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Yes, it is surely a Oklahoma Cherokee basket; Or my captions, as written

Fellow basketry enthusiasts may have seen the traveling exhibition Rooted, Revived, and Reinvented: Basketry in America. Happily for our musuem the exhibition includes a Sea Island basket from the collections of the Mathers Museum of World Cultures. Finding its way into the world now is the exhibition’s catalogue. I saw it for the first time yesterday. Basketry people will certainly aspire to obtain a copy. It has fresh essays and beautifully printed color images. Do not let me note here discourage you if it is on your wish list. (I note in particular Jon Kay’s chapter on oak rod basketry from Brown County, Indiana which gets a lot of valuable information into print for the first time.)

The book has lots of merits, but, the production process was probably of the sort that is more common to commercial publishers and less common at university presses. I did not have a chance to review the page proofs for my chapter (“Native American Basketry from the Multicultural South: Craft, Labor, and Heritage”) and that usually has consequences. I do not propose to track the backstory on the text as a whole here, but I do want to share the text of my original image captions because they provide information that scholars and community basket makers will probably want and because in one case a significant error was introduced in the editing.

The error concerns Figure 8. The basket in this figure is a small buckbrush basket collected by William C. Sturteveant in Northeast Oklahoma. We do not know the maker for this basket, but it is certainly a basket made by a Cherokee person in the territory of the Cherokee Nation in present-day Oklahoma. In being simplified, my “Cherokee Nation” and “Eastern Oklahoma” was transformed into Eastern Band Cherokee, which is a misrepresentation.

Below is a picture of the basket in question along with the original text of my captions, which provide catalog numbers or temporary inventory numbers and collection details where available. The chapter in question is:

Jackson, Jason Baird. “Native American Basketry From the Multicultural South: Craft, Labor, and Heritage.” In Rooted, Revived, Reinvented: Basketry in America, edited by Kristin Schwain and Josephine M Stealey, 31–38. Atglen, PA: Schiffer, 2017.
A buckbrush basket from Eastern Oklahoma.

Figure 8, Basket, 20th Century, Unknown Craftsperson Cherokee Nation, Eastern Oklahoma, Buckbrush, National Museum of Natural History, WCS-528, William C. Sturtevant Collection

Figures

Figure 1
Double-woven Basket and Lid, ca. 1973
Rowena Bradley (1922-2003)
Eastern Band of Cherokee Indians
Qualla Boundary, North Carolina
River Cane
Mathers Museum of World Cultures 1973-19-0011

Figure 2
Single-woven Gathering Basket, ca. 1958
Unknown Craftsperson
Mississippi Band of Choctaw Indians
Philadelphia, Mississippi
River Cane
National Museum of Natural History WCS-580
William C. Sturtevant Collection Read more

Congratulations to the Denver Museum of Nature and Science on the Publication of Navajo Textiles Volume

Congratulations our colleagues at in the Department of Anthropology at the the Denver Museum of Nature and Science on the publication of the new volume Navajo Textiles: The Crane Collection at the Denver Museum of Nature and Science (Denver: Denver Museum of Nature and Science; Boulder: University Press of Colorado, 2017). It is a beautiful volume contextualizing a beautiful collection of Navajo textiles. Kudos especially to the contributing authors, photographers, and everyone else who brought the project to life.

IMG_5972

Paid Internships for IU Students at the Mathers Museum of World Cultures

We have realized a big museum goal–establishing a paid internship program at MMWC. Please check out the announcement (below and here) and encourage bachelors and masters students to apply. (Application materials are on our website.)

ALLEN WHITEHILL CLOWES CHARITABLE FOUNDATION INTERNSHIP PROGRAM

The Allen Whitehill Clowes Charitable Foundation has awarded funding to support the establishment of a new internship program at the Mathers Museum of World Cultures, Indiana University Bloomington. This new program will be MMWC’s first offering of competitive, paid internship experiences, building on decades of practicum student programming, and significantly increasing the MMWC’s ability to cultivate dedicated museum professionals at the undergraduate and master’s level.

With a long-term goal of improving Indiana’s professional museum workforce, this program’s primary objective is to increase the quantity, quality, and accessibility of real-world professional development experiences available to IUB upper-level undergraduate and M.A. students seeking museum careers.

