1.
Red Wing, Minnesota
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Red Wing is a city in Goodhue County, Minnesota, United States, along the upper Mississippi River. The population was 16,459 at the 2010 census and it is the county seat of Goodhue County. Red Wing is home to the manufacturers of nationally known products, Red Wing Shoes, Riedell Ice and Roller Skates, the Cannon Valley Trail has its eastern terminus in Red Wing. Treasure Island Resort & Casino is operated by the nearby Prairie Island Indian Reservation, the National Trust for Historic Preservation placed Red Wing on its 2008 distinctive destinations list, which adds twelve communities annually nationwide. Red Wing was added for its architecture and enviable natural environment. Red Wing is connected to Wisconsin by Red Wing Bridge, it carries U. S. Route 63 over the Mississippi River and this city was named after the early 19th-century Dakota Sioux chief, Red Wing, or Hupahuduta. He was one of a succession of Mdewakanton Dakota chiefs whose name Red Wing came from their use of a dyed swans wing as their symbol of rank and he was an ally of British soldiers during the War of 1812. After a vision in which he saw the Americans driving out the British, french Canadians referred to him as LAile Rouge. Later he took the name Shakea, or The Man Who Paints Himself Red, during the lifetime of Hupahuduta, there were few European-American pioneers in his territory. Red Wing was known as a friend of the United States, keeping peace with the traders and settlers. The federal government established a Mdewakanton Sioux Indian reservation in 1889 along the Mississippi River to free up land for new settlers, the city of Red Wing developed around it. This reservation is known as the Prairie Island Indian Community, in the early 1850s, settlers from Mississippi River steamboats came to Red Wing to farm in Goodhue County. They encroached on territory of the Mdewakanton Sioux. The settlers cleared the land for wheat, the crop of which could pay the cost of the land. Before the railroads were constructed across the territory of Goodhue County, in 1873, Red Wing led the country in the amount of wheat sold by farmers. The warehouses in the port of Red Wing could store and export more than a million bushels of wheat, once the railroads connected southern Minnesota with Minneapolis and Saint Anthony, where the largest flour mills were built, the port at Red Wing lost prominence. The Aurora Ski Club in Red Wing, which was founded on February 8,1887, was one of the first ski clubs formed in North America, reflecting skills of Scandinavian immigrants in the area. Aurora club members introduced in the 1880s, what became known as “Red Wing Style” ski techniques, the term Red Wing style continued in use in the United States well into the twentieth century
2.
Ethnography
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Ethnography is the systematic study of people and cultures. It is designed to explore cultural phenomena where the researcher observes society from the point of view of the subject of the study, an ethnography is a means to represent graphically and in writing the culture of a group. The word can thus be said to have a double meaning, the resulting field study or a case report reflects the knowledge and the system of meanings in the lives of a cultural group. The typical ethnography is a study and so includes a brief history, and an analysis of the terrain, the climate. In all cases it should be reflexive, make a contribution toward the understanding of the social life of humans, have an aesthetic impact on the reader. An ethnography records all observed behavior and describes all symbol-meaning relations, the word ethnography is derived from the Greek ἔθνος, meaning a company, later a people, nation and -graphy meaning field of study. Ethnographic studies focus on large groups of people who interact over time. Ethnography is a design, where the researcher explains about shared learnt patterns of values, behaviour, beliefs. The field of anthropology originated from Europe and England designed in late 19th century and it spread its roots to the United States at the beginning of the 20th century. Some of the main contributors like EB Tylor from Britain and Lewis H Morgan, franz Boas, Bronislaw Malinowski, Ruth Benedict and Margaret Mead, were a group of researchers from United States who contributed the idea of cultural relativism to the literature. He gives the point of the native and this became the origin of field work. Since Malinowski was very firm with his approach he applied it practically and he was interested in learning the language of the islanders and stayed there for a long time doing his field work. The field of ethnography became very popular in the late 19th century, again, in the latter part of the 19th century, the field of anthropology became a good support for scientific formation. Though the field was flourishing it had a lot of threat to encounter, post colonialism, the research climate shifted towards post-modernism and feminism. Therefore, the field of anthropology moved into discipline of social science, gerhard Friedrich Müller developed the concept of ethnography as a separate discipline whilst participating in the Second Kamchatka Expedition as a professor of history and geography. Whilst involved in the expedition, he differentiated Völker-Beschreibung as an area of study. This became known as ethnography, following the introduction of the Greek neologism ethnographia by Johann Friedrich Schöpperlin, there are different forms of ethnography, confessional ethnography, life history, feminist ethnography etc. Two popular forms of ethnography are realist ethnography and critical ethnography, realist ethnography, is a traditional approach used by cultural anthropologists
3.
Ethnomusicology
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Ethnomusicology is the study of music from the cultural and social aspects of the people who make it. Stated broadly, ethnomusicology may be described as an investigation of music in its cultural contexts. When the field first came into existence, it was limited to the study of non-Western music—in contrast to the study of Western art music. Over time, the definition broadened to study of all the musics of the world according to certain approaches. While there is not a single, authoritative definition for ethnomusicology, Musical fieldworkers often also collect recordings and contextual information about the music of interest. Thus, ethnomusicological studies do not rely on printed or manuscript sources as the source of epistemic authority. Oskar Kolberg is regarded as one of the earliest European ethnomusicologists as he first began collecting Polish folk songs in 1839, comparative musicology, the primary precursor to ethnomusicology, emerged in the late 19th century and early 20th century. The International Musical Society in Berlin in 1899 acted as one of the first centers for ethnomusicology, the International Council for Traditional Music and the Society for Ethnomusicology are the primary international academic organizations for advancing the discipline of ethnomusicology. Ethnomusicologists have offered varying definitions of the field, more specifically, scholars debate what constitutes ethnomusicology. Bruno Nettl distinguishes between discipline and field, believing ethnomusicology is the latter, there are multiple approaches to and challenges of the field. Some approaches reference musical areas like musical synthesis in Ghana while others emphasize a study of culture through the avenue of music, the multifaceted and dynamic approaches to ethnomusicology allude to how the field has evolved. The primary element that distinguishes ethnomusicology from musicology is the expectation that ethnomusicologists engage in sustained, there are many individuals and groups who can be connected to ethnomusicology. Ethnomusicology has evolved both in terminology and ideology since its inception in the late 19th century. While studying in Berlin at Frederick William University and attending the International Music Society, in his notes, he emphasized cultural and religious elements as well as social aspects of music and poetry. Inspired by these thoughts, many Western European nations began to transcribe and categorize music based on ethnicity, inspired by these thoughts, many Western European nations began to put many ethnic and cultural pieces of music onto paper and separate them. In 1956 the hyphen was removed with ideological intent to signify the discipline’s validity and these changes to the field’s name paralleled its internal shifts in ideological and intellectual emphasis. Kolinski also urged the field to move beyond ethnocentrism even as the term grew in popularity as a replacement for what was once described by comparative musicology. In the 1970s, ethnomusicology was becoming well known outside of the small circle of scholars who had founded and fostered the early development of the field
4.
