the recent series on December 2017 research and travel in Guangxi, China was written by Carrie Hertz, who also provided the photographs.

In this post, I complement Jason’s series of field reports (1, 2, 3, 4, 5, 6, 7, 8, 9) on our December 2017 trip to China with some highlights from the research team focused on Baiku (White Trouser) Yao textiles.

The textiles most visible in daily life are traditional baby carriers and women’s dress. December 15, 2017.

Textile making traditions are extraordinarily strong in Huaili village. In most households you can find a floor loom, an indigo dye pot, and a cache of tiny silkworm eggs. Because of the damp climate, most families hang their laundry out to dry. Strung out like banners across rooftops, balconies, pathways, and side yards, the clotheslines offer a visual inventory of typical wardrobes.

Daily dress combines traditionally made and mass-produced garments. Most women have several sets of indigo-dyed skirts, aprons, jackets, and tunics in regular rotation, the finest serving as festival dress when new, and as daily wear when faded. With age, the natural red dyes of embroidered skirt hems bleed, creating a beautiful ombre effect, and the appliqued silk felt disintegrates, taking on a feathery appearance.

A beautifully aged skirt hung out to dry. December 17, 2017.

Each garment represents countless hours of skilled labor, spread out throughout the year. Winter, while fields lie untended, is a busy time for textile production. Throughout the village, small groups of women huddle around fires on their front stoops, busy with embroidery or winding spools of cotton.

Lu Xiao Mei works on her embroidery while visiting with Li Xiu Ying and Wang Lian Mei holding her baby. December 15, 2017.

Winter is also a good time for warping looms. Women help each other, taking over the village courtyard. It takes the better part of a day to set up warp poles and wind the approximately 80 meters of thread in a spiral pattern around them.

The tree sap used to draw intricate resist patterns on clothing is harvested in winter. The bark is scarred and glistening where people have gouged it with their knife blades.

December 14, 2017.

We had the great fortune to spend two days with a recognized master textile artist, He Jinxiu. She is considered the most skilled and knowledgeable needleworker in Huaili village and teaches embroidery and resist dyeing to all of the girls attending the local primary school. At her home, she brought out stacks of textiles that she was currently working on as part of a yearly cycle of production. Together we inventoried these materials, along with the tools, techniques, and terminology important to their creation. We diagrammed garment patterns. We filled notebooks with the local names for various motifs and their significance.

The home production of textiles is supplemented with supplies and finished goods purchased in the Lihu Town market. Alongside the many stalls stuffed with factory clothes and accessories, vendors sell silk embroidery thread, stylus for batik, and bolts of undecorated, hand woven cloth. A large area is devoted to selling indigo. One half kilogram costs about 6 RMB. In addition to being an important venue for textile sellers and makers, market days are for dressing up, for looking and being seen.

 

We also had opportunity to interview Li Xiu Ying, the primary textile producer in her family. For most of her life, her mother made her clothes, but now she makes clothes for her mother, using the skills her mother imparted.

Li Xiu Ying wears a handmade needle case hanging from her belt. Her nail beds are ringed with blue from indigo dye. December 15, 2017.

With Mrs. Li, the textile team examined a traditional burial cloth, part of the ecomuseum’s permanent collection. Every household hopes to always have a few of these on hand. When villagers die, the cloth is laid over the body and a series of smaller cloths, thirteen layers for men and fourteen for women, cover the face.

A woman’s burial face cloth made by He Jinxiu is now in the collections of the Museum of International Folk Art.

 

He Jinxiu holding up a woman’s burial face cloth that she made, now in the collections of the Museum of International Folk Art. December 17, 2017.

The textile research team feels incredibly grateful to those who shared their time and knowledge with us. These brief highlights merely touch upon what we learned and experienced during our visit.

Carrie Hertz is Curator of Textiles and Dress at the Museum of International Folk Art and a participant in the China-US Folklore and Intangible Cultural Heritage Project.