Beginning in Summer 2017 an inaugural class of interns will launch the program. Internship cohorts of three students per semester will participate in the program over a 1o-semester pilot (fall, spring, summer) through Summer 2020.

On-campus internships undertaken during fall and spring semesters will enable IUB students to gain valuable work experiences without interrupting their studies by relocating to distant locations or for Unrelated part-time work. The program will also advance a public service mission through the option of funding summer session work in off-campus museums as well. This option expands the range of professional opportunities available to museum-focused IUB students, while strengthening the work of these peer institutions.

The Allen Whitehill Clowes Charitable Foundation, Inc., a private foundation, was established by Allen W. Clowes. a leading philanthropist in Indianapolis. Indiana, who during his life made major contributions to various charitable organizations that promoted or preserved the fine arts, music, literature, education, science and history. Most of these organizations are located in Central Indiana.

The primary mission of the foundation is to support charitable organizations that promote or preserve the Arts and Humanities and to support charitable organizations that were supported by Mr. Clowes during his life or are similar to those supported by Mr. Clowes.

For information on applying for 2017 Summer and Fall internships, please see here.

Southern Foodways Alliance: 2017 Summer Oral History Workshop

An organization whose work I am enthusiastic about is the Southern Foodways Alliance. Here I share news of its next oral history workshop. I quote from the call for participants and end with a link to the webpage where more information can be found.

SFA’s 2017 oral history workshop will be held in Atlanta, Georgia. Geared toward those who are new or moderately new to oral history methods and fieldwork, participants will think critically and creatively about the dissemination of oral histories and the impact recorded narratives have on communities and audiences.

This summer’s workshop will study and document stories along Buford Highway, collaborating with We Love BuHi, a nonprofit community organization that catalyzes and supports an inclusive and sustainable Buford Highway through creative place-making collaborations.

Open to undergraduate and graduate students, professors, educators, and SFA members, participants will learn SFA-devised methods and approaches to oral history, audio recording skills and techniques, an intro to digital photography, and hear guest lecturers from documentarians and community organizations documenting Atlanta foodways. The week will culminate in the collection and processing of oral history interviews using foodways as a way to open the door to life stories and experiences.

We strongly encourage people of color to apply.

SFA documents stories of the diverse communities throughout the South, and we believe it to be equally important for oral historians to represent that diversity.

For dates, more information, pictures, and the broader SFA context, start online here: http://www.southernfoodways.org/scholarship/workshops-2/

Thank You @iupress for a Great Material Vernaculars Reception at #afsam16

A quick note to convey appreciation for the great staff of the Indiana University Press, especially the work of the press staff who attended the 2016 American Folklore Society meetings in Miami. It was clear that the press had a great meeting. They brought mountains of new books and were wiped out. They also announced a lot of forthcoming titles and clearly were talking to a lot of scholars about their work. One highlight for me was a tremendous reception sponsored by the press in celebration of the Material Vernaculars series that the press co-publishes with the Mathers Museum of World Cultures and that I edit. The reception attracted a huge crowd and the food and drinks that IU Press so kindly provided were first rate. Thanks to IU Press and to all who came to the reception. Thanks to all who purchased copies of the first two Material Vernaculars titles. Your endorsement is very encouraging.

The Free-to-Readers Edition of Material Vernaculars: Objects, Images, and Their Social Worlds

As I discussed in a previous post, works in the Material Vernaculars series are being made available in a free-to-readers PDF edition via IUScholarWorks. The eponymous edited collection Material Vernaculars: Objects, Images, and Their Social Worlds was posted today and you can find it here: http://hdl.handle.net/2022/20925

If you think that high quality open and/or free access editions of scholarly monographs are a good thing, and if you have the means to do so, I urge you to purchase copies of the companion print or ebook editions as a way of supporting the cause and subsidizing the access of others, including those who cannot otherwise afford to obtain the book. If you really want to make a difference, consider donating to the not-for-profit publishers and libraries behind such efforts. In our case, you can contribute to the Indiana University Press (co-publisher of the Material Vernaculars series with the Mathers Museum of World Cultures) here: http://www.iupress.indiana.edu/pages.php?CDpath=12

Here is a screen shot showing you where to click to download Material Vernaculars. The image should link to the page in IUScholarWorks where the book is found. (The link is given above as well.)

slide1Happy reading!