Bureau of American Ethnology
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But from the start, the bureaus visionary founding director, John Wesley Powell, promoted a broader mission, to organize anthropologic research in America. It prepared exhibits for expositions and collected artifacts for the Smithsonian United States National Museum. It developed a repository, library and illustrations section that included photographic work. In 1965, the BAE merged with the Smithsonians Department of Anthropology to form the Smithsonian Office of Anthropology within the United States National Museum, in 1968, the SOA archives became the National Anthropological Archives. The BAEs staff included some of Americas earliest field anthropologists, including Frank Hamilton Cushing, James Owen Dorsey, Jesse Walter Fewkes, Alice Cunningham Fletcher, hewitt, Francis LaFlesche, Cosmos and Victor Mindeleff, James Mooney, John Stevenson, and Matilda Coxe Stevenson. In the 20th century, the BAEs staff included such anthropologists as Neil Judd, John Peabody Harrington and William C. The BAE supported the work of many researchers, most notably Franz Boas, Frances Densmore, Garrick Mallery, Washington Matthews, Paul Radin, Cyrus Thomas. The BAE had three subunits, the Mounds Survey, the Institute of Social Anthropology, and the River Basin Surveys. At the time the BAE was founded, there was controversy over the identity of the Mound Builders. Cyrus Thomas, the Bureaus appointed head of the Division of Mound Exploration and it is considered to be the last word in the controversy over the Mound builders identities. After Thomas publication, scholars generally accepted that varying cultures of indigenous peoples. History of indigenous peoples of North America Native American history Moon eyed people National Anthropological Archives Fagan, Brian M. Ancient North America, new York,2005 Hinsley, Curtis M.1994. The Smithsonian and the American Indian, making a moral anthropology in Victorian America, hodge, Frederick Webb, and Corinne L. Gilb. The Bureau of American Ethnology, a partial history, norman, University of Oklahoma Press,1967. Report on the explorations of the Bureau of Ethnology. Twelfth annual report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1890–91, by J. W. Powell, xLVIII+742 pp.42 pls.344 figs.1894. 1 –24 Digitized copies of BAE Bulletins No.25 –200 Register to the Records of the Bureau of American Ethnology, National Anthropological Archives, Smithsonian Institution
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Visual arts by indigenous peoples of the Americas
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Visual arts by indigenous peoples of the Americas encompasses the visual artistic traditions of the indigenous peoples of the Americas from ancient times to the present. These include works from South America, Mesoamerica, North America including Greenland, in North America, the Lithic stage or Paleo-Indian period is defined as approximately 18, 000–8000 BCE. The period from around 8000–800 BCE is generally referred to as the Archaic period, the production of bannerstones, Projectile point, Lithic reduction styles and pictographic cave paintings are some of the art that remains from this time period. The bone was found early in the 21st century near Vero Beach, Florida, the bone is too mineralized to be dated, but the carving has been authenticated as having been made before the bone became mineralized. The oldest known painted object in North American is the Cooper Bison Skull from 10, 900–10,200 BCE, Lithic age art in South America includes Monte Alegre culture rock paintings created at Caverna da Pedra Pintada dating back to 9250–8550 BCE. Guitarrero Cave in Peru has the earliest known textiles in South America, the southwestern United States and certain regions of the Andes have the highest concentration of pictographs and Petroglyphs from this period. Both pictographs and petroglyphs are known as rock art, the Yupik of Alaska have a long tradition of carving masks for use in shamanic rituals. Indigenous peoples of the Canadian arctic have produced objects that could be classified as art since the time of the Dorset culture. While the walrus ivory carvings of the Dorset were primarily shamanic, with European contact the historic period of Inuit art began. In this period, which reached its height in the late 19th century, Inuit artisans created souvenirs for the crews of whaling ships and explorers. Modern Inuit art began in the late 1940s, when with the encouragement of the Canadian government they began to produce prints and serpentine sculptures for sale in the south. Greenlandic Inuit have a unique textile tradition intregrating skin-sewing, furs, Women create elaborate netted beadwork collars. They have strong mask-making tradition and also are known for an art form called tupilaq or a spirit object. Traditional art making practices thrive in the Ammassalik, sperm whale ivory remains a valued medium for carving. Inuit art from Alaska, Canada, and Greenland Cultures of interior Alaska, while humans have lived in the region far longer, the oldest known surviving Subarctic art is a petroglyph site in northwest Ontario, dated to 5000 BCE. Caribou, and to a lesser extent moose, are major resources, providing hides, antlers, sinew, porcupine quillwork embellishes hides and birchbark. After European contact with the influence of the Grey Nuns, moosehair tufting, famous examples include totem poles, transformation masks, and canoes. In addition to woodwork, two dimensional painting and silver, gold and copper engraved jewelry became important after contact with Europeans, the Eastern Woodlands, or simply woodlands, cultures inhabited the regions of North America east of the Mississippi River at least since 2500 BCE
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Indigenous Australian art
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Indigenous Australian art or Australian Aboriginal art is art made by the Indigenous peoples of Australia and in collaborations between Indigenous Australians and others. It includes works in a range of media including painting on leaves, wood carving, rock carving, sculpting, ceremonial clothing. This article discusses works that pre-date European colonisation as well as contemporary Indigenous Australian art by Aboriginal Australians and these have been studied in recent years and have gained much international recognition. There are several types of art, and ways of making art, including rock painting, dot painting, rock engravings, bark painting, carvings, sculptures. Australian Indigenous art is the oldest unbroken tradition of art in the world, dated at 28,000 years, it is one of the oldest known pieces of rock art on Earth with a confirmed date. Rock art, including painting and engraving or carving, can be found at sites throughout Australia, rock paintings appear on caves in the Kimberley region of Western Australia known as Bradshaws. They are named after the European, Joseph Bradshaw, who first reported them in 1891, to Aboriginal people of the region they are known as Gwion Gwion or Giro Giro. Other painted rock art sites include Laura, Queensland, Ubirr, in the Kakadu National Park, Uluru, examples have been found that are believed to depict extinct megafauna such as Genyornis and Thylacoleo as well as more recent historical events such as the arrival of European ships. Rock engraving depends on the type of rock being used, many different methods are used to create rock engravings. The Sydney