Jan 27

Fieldwork: Introduction (12/13-18)

Skip ahead six paragraphs (bypass those marked with an hash mark #) if you want to go straight to the start of the fieldwork stories. If you would like to know why my colleagues and I were in China doing fieldwork, start here at the beginning. (After this post, I will do one or two more with some fieldwork highlights.)

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Manjiang village, a community within the Nandan Baiku Yao Ecomuseum. December 14, 2017. Photograph by Jason Baird Jackson.

# The China-US Folklore and Intangible Cultural Heritage Project is a binational collaboration linking the China Folklore Society and the American Folklore Society. It has been underway formally since 2007 and has included multiple project phases and, in these phases, various sub-projects. A wide range of funders have supported the project and its work and a great number of Chinese and American scholars and practitioners have participated in its activities. Among U.S. participants, special attention is often given to the Henry Luce Foundation, which has been particularly generous in supporting several phases of the project (Lloyd 2017).

# Two sub-projects occurring in two different phases of the project have a specific museum focus. Between 2013 and 2016, a sub-project titled “Intangible Cultural Heritage and Ethnographic Museum Practice” brought together six museums of ethnography—three from the United States and three from Southwest China. These museum partners organized two “Forum on China-US Folklore and Intangible Cultural Heritage” events, pursued professional exchanges of staff members, traveled together to visit local communities in the home regions of each museum, and undertook a joint exhibition and catalogue project. The resulting exhibition—Quilts of Southwest China has been touring the United States. The bilingual catalogue is distributed in the United States by Indiana University Press. These are just the formal highlights of the project. A wide range of spin-off projects and collaborative relationships also arose from this joint work (Dewhurst 2017; Du 2017; Indiana University 2013; Lloyd 2017; MacDowell 2017; MacDowell and Zhang 2016; Zhang 2017).

# A new phase of the larger project began in 2017 and it also includes a museum-focused sub-project. The new project builds on relationships and experiences arising in the preceding effort. Between 2017 and 2019, the “Collaborative Work in Museum Folklore and Heritage Studies” sub-project is bringing together researchers from the three U.S. museums (Mathers Museum of World Cultures, Michigan State University Museum, Museum of International Folk Art) with colleagues affiliated with the Anthropological Museum of Guangxi (AMGX), as well as that museum’s partners in two local ecomuseums: the Nandan Baiku (White Trousers) Yao Ecomuseum and the Sanjiang Dong Ecomuseum.

# The workshop (discussed in posts 6 and 7) was another formal part of the project, but the most crucial activity is ethnographic fieldwork in two communities—those associated with the two ecomuseums in Nandan and Sanjiang counties in Northern Guangxi. The December 2017 trip was for the first of four fieldwork efforts. On this trip, our local hosts and partners were the staff at the Nandan Baiku Yao Ecomuseum.

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A pet bird in a basketry cage in Huaili village. December 14, 2017. Photograph by Jason Baird Jackson.

# In a Chinese context, an ecomuseum is a local museum framework that encompasses a community or group of communities, often associated with a single ethnic group or “nationality.” In Nandan County, the Nandan Baiku Yao Ecomuseum is embraces three contiguous villages near the town of Lihu. These three villages are situated within a wider area where “White Trouser Yao” people reside. White Trouser Yao is a designation for a particular group of Yao people distinguished by the white knicker-style pants worn as part of local men’s dress. Ecomuseums are somewhat hard to explain in a North American context because they are not limited to a fixed museum building (although they often include gallery spaces and other buildings used for museum functions). In formal terms at least, an ecomuseum is a way of characterizing an entire community or group of communities. The ecomuseum framework then becomes a organizational strategy for cultural heritage activities, including documentary work, cultural preservation activities, and perhaps also cultural tourism. The closest analog in the U.S. would be the situation found in some Native American communities where a “tribal museum” may have a museum building but may also facilitate a range of cultural preservation activities throughout the community. Wikipedia characterizes ecomuseums as follows:

An ecomuseum is a museum focused on the identity of a place, largely based on local participation and aiming to enhance the welfare and development of local communities. Ecomuseums originated in France, the concept being developed by Georges Henri Rivière and Hugues de Varine, who coined the term ‘ecomusée’ in 1971.[1] The term “éco” is a shortened form for “écologie”, but it refers especially to a new idea of holistic interpretation of cultural heritage, in opposition to the focus on specific items and objects, performed by traditional museums.