Who Cares About Craft as Traditional Knowledge?

This fall has been a particularly busy season for research-based programs at the Mathers Museum of World Cultures. An an outgrowth of our Indiana Folk Arts: 200 Years of Tradition and Innovation exhibition and our participation in classes and programs for Themester, we will have hosted, by semester’s end, a very large number craftspeople or groups of craftspeople representative of a broad swath of vernacular making in Indiana. Because of our Themester mandate to focus on questions of Beauty in our engagements with these artist-craftspeople, our discussions with them have always had an aesthetic component. We have asked, for instance, questions like: “What characteristics do you associate with a beautiful weaving [or chair, or drum, or pottery bowl, or…]?” or “When producing for the marketplace, how do you balance functional use and aesthetic impact?” Art and aesthetics are a crucial part of the human experience and of what makes cultures distinctive and meaningful.

But the objects that we curate and interpret, and the makers of things with whom we engage, are not only about art. Even while many have both aesthetic and functional purposes, many others of our museum’s objects are not reasonably framed as art and some of our interlocutors are talented, knowledgeable makers and users of things, without being artists. Our work is bigger than art, as important as art is. Aesthetic values are part of larger cultural systems and those larger wholes are our focus. Whether in China or in Indiana, our work is about local knowledge, including traditional cultural knowledge. A big part of our engagements with makers focuses on the knowledge that goes into making–craft expertise along with local environmental and contextual knowledge concerned with uses, meanings, significances.

A detailed story in last Saturday’s Independent by Amalia Illgner is a good evocation of the kinds of concern we (particularly Traditional Arts Indiana, led ably by my colleague Jon Kay) try to bring to our work with craft objects, craft knowledge, and craftspeople. (I appreciate Matthew Bradley for sharing it with me.) Read the story (“Raiders of the Lost Crafts”) here. (I note here that, despite the declensionist hook and playful title, the author is not so obsessed with authenticity discourses that she disregards fruitful rediscovery of older craft knowledge through the study of museum collections and documentary materials. The story is a rare and rather sophisticated treatment of its subject.)

raiders-of-the-lost-crafts

Who cares about craft as traditional knowledge? My colleagues and I do. We also like art and we also love seeing where contemporary craftspeople, including studio craft, DIY craft, and many others, are taking their passions–but documenting what people know and have long known is important and helping foster environments where those who have traditional cultural knowledge are supported and encouraged is key part of our mission. If you care about such things, you still have lots of chances to engage your interests at the museum this year. This week we will host a wonderful group of African American quilters and a talented maker of African drums. In following weeks, we offer chances to connect with Indiana limestone carvers, a hoop-net maker, a rosemaler, a pysanky artist, a Native American potter, a Zapotec weaver, and an Orthodox iconographer. Learning from such craftspeople is something we intend to keep doing as along as we can.

Really Really Getting Up to Speed for Tomorrow, Fall

This week the Mathers Museum of World Cultures has been part of a larger Indiana University effort to get the word out about an interlocking set of events and initiatives. As readers here will have noted, these include the campus’ first First Thursday Festival (happening tomorrow), the Siyazama exhibition opening at MMWC (happening tomorrow after the First Thursday Festival concludes), and the College of Arts + Sciences’ Themester, which focuses on Beauty and includes a raft of MMWC activities–both tomorrow and throughout the semester. Here I want to post one last time before our big day tomorrow. My purposes are two. To lay out specifically what MMWC activities are happening and to provide a round up of the various communications and news stories that have appeared in connection with these events. Getting the word out is normal, but when some events are new (as First Thursdays is) it pays to really get it out. Here is a round up of coverage and a chance to get the whole picture, so as to not miss out.

First the MMWC part:

Tomorrow at the museum we host four visiting artists for demonstrations (10:30 to 11:30) and a narrative stage hosted by Jon Kay (11:45-12:30). [This will be the first use of our brand new stage!) Here is how we explained this part:

The Beauty of Indiana Folk Arts: Visiting Folk Artists Series–Viki Graber (Basketmaking), John Bundy (Decoy Carving), John Bennett (Blacksmithing), and Greg Adams (Willow Furniture)

Thursday, September 1; 10:30 to 11:30 a.m. (Demonstrations), 11:45 a.m. to 12:30 p.m. (Narrative Stage)

Drop by and meet some of Indiana’s master folk artists while they make and create–Viki Graber (Basketmaking), John Bundy (Decoy Carving), John Bennett (Blacksmithing), and Greg Adams (Willow Furniture) will share their work and their art with you. The demonstrations and narrative stage will be free and open to the public, and are sponsored by Themester 2016: Beauty, an initiative of the IU College of Arts and Sciences.