engravings, depicting carved animals and humans, have their own peculiar style not found elsewhere in Australia, the rock art at Murujuga is said to be the worlds largest collection of petroglyphs and includes images of extinct animals such as the thylacine. Activity prior to the last ice age until colonisation is recorded, Papunya art consists of various paint colours like yellow, brown, red and white. Papunya paintings can be painted on anything though traditionally they were painted on rocks, in caves, the paintings were mostly images of animals or lakes, and the Dreamtime. Stories and legends were depicted on caves and rocks to represent the artists religion, on modern artwork, dots are generally applied with bamboo satay sticks. The larger flat end of bamboo sticks are more commonly used for single application of dots to paintings. To create superimposed dotting, artists may take a bunch of satay sticks, dip the pointy ends into the paint, bark paintings are regarded as fine art, and today the finest art commands high prices on the international art markets. The best artists are recognized annually in the National Aboriginal & Torres Strait Islander Art Award, from ancient times, Australian aboriginal culture also produced a genre of aerial landscape art, often titled simply country. It is a kind of maplike, birds-eye view of the desert landscape, in the distant past, the common media for such artwork were rock, sand or body painting, but the tradition continues today in the form of coloured drawings with liquid based colour on canvas. See Aboriginal stone arrangements for more details, carved shells – Riji Mimih small man-like carvings of mythological impish creatures
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Oceanian art
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Oceanic art or Oceanian art comprises the creative works made by the native peoples of the Pacific Islands and Australia, including areas as far apart as Hawaii and Easter Island. Specifically it comprises the works of the two groups of people who settled the area, though during two different periods and they would in time however, come to interact and together reach even more remote islands. The area is broken down into four separate regions, Polynesia, Micronesia, Australasia. The former two share a common culture of the Lapita, while the latter two comprise settlers of the first wave of people into the area. All of the regions in later times would be affected by western influence. In more recent times, the people of Oceania have found an appreciation of their regions artistic heritage. The artistic creations of people varies greatly throughout the cultures. The subject matter typically carries themes of fertility or the supernatural, Art such as masks were used in religious ceremonies or social rituals. Petroglyphs, Tattooing, painting, wood carving, stone carving, Art of Oceania properly encompasses the artistic traditions of the people indigenous to Australia, New Zealand, Pacific Island and Lebanon Dahia. The ancestors of the people of these came from Southeast Asia by two different groups at separate times. The first, an Australoid people and the ancestors of modern-day Melanesians and Australian Aboriginals, came to New Guinea, the Melanesians expanded as far as the northern Solomon Islands by 38,000 BC. The second wave, from Southeast Asia, would not come for another 30,000 years and they would come to interact and together reach even the most remote Pacific islands. These early peoples lacked a system, and made works on perishable materials. By 1500 BC the Lapita culture, descendants of the wave, would begin to expand. At around the time, art began to appear in New Guinea. The period from 1000 BC on, the Lapita people would consolidate and begin to create the contemporary Polynesian cultures of Samoa, Tonga and they would from there venture further out into the Pacific and settle the Marquesas and northern Cook Islands between 200 BC and 1 AD. Starting around 1100 AD, the people of Easter Island would begin construction of nearly 900 moai. At about 1200 AD, the people of Pohnpei, a Micronesian island, would embark on another construction, building Nan Madol, a city of artificial islands
8.
Nanook of the North
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In the tradition of what would later be called salvage ethnography, Flaherty captured the struggles of the Inuk man named Nanook and his family in the Canadian Arctic. The film has been considered the first feature-length documentary. Some have criticized Flaherty for staging several sequences, but the film is viewed as standing alone in its stark regard for the courage. The documentary follows the lives of an Inuk, Nanook, and his family as they travel, search for food, Nanook, his wife, Nyla, and their family are introduced as fearless heroes who endure rigors no other race could survive. The audience sees Nanook, often with his family, hunt a walrus, build an igloo, go about his day, in 1910 Flaherty was hired as an explorer and prospector along the Hudson Bay for the Canadian Pacific Railway. By 1916, Flaherty had enough footage that he began test screenings and was met with wide enthusiasm, however, in 1916, Flaherty dropped a cigarette onto the original camera negative and lost 30,000 feet of film. With his first attempt ruined, Flaherty decided to not only return for new footage, spending four years raising money, Flaherty was eventually funded by French fur company Revillon Frères and returned to the North and shot from August 1920 to August 1921. As a main character, Flaherty chose the celebrated hunter of the Itivimuit tribe, the full collaboration of the Inuit was key to Flahertys success as the Inuit were his film crew and many of them knew his camera better than he did. Flaherty has been criticized for deceptively portraying staged events as reality, Nanook was in fact named Allakariallak, while the wife shown in the film was not really his wife. According to Charles Nayoumealuk, who was interviewed in Nanook Revisited, on the other hand, while Flaherty made his Inuit actors use spears instead of guns during the walrus and seal hunts, the prey shown in the film were genuine, wild animals. The building of the igloo is one of the most celebrated sequences in the film, building an igloo large enough for a camera to enter resulted in the dome collapsing, and when they finally succeeded in making the igloo it was too dark for photography. In the Trade Post of the White Man scene, Nanook and his family arrive in a kayak at the trading post and one family member after another emerge from a small kayak, akin to a clown car at the circus. Going to trade his hunt from the year, including the skins of foxes, seals, the trader plays music on a gramophone and tries to explain how a man cans his voice. Bending forward and staring at the machine, Nanook puts his ear closer as the trader cranks the mechanism again, the trader removes the record and hands it to Nanook who at first peers at it and then puts it in his mouth and bites it. The scene is meant to be a one as the audience laughs at the naivete of Nanook. In truth, the scene was scripted and Allakariallak knew what a gramophone was. The film is not technically sophisticated, how could it be, with one camera, no lights, freezing cold, but it has an authenticity that prevails over any complaints that some of the sequences were staged. If you stage a walrus hunt, it still involves hunting a walrus, what shines through is the humanity and optimism of the Inuit
9.