The nature and potential of ecomuseums is a key research concern of our partners at the Anthropological Museum of Guangxi (more on that later).

In a few final post or two, I will offer some highlights of our fieldwork experience. Here I explain our topic and circumstances.

While in Nandan County, the project participants stayed in rooms connected to the offices of the Nandan Baiku Yao Ecomuseum. This offered our group the opportunity to reside in the village cluster where the museum is centered without necessitating staying spread among various host families. The simple guest rooms at the museum were created with this sort of visiting research use in mind. The arrangement meant that visitors and locals could interact meaningfully from early in the morning to late in the evening without being a burden to local families nor introducing the disruption and social separation that would have accompanied staying in a hotel distant from the communities at the center of the research. He Jinxiu, a Baiku Yao woman who is active in the work of the museum, a civic leader in the community, and a noted textile artist, was engaged to cook for the visitors with the help of a younger woman in her family and another younger woman Li Xiuying who is also a noted local textile artist. This arrangement was very appropriate to local norms and was generously arranged for by the local museum staff and supported by the AMGX. I know that the other American participants join me in expressing deep appreciation for the generous hospitality extended to us by all of our partners in the project and by the members of the contiguous villages of Huatu, Manjiang, and Huaili in which the ethnographic investigations were undertaken.

Over the course of the research visit, the participants broke into three teams. Two of these teams focused on the nexus of textile arts and cultural heritage practices that are at the center of the project. These two research teams were made up of researchers from the American museums, from the AMGX, and from the Baiku Yao ecomuseum. Work by these teams was pursued in a mixture of English, provincial Mandarin, and the local Baiku Yao language.

One of these two teams focused on fabric arts; the other focused on bamboo basketry and the related practice of incorporating woven bamboo into architectural structures such as wall screens, fences, and basketry-walled granaries. The fabric arts group documented weaving practices, indigo dying, embroidery, the making and use of clothing, and silk production. The basketry group was able to document the making of an elaborate basket from start to finish (in photographs, video, notes, interviews), inventory baskets found in two households, and document over fifty basketry types in active use. This group also interviewed a basket trader, recording the full range of types in his inventory with names, prices, uses, and other data.

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Bamboo harvested and stored for use in basket making at the home of Li Guicai in Huaili village. December 14, 2017. Photograph by Jason Baird Jackson.

The third project team, comprised of members of the AMGX staff with assistance from the Baiku Yao ecomuseum staff focused on documenting the work of the project as a whole, with the goal of being in a position to produce articles and documentary video chronicling the work of the international partnership. The three American museums also each made collections during the course of this work.

Much was learned and many questions for future research have been identified. The research concluded with travel to Nanning and, for the Americans, home to the US beginning on the 18th. In final post(s) I will share a richer glimpse of Baiku Yao cultural life and the people whom we we met.

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Jon Kay (R) and Li Guicai (L) at Mr. Li’s home in Huaili village. December 14, 2017. Photograph by Jason Baird Jackson.

References Cited

Dewhurst, C. Kurt. 2017. “Building Connectivity: China-US Folklife Collaborations.” In Metafolklore: Stories of Sino-US Folkloristic Communication, edited by Juwen Zhang and Junhua Song, 189-98. Guangzhou: Sun Yat-sen University Press.