Our artists guests have a break before they join the museum at First Thursdays for outdoor demonstrations and narrative stage presentations in the Culture Tent adjacent to Woodburn Hall. The Bicentennial Exhibition will be on display outdoors, providing engaging context.  Here is how we explained this:

First Thursdays–Indiana Folk Arts: 200 Years of Tradition and Innovation
Thursday, September 1, 5 to 7:30 p.m.

For more than 200 years Indiana has been home to a wide variety of folk arts. In celebration of the state’s Bicentennial, a special traveling exhibit has been developed by Traditional Arts Indiana, a program at IU’s Mathers Museum of World Cultures, with accompanying demonstrations by Indiana folk artists. Drop by and meet some of Indiana’s master folk artists while they make and create–Viki Graber (Basketmaking), John Bundy (Decoy Carving), John Bennett (Blacksmithing), and Greg Adams (Willow Furniture) will share their work and their art with you. Their presentations will be free and open to the public, and are sponsored by Themester 2016: Beauty, an initiative of the IU College of Arts and Sciences.

As First Thursdays concludes, we will open the Siyazama exhibition (as well as our two other Themester exhibitions–Costume: Beauty, Meaning, and Identity in Dress and Hózhó: Navajo Beauty, Navajo Weavings. Here is our overview of the opening event.

Mathers After Hours–Siyazama: Traditional Arts, Education, and AIDS in South Africa
Thursday, September 1; 7 to 9 p.m.

Join us for the opening of a special traveling exhibition–Siyazama: Traditional Arts, Education, and AIDS in South Africa–that explores how traditional arts, knowledge, and skills are used to address AIDS. The exhibition also showcases the Siyazama (Zulu for “we are trying”) Project, an arts education project based in KwaZulu-Natal, which uses traditional crafts to raise awareness about AIDS. The exhibition grew out of the South African National Cultural Heritage Project, a bi-national project led, in part, by Michigan State University Museum and MATRIX: Center for Humane Arts, Letters, and Social Sciences Online. The exhibition opening will be free and open to the public, and is sponsored by Themester 2016: Beauty, an initiative of the IU College of Arts and Sciences, and the IU School of Public Health-Bloomington.

I note that we also have a great performance and great food lined up for the opening! (see Figure 1 for a piece from Siyazama)

We hope to see you at all or some of this tomorrow. Now for the published stories and releases.

Sanya Ali wrote a nice piece for the Indiana Daily Student (“Mathers plans variety of programming for beginning of September“)

T. J. Jaeger wrote a nice article about First Thursdays, including its Mathers angles, for the Limestone Post. (“IU to Showcase Artists with Massive Monthly Festival“)

On the Art at IU blog, Karen Land posted a nice account of First Thursdays, including its Mathers parts, (“New First Thursdays festival puts the focus on IU’s arts and humanities, food and fun“)

In a message to IU students, staff, and faculty, Provost Lauren Robel invited the campus community to First Thursdays, including the Siyazama opening and other associated events. (“Inaugural First Thursdays Festival“)

First Thursday’s lead organizer, Ed Comentale, Associate Vice Provost for Arts and Humanities, authored a overview of First Thursdays for Inside IU Bloomington. (“First Thursdays Festival will showcase creativity on campus“)

There is a pay-walled story about First Thursdays in the Bloomington Herald-Times by Michael Reschke. Check it out if you have a subscription, just don’t feed the trolls. (“IU ‘First Thursday’ showcases art and humanities“).

In addition, there are press releases for Siyazama and Themester.

Hopefully that is enough information for everyone to really know what the deal is. I look forward to seeing you at our artists events, at First Thursdays, at the MMWC exhibition opening, and at all the great programs lined up for fall. Thanks to all who have worked to bring these events to fruition.