Centro Cultural Mexiquense
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Centro Cultural Mexiquense is a cultural center located on the western edge of the city of Toluca in central Mexico. The complex is located on part of the former San José de la Pila Hacienda and this hacienda was one of the largest in the Valley of Toluca with large pasture for cattle and a fresh water spring which only recently has been open to the public. The hacienda came into the hands of the state in 1976, part of the land,177,989 hectares, was dedicated to the cultural center. The main architect of the project was Pedro Ramírez Vázquez, who designed the museums, the center was inaugurated in 1987 the three major museums and a collection of art and cultural objects donated by regional centers, museums, libraries, arts festival and individual families. Much of the grounds remain open and contain some of the hacienda buildings along with about seventy sculptures of iron, bronze. The center hosts a number of exhibits in its museums as well as cultural events on its grounds. The Tianguis de Arte is held annually at the center and it sells art by state artists as well as books. In 2005, the center held an event inviting about 400 graffiti artists to create mural son fifty meters of screens located in the parking lot. To serve the section of the State of Mexico, a new cultural center in Texcoco called the Centro Cultural Mexiquense Bicentenario was inaugurated in 2011. The three main museums are the Anthropology and History Museum, the Museum of Popular Culture and the Modern Art Museum, the Anthropology and History Museum is divided into several halls. One is dedicated to ecology, exhibiting the flora and fauna of the State of Mexico, other halls are dedicated to the pre Hispanic period, the colonial period and Mexico since Independence. There are pre Hispanic tombs and ceramics from different cultural that inhabited the State of Mexico, there is also a sculpture of a serpent with an image of Mictlantecuhtli at its base. From the colonial period, there are mills, and steel armor along with religious items. In 2004, the museum was remodeled, the Museum of Popular Cultures is located in the former main house of the La Pila Hacienda, which originally was a monastery built at the end of the 17th century. In 1986 it was remodeled by the government with architect Pedro Ramírez Vázquez. The museum deals with the ethnography, handcrafts and folk art and it contains a selection of handcrafts from the State of Mexico dating from the pre Hispanic period to the present. This includes a double sided Tree of Life measuring 5.2 meters tall, much of the ceramic ware is from Metepec. There is also a collection of items called El Tapanco
10.
Museum of Anthropology at UBC
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As well as being a major tourist destination, MOA is a research and teaching museum, where UBC courses in art, anthropology, archaeology, conservation, and museum studies are given. MOA houses 38,000 ethnographic objects, as well as 535,000 archaeological objects in its building alone, the museum is at 6393 NW Marine Dr, on the campus of the University of British Columbia. MOA and UBC lie on the University Endowment Lands, which are not officially part of the City of Vancouver, the museum was founded in 1947 when the items in UBCs ethnographic collection were put on display in the basement of the Main Library. Dr. Harry Hawthorn served as the first director of the new museum, with his wife, Dr. Audrey Hawthorn, in 1971, the museum received funds from the Government of Canada and UBC to begin construction of a building. In 1976, the new building, designed by renowned Canadian architect Arthur Erickson, opened under new director Michael M. Ames, Walter and Marianne Koerners 1975 donation of their extensive collection of Northwest Coast First Nations art to the museum formed a large part of the buildings contents. In 1997, Dr. Ruth Phillips became Museum director, in 2002, Ames returned as acting director. Dr. Anthony Shelton became director in 2004, on January 23,2010, MOA celebrated the completion of its multi-year, multimillion-dollar renovation and expansion project, A Partnership of Peoples. The new facilities were developed with MOA by UBC Properties Trust and designed by Arthur Erickson, the Museum is affiliated with CHIN, CMA, and Virtual Museum of Canada. The 46¢ stamps are perforated 13.5 and were printed by the Canadian Bank Note Company, Arthur Ericksons building, designed in 1976, was inspired by the post-and-beam architecture of northern Northwest Coast First Nations people. Like much of Ericksons work, the building is made out of concrete. The building takes advantage of second world war gun emplacements, with the famous Bill Reid Raven sculpture located on a gun battery. In September 2010, a pool was added to the front, funded by Yosef Wosk. Pools had been installed temporarily three times in MOA’s history, for a shoot in 1993, for the APEC leaders’ summit in 1997. The most iconic object in the museum is probably the yellow cedar sculpture The Raven and the First Men by Bill Reid, which was depicted on the Canadian twenty-dollar bill from 2004 to 2012. Other notable Bill Reid works include his Bear and Wasco sculptures, some of his gold jewellery, the museums Great Hall contains many fragments of totem poles from Haida and other First Nations villages along British Columbias coast. The MOA has a collection from the South Pacific. There are about 6000 textiles in the collection, about half of these come from Asia, of particular note are the Cantonese opera costumes that are considered some of the worlds finest. There are excellent holdings from the Northwest Coast, Oceania, Africa, the Audrey & Harry Hawthorn Library and Archives is open to the public
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Museum of Indian Arts and Culture
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The Museum of Indian Arts and Culture/Laboratory of Anthropology is a museum of Native American art and culture located in Santa Fe, New Mexico. It is one of eight museums in the operated by the New Mexico Department of Cultural Affairs and is accredited by the American Alliance of Museums as part of the Museum of New Mexico system. The museum and its programs are supported by the Museum of New Mexico Foundation. The Museum of Indian Arts and Culture is dedicated to the accurate and its mission statement emphasizes its intention to work closely with the Native communities of the region. Several years later, in 1927, John D. Rockefeller founded the renowned Laboratory of Anthropology with a mission to study the Southwests indigenous cultures. In 1947 the two merged, bringing together the most inclusive and systematically acquired collection of New Mexican. The Laboratorys collection continued to expand but was unavailable to the general public for lack of adequate exhibition facilities. In 1977, the New Mexico legislature appropriated $2.7 million for the design of a new Museum of Indian Arts & Culture. The MIAC opened ten years later in 1987, immediately adjacent to the Laboratory, as the 31 and this groundbreaking permanent exhibition, developed by a core curatorial team composed of Southwest Indian peoples and museum professionals, incorporates the voices of more than 75 Native Americans. Here, Now & Always tells the rich, complex and diverse stories of Native Americans in the Southwest through their own words, as the state repository for archaeological materials, the Museum has the responsibility to care for and maintain all artifacts excavated on state-owned land. Its Archaeological Research Collection contains artifacts numbering between 5 and 10 million, (As these artifacts are stored as bulk collections, and not catalogued individually, an exact count is unknown. The Museum has a regularly changing schedule of exhibitions, which draw on the strengths of its collection. Objects on display range from those created near the inception of pottery-making in the Southwest up to the present, here, Now & Always, a major exhibition that documents the Southwest’s indigenous communities and their challenging landscapes. Here, Now and Always includes more than 1,300 objects from the Museum’s collection accompanied by poetry, story, song and scholarly discussion. National Register of Historic Places listings in Santa Fe County, New Mexico Museum of Indian Arts and Culture Museum of New Mexico New Mexico Department of Cultural Affairs
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Fleming Museum of Art