Du, Yunhong. 2017. “Ten Years: China-US Museum Collaborations in Retrospect.” In Metafolklore: Stories of Sino-US Folkloristic Communication, edited by Juwen Zhang and Junhua Song, 214-18. Guangzhou: Sun Yat-sen University Press.

Indiana University. 2013. “IU’s Mathers Museum One of Three U.S. Institutions to Collaborate with Chinese Museums.” Accessed January 16. 2018. http://archive.news.indiana.edu/releases/iu/2013/11/mathers-museum-collaboration.shtml

Lloyd, Tim. 2017. “The Inside Story of the AFS China-US Project.” AFS News. June 12, 2017. http://www.afsnet.org/news/349609/The-Inside-Story-of-the-AFS-China-US-Project.htm

MacDowell, Marsha. 2017. “Reflections on Collaborations: The Quilts of Southwest China Project.” In Metafolklore: Stories of Sino-US Folkloristic Communication, edited by Juwen Zhang and Junhua Song, 199-207. Guangzhou: Sun Yat-sen University Press.

——— and Lijun Zhang, eds.The Quilts of Southwest China. Nanning: Guangxi Museum of Nationalities and Bloomington: Indiana University Press.

Xie, Mohua. 2017. “My Two Stories.” In Metafolklore: Stories of Sino-US Folkloristic Communication, edited by Juwen Zhang and Junhua Song, 208-13. Guangzhou: Sun Yat-sen University Press.

Zhang, Lijun. 2017. “My Involvement in the Museum Exchange Projects.” In Metafolklore: Stories of Sino-US Folkloristic Communication, edited by Juwen Zhang and Junhua Song, 221-27. Guangzhou: Sun Yat-sen University Press.

Oct 2

Framing Sukkot: Tradition and Transformation in Jewish Vernacular Architecture

Just in time for the holiday that is at its center, I am happy to trumpet the publication of Framing Sukkot: Tradition and Transformation in Jewish Vernacular Architecture by Gabrielle Berlinger. Framing Sukkot is the third title in the Material Vernaculars series and it is appearing in the world just as the Jewish holiday of Sukkot is about to begin for 2017/5778!

Here is how Indiana University Press introduces Professor Berlinger’s new book:

The sukkah, the symbolic ritual home built during the annual Jewish holiday of Sukkot, commemorates the temporary structures that sheltered the Israelites as they journeyed across the desert after the exodus from Egypt. Despite the simple Biblical prescription for its design, the remarkable variety of creative expression in the construction, decoration, and use of the sukkah, in both times of peace and national upheaval, reveals the cultural traditions, political convictions, philosophical ideals, and individual aspirations that the sukkah communicates for its builders and users today.

In this ethnography of contemporary Sukkot observance, Gabrielle Anna Berlinger examines the powerful role of ritual and vernacular architecture in the formation of self and society in three sharply contrasting Jewish communities: Bloomington, Indiana; South Tel Aviv, Israel; and Brooklyn, New York. Through vivid description and in-depth interviews, she demonstrates how constructing and decorating sukkah and performing the weeklong holiday’s rituals of hospitality provide unique circumstances for creative expression, social interaction, and political struggle. Through an exploration of the intersections between the rituals of Sukkot and contemporary issues, such as the global Occupy movement, Berlinger finds that the sukkah becomes a tangible expression of the need for housing and economic justice, as well as a symbol of the longing for home.

As I noted in discussing the edited collection Material Vernaculars: Objects, Images, and Their Social Worlds last fall, it is my hope that many readers will purchase a beautiful paper or hardback edition of Framing Sukkot, thereby helping support the work of a great university press. One of the things that makes IU Press great is its commitment to building strategies for free and open access to scholarly writings. The Material Vernaculars series, co-published with the Mathers Museum of World Cultures, is part of that commitment. So, first let me note that you can buy copies of the book from a range of online booksellers, including Amazon and the IU Press itself. Secondly, let me show you where the free digital edition of the book lives. Hopefully by the time Sukkot ends, people around the world will be reading this great new book.