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Figure 1: “Let’s Work Together to Fight AIDS” cloth by Johanna Sebaya, Mapula embroidery project, Winterveldt, North West Province, South Africa, 2005. | Photo by Pearl Yee Wong, courtesy of the Michigan State University Museum

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.

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

Improving Access to Scholarship: Material Vernaculars as Milestone and Experiment

First the take away, then the story. While produced in very nice and reasonably priced hardback, paperback, and ebook editions, works in the new Material Vernaculars series are also being made available in free-to-the-reader PDF versions. This is a great thing and, if you agree with me about that, and can afford to do so, I really hope that you will purchase the edition of your choice, thereby signaling your support for making such works freely accessible to those who cannot afford to purchase them. If this seems strange to you, its a lot like community and public radio in the United States. Those who can support these services help make them accessible to those who cannot afford to make their own donations. We all gently nudge those who use them and could, but don’t, support them. (Called free riders.) Its not utopia, but its what we have and its better than the vast majority of people being locked out of non-commercial arts and education programming (and scholarly books). Now you can skip to the end for the link if you are in a rush.

Slide1

Those who know about my work know that I have been focused on promoting free and open access to scholarly work for a relatively long time. My advocacy efforts followed soon after I began work as a scholarly journal editor. At that time, I was drawn into a diverse range of problems, opportunities, and paradoxes that the transformation of scholarly communication was (and is still) engendering. Probably the best place to find the things that I have written on this theme is to look at the interview that I did with Ryan Anderson (published in Cultural Anthropology in 2014)

In 2015, my focus in this work shifted to books when I was a participant in a project funded by the Mellon Foundation. The results of that project were reported in: A Study of Direct Author Subvention for Publishing Humanities Books at Two Universities: A Report to the Andrew W. Mellon Foundation by Indiana University and University of Michigan.

Concurrent with such advocacy work, I have tried to build real-world projects that could advance scholarship while testing strategies for increasing public access to research. Now in its tenth year, Museum Anthropology Review (now the journal of the Mathers Museum of World Cultures) is the best example of this. On the book side, there is now the Material Vernaculars series co-published by the museum and the Indiana University Press. In my previous post, I highlighted the series first title—Folk Art and Aging: Life-Story Objects and their Makers by Jon Kay and the series’ scholarly mandate. Here I am flagging the series’ relationship to free and open access movements.

Books cost a lot of money to make. In a peer-reviewed article, based on our humanities book research studying publishing work of the Indiana University Press and University of Michigan Press, my colleagues report that the zero copy cost for a typical humanities book is about $27,000. Efforts to increase access to scholarship have to find ways to confront these costs from all sides—finding ways to lower prices but also new ways of funding the professional work that it takes to make a quality book.

For me, for the museum, and especially for the IU Press, the Material Vernaculars series is an experiment. If we get past talking about it and actually begin doing it, what can we learn that will, we hope, help us learn to do it more and better? This is part of what is at stake for IU Press and for the whole world of university press humanities book publishing. I am thrilled to be a part of a new series that has a secondary role (beyond its primarily scholarly one) of finding ways to make scholarly books more widely and openly accessible.

So paradoxically, if you believe (for example) that the communities about whom ethnographers write should have access to what they write, then I call on you, paradoxically, to purchase a copy of Folk Art and Aging and the other other books that are in the pipeline. Your purchase helps support the goals of the series and it demonstrates that paid-for print editions or e-book editions are not mutually exclusive of free-to-readers electronic editions. If it helps, think of the print edition as a thank you gift for your donation to this cause rather than as a commodity that you are purchasing in the marketplace. You can feel particularly good about it if you purchase it directly from the Indiana University Press, thereby cutting out one or more commercial intermediaries.

It (PDF) won’t always be the file format of choice, but for now the free editions of Material Vernaculars titles will be circulated in PDF form via the IUScholarWorks Repository. When people download the books from IUScholarWorks, there is a download count, which helps us learn how many people, over what time period, showed interest in the book(s). (So, send your friends to the link rather than passing around the PDF…)

If you are wondering how to download the book, see the picture above for the place to click.

Here is the link. Two actually. The first is durable but enigmatic. The second is more human readable, but potentially less permanent.

http://hdl.handle.net/2022/20906
https://scholarworks.iu.edu/dspace/handle/2022/20906

Happy reading.

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