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The Fleming Museum of Art is a museum of art and anthropology located at the University of Vermont in Burlington, Vermont. The museums collection includes some 25,000 objects from a variety of eras. Until 2014, the museum was known as the Robert Hull Fleming Museum, according to the Vermont Encyclopedia, the museum is a cultural center for the community and attracts a diverse audience from UVM, area colleges, and the general public. The current director of the museum is Janie Cohen, among the museums initial collections were fossils, stuffed birds, a sperm whale tooth, and a cannon ball that a local resident found while gardening. When the collection outgrew its Old Mill space, it was relocated to Torrey Hall in 1862, less than ten years later a third story was built at Torrey Hall for the universitys fine arts collection, and the space became known as the Park Gallery of Fine Arts. The collection remained at Torrey Hall in the late 1920s, although it was outgrowing its space, Wolcott met with university president Guy Bailey, who proposed a new museum building in memory of Fleming. Wolcott accepted Baileys proposal and donated $150,000 for the construction of the Fleming Museum and these two gifts funded the $300,000 cost of construction the museum, and Wolcott donated an additional $150,000 for an endowment soon after. The museum states that in the mid-1930s between 25, 000–30,000 people visited the Fleming Museum annually, at a time when the population of Burlington was estimated at 27,000, the museum also affected the University of Vermont. The universitys studio art and art history began at the Fleming Museum of Art, and in the 1950s. A $1.4 million renovation to the museum was completed in 1984, the Fleming Museum includes several collections, African. The museums African collection consists mainly of West and Central African sculpture, the museums collection includes a number of objects dating from antiquity, with artifacts in the collection coming from Ancient Egypt, the Near East, the Mediterranean, and prehistoric Vermont. Notable pieces include an Assyrian bas-relief from the palace of Ashurnasirpal II, other objects in the collection include Sumerian cuneiform tablets, Greek pottery, Coptic textiles, and more than 400 Egyptian objects, including a late Dynastic mummy and coffin. The highlight of the museums Japanese print collection is a set of Hiroshiges Fifty-three Stations of the Tōkaidō. Sculpture and decorative art pieces from Thailand, Cambodia, and Burma, acquired from the Doris Duke Collection, are represented in the collection. The museums European collection includes a variety of works, with an emphasis on Northern European paintings and prints of the 16th and 17th centuries, the museum also hold a complete edition of the Description de lÉgypte, the result of Napoleons campaign in Egypt. Among the oldest items in the collection are 13th-century illuminated manuscripts, the museums indigenous peoples of the Americas collection is housed in the James B. Petersen Gallery of Native American Cultures, which reopened in 2006 following renovation. The collection includes some 2,000 objects dating from c.800 CE, notable items include the Ogden B. The museum also holds the Colchester Jar, a ceramic vessel dated to around the year 1500 and representative of the St. Lawrence Iroquoian style, which was found in Vermont in the early 19th century
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Salvage ethnography
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Salvage ethnography is the recording of the practices and folklore of cultures threatened with extinction, including as a result of modernization. It is generally associated with the American anthropologist Franz Boas, he, since the 1960s, anthropologists have used the term as part of a critique of 19th-century ethnography and early modern anthropology. A great number of problems in physiology, illustrative of the history of the species. The psychology of these races has been but little studied in a manner, and yet this is wanting in order to complete the history of human nature. How can this be obtained when so many tribes shall have become extinct, frances Densmore, an influential ethnomusicologist, worked in the tradition of salvage ethnography. Densmore recorded the songs and lyrics of Native Americans in an attempt to preserve them permanently, many of her original recordings, preserved on wax cylinders, are archived at the Library of Congress. Artists compounded the work of professional anthropologists during this time period, photographer Edward S. Curtis was preceded by painter George Catlin in attempting to capture indigenous North American traditions that they believed to be disappearing. Both Curtis and Catlin have been accused of taking artistic license by embellishing a scene or making something appear more authentically Native American, Edward S. Curtis notes in the introduction to his series on the North American Indian, The information that is to be gathered. Respecting the mode of life of one of the races of mankind. This statement reflects the artists paternalistic concern for documenting the culture of American Indians and is representative of both the popular and academic sentiment of the time. Salvage ethnography is often taught in film and media courses as a style of filmmaking that captures a civilization or peoples former way of living. The best example of this would be Robert Flahertys Nanook of the North, in Nanook, Flaherty staged incidents and scenes that did not fairly represent the Inuit tribes current way of life, but rather their former majesty. Historys Shadow, Native Americans and Historical Consciousness in the Nineteenth Century, reimagining Indians, Native Americans Through Anglo Eyes, 1880-1940. Surveying the Record, North American Scientific Exploration to 1930
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Tribal art
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Tribal art is the visual arts and material culture of indigenous peoples. The term primitive is criticized as being Eurocentric and pejorative, Tribal art is often ceremonial or religious in nature. Typically originating in rural areas, tribal art refers to the subject, in the 19th century, non-western art was not seen by mainstream Western art professional as being as art at all. The art world perception of tribal arts is becoming less paternalistic, major exhibitions of tribal arts in the late 19th through mid-20th centuries exposed the Western art world to non-Western art. Major exhibitions included the Museum of Modern Arts 1935 Africa Negro Art and 1941 Indian Art of the United States, exposure to tribal arts provide inspiration to many modern artists, notably Expressionists, Cubists, and Surrealists, notably Surrealist Max Ernst. The Anthropology of Art, A Reader, edmund Snow Carpenter, The Tribal Terror of Self-Awareness. In Paul Hockings, Principles of Visual Anthropology,1975, pages 451–461, denis Dutton, Tribal Art and Artefact. Journal of Aesthetics and Art Criticism,51, 13–21, Winter 1993, denis Dutton, Mythologies of Tribal Art. Herbert E. Roese, African Wood Carvings - the sculptural art of West Africa,2011, Cardiff ISBN 978-0-9560294-2-3 Ralph T. Coe, the responsive eye, Ralph T. Coe and the collecting of American Indian art. New York, The Metropolitan Museum of Art, Tribal Art Magazine Paleobree — Tribal Art Information Service Art Tribal Newsletter Tribal art forgeries Oceanic Art Society
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Folk art
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Folk art encompasses art produced from an indigenous culture or by peasants or other laboring tradespeople. In contrast to fine art, folk art is primarily utilitarian, Folk Art is characterized by a naïve style, in which traditional rules of proportion and perspective are not employed. The varied geographical and temporal prevalence and diversity of folk art make it difficult to describe as a whole, though some patterns have been demonstrated. On the other hand, many 18th- and 19th-century American folk art painters made their living by their work, including itinerant portrait painters, some of whom produced large bodies of work. Terms that might overlap with folk art are naïve art, tribal art, primitive art, popular art, outsider art, traditional art, tramp art and working-class art/blue-collar art. As one might expect, these terms can have multiple and even controversial connotations but are used interchangeably with the term folk art. Folk art expresses cultural identity by conveying shared community values and aesthetics and it encompasses a range of utilitarian and decorative media, including cloth, wood, paper, clay, metal and more. If traditional materials are inaccessible, new materials are often substituted, Folk art reflects traditional art forms of diverse community groups — ethnic, tribal, religious, occupational, geographical, age- or gender-based — who identify with each other and society at large. Folk artists traditionally learn skills and techniques through apprenticeships in informal community settings, antique folk art is distinguished from traditional art in that, while collected today based mostly on its artistic merit, it was never intended to be art for art’s sake at the time of its creation. Many folk art traditions like quilting, ornamental picture framing, and decoy carving continue to thrive, contemporary folk artists are frequently self-taught as their work is often developed in isolation or in small communities across the country. Folk artworks, styles and motifs have inspired various artists, for example, Pablo Picasso was inspired by African tribal sculptures and masks, while Natalia Goncharova and others were inspired by traditional Russian popular prints called luboks. In music, Igor Stravinskys seminal The Rite of Spring was inspired by religious rites. CIOFF, International Council of Organizations of Folklore Festivals and Folk Arts