To access the free PDF version, click on the image below or go to this URL https://scholarworks.iu.edu/dspace/handle/2022/21232

Once you are there, click on the “View/Open” link as shown in the image. Clicking should enable you to download a copy of the book.

Dr. Berlinger is an Assistant Professor of American Studies and Folklore at the University of North Carolina at Chapel Hill, where she is also the Babette S. and Bernard J. Tanenbaum Fellow in Jewish History and Culture within the Carolina Center for Jewish Studies. In addition to the new book, you can find a moving Sukkot-oriented post by Dr. Berlinger on the IU Press blog.

Check out Framing Sukkot!

Jul 29

On the Getty Thesaurus of Geographic Names; AFS Ethnographic Thesaurus

While some have a deep history (library classifications, for instance), controlled vocabularies of diverse sorts are relatively new and some play an increasingly important role in a range of domains relevant to my work. One vocabulary that I am especially appreciative of in the context of present work is the Getty Thesaurus of Geographic Names (TGN). In the preceding phase (2013-2016) of the joint project linking the China Folklore Society and American Folklore Society, the American participants in the museum-based sub-project visited a large number of rural communities in Southwest China. (We also hosted our Chinese colleagues in community visits in the United States.)

If one is visiting (being taken to) a lot of places quickly and one does not speak or read the local or national languages, it is easy to become unsure where you are and what communities you are visiting (or have visited). Sorting through this afterwards can be an added challenge if, after the fact, one realizes (as in rural China), there can be as many as ten or twenty villages or towns with the same name in the same province (hence the custom in Chinese contexts of referring to towns and their counties and/or in relationship to the administrative center of which it is a part). The Getty TGN helps by providing a unique identifier (a number) for places all around the world. Here is an example.

Shuanglang, a large village (now a town, really) on Erhai Lake, near Dali in Yunnan province is one of (at least) three Chinese places called Shuanglang appearing in the TGN. The other two are in Guangxi. It is 8471685. In addition to its ID number, the TGN provides latitude and longitude coordinates for it, the name in Chinese characters, its status in a place hierarchy from, the sources used and other useful information. The coordinates can be plugged into Google Maps and used in other ways.

The ID number can be used to tag or code images, such as the following photograph (Figure 1) taken when our group visited Shuanglang in December 2013 on a trip led by our hosts at the Yunnan Nationalities Museum.

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(Figure 1: 8471685 [i.e. Shuanglang] has become popular with urban Chinese tourists. Local restaurants compete for their business by showing off their freshest produce on the sidewalk in front of the restaurant proper. Potential patrons can ask proprietors about ingredients and the dishes that might be fashioned from them. )

In Shuanglang, I purchased some Chinese baskets for the first time for the collections of the Mathers Museum of World Cultures. The Getty TGN ID can be added to the catalogue records for these baskets as a way of conveying the location from which they were obtained with precision (Figure 2).

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(Figure 2: These baskets were collected in 8471685 [i.e. Shuanglang]. The baskets on the left are now in the collection of the Mathers Museum of World Cultures. The pack basket and bassinet on the right were collected by a fellow project participant.)

Improving the accuracy of important records and enhancing their discoverability—in this case, tagging photographs and strengthening museum catalogue records are two of the kinds of uses that vocabularies such as the TGN are designed to facilitate. I appreciate the work that the Getty Institute invests in building, maintaining, and improving the TGN on behalf of the cultural heritage community.