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Gregory Bateson
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Gregory Bateson was an English anthropologist, social scientist, linguist, visual anthropologist, semiotician, and cyberneticist whose work intersected that of many other fields. In the 1940s he helped extend systems theory and cybernetics to the social and behavioral sciences and he spent the last decade of his life developing a meta-science of epistemology to bring together the various early forms of systems theory developing in different fields of science. His writings include Steps to an Ecology of Mind and Mind, angels Fear was co-authored by his daughter Mary Catherine Bateson. Bateson was born in Grantchester in Cambridgeshire, England, on 9 May 1904 and he was the third and youngest son of Beatrice Durham and the distinguished geneticist William Bateson. He was named Gregory after Gregor Mendel, the Austrian monk who founded the science of genetics. The younger Bateson attended Charterhouse School from 1917 to 1921, obtained a Bachelor of Arts in biology at St. Johns College, Cambridge, in 1925, Bateson lectured in linguistics at the University of Sydney in 1928. From 1931 to 1937 he was a Fellow of St. Johns College, Cambridge, spent the years before World War II in the South Pacific in New Guinea, during 1936–1950 he was married to Margaret Mead. At that time he applied his knowledge to the war effort before moving to the United States, in Palo Alto, California, Bateson and his colleagues Donald Jackson, Jay Haley and John H. Weakland developed the double-bind theory. Batesons interest in theory and cybernetics forms a thread running through his work. He was one of the members of the core group of the Macy conferences in Cybernetics, and the later set on Group Processes. Bateson was interested in the relationship of these fields to epistemology and his association with the editor and author Stewart Brand helped to widen his influence. From the 1970s until his last years, an audience of university students. In 1956 he became a citizen of the United States. Bateson was a member of William Irwin Thompsons Lindisfarne Association, in the 1970s, he taught at the Humanistic Psychology Institute in San Francisco, and in 1972 joined the faculty of Kresge College at the University of California, Santa Cruz. He was elected a Fellow of the American Academy of Arts, in 1976, California Governor Jerry Brown appointed Bateson to the Board of Regents of the University of California, in which position he served until his death. He died on Independence Day,1980, in the guest house of the San Francisco Zen Center, Batesons life, according to Lipset, was greatly affected by the death of his two brothers. After this event, which transformed a private family tragedy into public scandal, all William and Beatrices ambitious expectations fell on Gregory, Batesons first marriage, in 1936, was to American cultural anthropologist Margaret Mead. Bateson and Mead had a daughter, Mary Catherine Bateson, who became an anthropologist
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Franz Boas
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Franz Uri Boas was a German-American anthropologist and a pioneer of modern anthropology who has been called the Father of American Anthropology. His work is associated with the movement of anthropological historicism, studying in Germany, Boas was awarded a doctorate in 1881 in physics while also studying geography. He then participated in an expedition to northern Canada where he became fascinated with the culture. He went on to do work with the indigenous cultures and languages of the Pacific Northwest. Through his students, many of whom went on to found anthropology departments and research programmes inspired by their mentor, Boas profoundly influenced the development of American anthropology. Among his most significant students were Manuel Gamio, A. L. Kroeber, Ruth Benedict, Edward Sapir, Margaret Mead, Melville Herskovits, and Zora Neale Hurston. In this way, Boas introduced culture as the concept for describing differences in behavior between human groups, and as the central analytical concept of anthropology. Franz Boas was born in Minden, Westphalia, although his grandparents were observant Jews, his parents embraced Enlightenment values, including their assimilation into modern German society. Boass parents were educated, well-to-do, and liberal, they did not like dogma of any kind, due to this, Boas was granted the independence to think for himself and pursue his own interests. Early in life he displayed a penchant for both nature and natural sciences, Boas vocally opposed anti-Semitism and refused to convert to Christianity, but he did not identify himself as a Jew. This is disputed however by Ruth Bunzel, a protégée of Boas, according to his biographer, He was an ethnic German, preserving and promoting German culture and values in America. In an autobiographical sketch, Boas wrote, The background of my early thinking was a German home in which the ideals of the revolution of 1848 were a living force. My father, liberal, but not active in affairs, my mother, idealistic, with a lively interest in public matters. My parents had broken through the shackles of dogma and my father had retained an emotional affection for the ceremonial of his parental home, without allowing it to influence his intellectual freedom. From kindergarten on, Boas was educated in history, a subject he enjoyed. In gymnasium, he was most proud of his research on the distribution of plants. In 1879, he hoped to transfer to Berlin University to study physics under Hermann von Helmholtz, the combination of physics and geography also may have been accomplished through a major in physics and a minor in geography. Boas, due to deafness, encountered difficulties studying tonal languages such as Laguna
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Pierre Bourdieu
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Pierre Bourdieu was a French sociologist, anthropologist, philosopher, and renowned public intellectual. Another notable influence on Bourdieu was Blaise Pascal, after whom Bourdieu titled his Pascalian Meditations, Bourdieus best known book is Distinction, A Social Critique of the Judgment of Taste. The book was judged the sixth most important sociological work of the century by the International Sociological Association. In it, Bourdieu argues that judgments of taste are related to social position, in the process, he tried to reconcile the influences of both external social structures and subjective experience on the individual. Pierre Felix Bourdieu was born in Denguin, in southern France on 1 August 1930, to a postal worker, the household spoke Béarnese, a Gascon dialect. Bourdieu married Marie-Claire Brizard in 1962, the couple had three sons, Jérôme, Emmanuel, and Laurent, Bourdieu was educated at the lycée in Pau before moving to the Lycée Louis-le-Grand in Paris. From there he gained entrance to the École Normale Supérieure, also in Paris, after getting his agrégation, Bourdieu worked as a lycée teacher at Moulins for a year before his being conscription into the French Army in 1955. His biographers write that he not to enter the Reserve Officers College like many of his fellow ENS graduates as he wished to stay with people from his own modest social background. Deployed to Algeria in October 1955 during its war of independence from France, after his year-long military service, Bourdieu stayed on as a lecturer in Algiers. The result was his first book, Sociologie de lAlgérie, which became a success in France and was published in America in 1962. He later drew heavily on this fieldwork in his 1972 book Outline of a Theory of Practice, in 1960 Bourdieu returned to the University of Paris before gaining a teaching position at the University of Lille, where he remained until 1964. From 1964 onwards Bourdieu held the position of Professor in the VIe section of the École Pratique des Hautes Études, in 1968, Bourdieu took over the Centre de Sociologie Européenne, founded by Aron, which he directed until his death. In 1993 he was honored with the Médaille dor du Centre National de la Recherche Scientifique, in 1996 he received the Goffman Prize from the University of California, Berkeley and in 2001 the Huxley Medal of the Royal Anthropological Institute. Bourdieu died of cancer at the age of 71, Bourdieus work is influenced by much of traditional anthropology and sociology which he undertook to synthesize into his own theory. And of the need to develop social theory from social practice. The class-based nature of artistic taste had already firmly established by Arnold Hauser in The Social History of Art. However, Bourdieu critically diverged from Durkheim in emphasizing the role of the agent in enacting, through the embodiment of social structures. He furthermore emphasized that the reproduction of social structures does not operate according to a functionalist logic, maurice Merleau-Ponty and, through him, the phenomenology of Edmund Husserl played an essential part in the formulation of Bourdieus focus on the body, action, and practical dispositions
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John Collier Jr.
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John Collier Jr. son of the Commissioner of Indian Affairs with the same name, was an American anthropologist and an early leader in the fields of visual anthropology and applied anthropology. His emphasis on analysis and use of photographs in ethnography led him to significant contributions in other subfields of anthropology. His book, Visual Anthropology, Photography as a Research Method is one of the earliest textbooks in the field and is still in use today and he is also notable as someone who overcame significant learning and hearing impairments to succeed on a larger stage. John Collier Jr. born May 22,1913 in Sparkill, New York, was the son of Lucy Wood Collier and his father is famous as the head of the Bureau of Indian Affairs during the New Deal. John Jr. grew up largely in Taos, New Mexico, when it became evident that he could not perform in school, his family permitted to him spend considerable time, when in New Mexico, living with family friends in the Taos Indian Pueblo. During the periods he was in California, he came under the influence of Capt, Leighton Robinson, a retired English master in sail, who provided seamanship training to John. He was also apprenticed to the Western painter, Maynard Dixon. He spent considerable time in the Dixon / Lange household in San Francisco during his early and mid teens and was trained in a range of painting techniques. When in Taos he also received training from the artist Nicolai Fechin. In 1943, he married Mary Elizabeth Trumbull, who became a long term partner in his photographic and their son, Malcolm Collier, also became an anthropologist who eventually collaborated with his father on a new edition of Visual Anthropology. Other sons include Robin Collier, Vian Collier, and Aran Collier, only after a brief, unproductive enrollment at the California School of Fine Arts, where he took more painting classes, did he turn to photography. He was largely self trained, except for some instruction in studio techniques from Sara Higgins Mack, in 1939, after working for a period in San Francisco, he opened a photographic studio in Taos, using what had been Paul Strands darkroom and studio. After leaving Standard Oil at the end of 1946, Collier worked as a free lance photographer in New Mexico, in 1950 he was hired by Alexander H. Leighton of Cornell University as part of a multi-disciplinary team investigation of community mental health in the Maritimes of Canada. Leighton challenged Collier to formalize methodologies for the use of photography in social science research, the work with Leighton laid the intellectual foundation for the later development of the methodologies for visual anthropology for which Collier is known. Collier later worked for Cornell in the Southwest and independently recorded the Cornell Vicos project in Peru during 1954 and 1955. He then free lanced out of New Mexico before moving to California in 1959, where he began a career as a teacher at San Francisco State University. Colliers work in the field of anthropology was influenced by Roy Stryker and Alexander H. Leighton. George Spindler, the founder of anthropology, chose Colliers book Visual Anthropology for early inclusion in his series of basic books in anthropology
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Robert J. Flaherty
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Robert Joseph Flaherty, FRGS was an American filmmaker who directed and produced the first commercially successful feature-length documentary film, Nanook of the North. He is considered the father of both the documentary and the ethnographic film, Flaherty was married to writer Frances H. Flaherty from 1914 until his death in 1951. Frances worked on several of her husbands films, and received an Academy Award nomination for Best Original Story for Louisiana Story, Flaherty was one of seven children born to prospector Robert Henry Flaherty and Susan Klockner. He was sent to Upper Canada College in Toronto for his education, Flaherty began his career as a prospector in the Hudson Bay region of Canada, working for a railroad company. Flaherty wrote for the Geographical Review, in 1909 he shared stories about information he was told by an Inuk man named Wetallok. Flaherty said he met Wetalltok while visiting the Hudson Bay in search of iron ore, in his story, Flaherty published a detailed map of the Inuit region and shared information about the bay that Wetallok had told him. His writing about Wetallok would go on to be published in his book, My Eskimo Friends, in 1913, on Flahertys expedition to prospect the Belcher Islands, his boss, Sir William Mackenzie, suggested that he take a motion picture camera along. He brought a Bell and Howell hand cranked motion picture camera and he was particularly intrigued by the life of the Inuit people, and spent so much time filming them that he had begun to neglect his real work. When Flaherty returned to Toronto with 30,000 feet of film and his film was destroyed and his hands were burned. Although his editing print was saved and shown several times, Flaherty wasnt satisfied with the results and it was utterly inept, simply a scene of this or that, no relation, no thread of story or continuity whatever, and it must have bored the audience to distraction. Flaherty was determined to make a new film, one following a life of a typical Inuk, in 1920, he secured funds from Revillon Frères, a French fur trade company to shoot what was to become Nanook of the North. On 15 August 1920, Flaherty arrived in Port Harrison, Quebec to shoot his film and he brought two Akeley motion-picture cameras which the Inuit referred to as the aggie. He also brought full developing, printing, and projection equipment to show the Inuit his film and he lived in an attached cabin to the Revillon Frères trading post. In making Nanook, Flaherty cast various locals in parts in the film, the half-igloo had been built beforehand, with a side cut away for light so that Flahertys camera could get a good shot. Flaherty insisted that the Inuit not use rifles to hunt, though their use had by that time become common and he also pretended at one point that he could not hear the hunters pleas for help, instead continuing to film their struggle and putting them in greater danger. Melanie McGrath writes that, while living in Northern Quebec for the year of filming Nanook, Flaherty had an affair with his lead actress, a few months after he left, she gave birth to his son, Josephie, whom he never acknowledged. Josephie was one of the Inuit who were relocated in the 1950s to very difficult living conditions in Resolute and Grise Fiord, according to McGrath, Flaherty knew of his sons difficulties, but took no action. Corroboration of McGraths account is not readily available and Flaherty himself never discussed the matter, Nanook began a series of films that Flaherty was to make on the same theme of humanity against the elements
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Robert Hugh Layton