Speaking of controlled vocabularies, close readers of Museum Anthropology Review may have noticed that several years ago we began working with authors of full articles to associate relevant terms from the American Folklore Society Ethnographic Thesaurus (AFS ET). As noted on its website, “the AFS Ethnographic Thesaurus is a vocabulary that can be used to improve access to information about folklore, ethnomusicology, ethnology, and related fields. The American Folklore Society developed the AFS ET in cooperation with the American Folklife Center of the Library of Congress and supported by a generous grant from the Scholarly Communications Program of the Andrew W. Mellon Foundation.” The AFS ET is accessible from the Linked Data Service at the Library of Congress: http://id.loc.gov/vocabulary/ethnographicTerms.html

Having linked my two example photographs to their TGN ID, I should go ahead an close with some AFS ET terms.

Figure 1 can have: restaurants; marketing; vegetables
Figure 2 can have: baskets; collection acquisitions (collection development); bamboo textiles

Jan 24

CFP: Museum Anthropology Futures

On behalf of the Council for Museum Anthropology, I am happy to pass along the call for proposals for the Museum Anthropology Futures conference in Montreal this May. Find details below. (Quoted material follows, contact the organizers with questions or concerns.)

Call for Session Proposals: “Museum Anthropology Futures” Conference (due March 1)
Council for Museum Anthropology Inaugural Conference

May 25-27, 2017 at Concordia University, Montreal, Quebec, Canada

The Council for Museum Anthropology is seeking submissions for its inaugural conference taking place in Montreal from May 25-27, 2017. This will not be your traditional conference experience! “Museum Anthropology Futures” seeks to spark critical reflection and discussion on (1) the state of museum anthropology as an academic discipline; (2) innovative methods for the use of collections; (3) exhibition experiments that engage with anthropological research; and (4) museums as significant sites for grappling with pressing social concerns such as immigration, inequality, racism, colonial legacies, heritage preservation, cultural identities, representation, and creativity as productive responses to these.

The conference will have several sessions each day that all participants will attend, as well as one period each day with breakout sessions like workshops and formats that would benefit from a more intimate setting for dialogue and collaboration.
We are seeking session proposals that are different than the usual call for papers – see session descriptions below. Feel free to email us with questions at museumfutures2017@gmail.com.

Updates available at our Facebook page, https://www.facebook.com/MuseumFutures/

Email your session proposal to museumfutures2017@gmail.com by March 1, 2017

Please provide the following information in your email text, no attachment:

1) Your name, title, home institution (if applicable), and email address
2) Your proposed session format (see below)
3) The title of your session
4) Additional session participants if a group submission (title and email address)
5) A description of your session (max 150 words) Specific requirements for each format below.
6) What you hope to achieve in presenting/participating in this session (1-3 sentences)
7) What you believe this session can contribute to museum futures (1-3 sentences)
***Please note: Some Workshops and Pre-circulated Paper sessions will be by registration only due to limited capacity. All other sessions are open to all conference participants. For example, Roundtable or PechaKucha sessions will have several presenters who discuss their work, and the audience attending the session is invited to listen and ask questions or give feedback.***

SESSION FORMATS
Read more

Aug 30

Get Oriented to Themester 2016: Beauty

Reviewing the Mathers Museum of World Cultures events and exhibitions pages is probably the only way to get a full sense of all that we are doing for 2016 Themester, but for an overview of Themester as a whole and its focus on Beauty, I recommend checking out yesterday’s kickoff press release (Figure 1). In addition to the MMWC pages, it would also be great to see the Themester website. For MMWC, Themester boils down to three great classes [A400, E460, F360] taught at the museum, three great beauty-focused exhibitions [Costume, Hózhó, Siyazama], plus a lot of programming, including folk artists residencies throughout the semester, as well as films, lectures, and hands-on activities. Check out the full list here. Thanks go to the College of Arts and Sciences for including the museum in an impressive roster of Themester activities. Thanks too go to the students who are helping us organize our Themester activities and to the artists and tradition bearers whose work we are highlighting. Please join it this remarkable exploration of beauty around the world.

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Figure 1: The Themester 2016 press release, which leads off with a photography b MMWC Consulting Curator Pravina Shukla, from her exhibition Costume.

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