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Robert H. Layton is a British anthropologist. He is Emeritus Professor of Anthropology at Durham University and he has carried out fieldwork in rural France and in a number of Aboriginal communities in Australia, and recently on traditional craft in rural China. Robert Layton studied anthropology at University College London under the famous Australian anthropologist Phyllis Kaberry and he completed his DPhil under the supervision of F. G. Bailey at the University of Sussex and he is known for his eclectic approach to anthropology and diverse range of interests. He has written extensively about art, archaeology, the evolution of society and culture. Robert Laytons 1991 book, The Anthropology of Art, seeks to place the study of art within an anthropological framework. He rejects the use of the word primitive when discussing art because he argues that this implies that the origins, in his later theoretical work Robert Layton has also critically reflected on a theoretical approach outlined by Alfred Gell in Art and Agency. In particular, Layton focuses on Gells definition of art as defined by the function it performs in advancing social relationships through the abduction of agency. While studying Australian rock art Robert Layton helped prepare a number of Aboriginal Land Claims and this research has been published in his books Uluru, An Aboriginal history of Ayers Rock and Australian rock art, a new synthesis. He was the author of the Australian Governments successful renomination of the Uluru-Katatjuta National Park to the World Heritage List as an indigenous landscape of Universal Significance. This was only the indigenous landscape to be inscribed on the World Heritage List. His work on Australian Aboriginal Rock Art highlights the contrast between Western art and Aboriginal art, while individual expression of personal experiences and emotions is an important part of the former artistic tradition, it is not central, or indeed important, in traditional Aboriginal rock art. Robert Layton has promoted dialogue between Western archaeologists and indigenous communities through the World Archaeological Congress, Laytons 2006 book, Order and Anarchy, Civil Society, Social Disorder and War, examines the role of violence in human evolution. Layton argues that social systems come from interaction between agents using cultural strategies, Social disorder and war result when such cultural strategies are undermined by changes in economic and social landscapes such as those brought about by globalisation. Anthropology and history in Franche-Comté, A critique of social theory, oxford University Press The anthropology of art. Cambridge University Press Australian rock art, A new synthesis, cambridge University Press An introduction to theory in anthropology. Cambridge University Press Order and anarchy, Civil society, social disorder, cambridge University Press Uluru, An aboriginal history of Ayers Rock. Australian Institute of Aboriginal Studies The archaeology and anthropology of landscape, Shaping your landscape edited by Peter J. Ucko, routledge Conflict in the archaeology of living traditions
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Alan Lomax
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Alan Lomax was an American field collector of folk music of the 20th century. He was also a folklorist, ethnomusicologist, archivist, writer, scholar, political activist, oral historian, and film-maker. Lomax produced recordings, concerts, and radio shows in the US and in England and he collected material first with his father, folklorist and collector John A. With the start of the Cold War, Lomax continued to out for a public role for folklore. He devoted much of the part of his life to advocating what he called Cultural Equity. In the 1970s and 1980s Lomax advised the Smithsonian Institutions Folklife Festival and produced a series of films about music, American Patchwork. In his late seventies, Lomax completed a memoir, The Land Where the Blues Began, linking the birth of the blues to debt peonage, segregation. Because of childhood asthma, chronic ear infections, and generally frail health, in Dallas, he entered the Terrill School for Boys. Lomax excelled at Terrill and then transferred to the Choate School in Connecticut for a year, because of his mothers declining health, however, rather than going to Harvard as his father had wished, Lomax matriculated at the University of Texas at Austin. The hardest thing Ive had to learn is that Im not a genius, at the University of Texas Lomax read Nietzsche and developed an interest in philosophy. He joined and wrote a few columns for the paper, The Daily Texan. At this time he also he began collecting records and taking his dates to black-owned night clubs. During the spring term his mother died, and his youngest sister Bess, Although the Great Depression was rapidly causing his familys resources to plummet, Harvard came up with enough financial aid for the 16-year-old Lomax to spend his sophomore year there. He enrolled in philosophy and physics and also pursued a long-distance informal reading course in Plato and he also became involved in radical politics and came down with pneumonia. His grades suffered, diminishing his financial aid prospects and he did his first field collecting without his father with Zora Neale Hurston and Mary Elizabeth Barnicle in the summer of 1935. He returned to the University of Texas that fall and was awarded a BA in Philosophy, summa cum laude, Alan Lomax married Elizabeth Harold Goodman, then a student at the University of Texas, in February 1937. They were married for 12 years and had a daughter, Anne, Elizabeth assisted him in recording in Haiti, Alabama, Appalachia, and Mississippi. Elizabeth also wrote radio scripts of folk operas featuring American music that were broadcast over the BBC Home Service as part of the war effort
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Margaret Mead
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Margaret Mead was an American cultural anthropologist who featured frequently as an author and speaker in the mass media during the 1960s and 1970s. She earned her bachelors degree at Barnard College in New York City and her M. A. Mead was a respected and often controversial academic who popularized the insights of anthropology in modern American and Western culture. Her reports detailing the attitudes towards sex in South Pacific and Southeast Asian traditional cultures influenced the 1960s sexual revolution and she was a proponent of broadening sexual mores within a context of traditional Western religious life. Margaret Mead, the first of five children, was born in Philadelphia and her father, Edward Sherwood Mead, was a professor of finance at the Wharton School of the University of Pennsylvania, and her mother, Emily Mead, was a sociologist who studied Italian immigrants. Her sister Katharine died at the age of nine months and this was a traumatic event for Mead, who had named the girl, and thoughts of her lost sister permeated her daydreams for many years. Her family moved frequently, so her early education was directed by her Grandmother until, at age 11, she was enrolled by her family at Buckingham Friends School in Lahaska and her family owned the Longland farm from 1912 to 1926. Born into a family of various religious outlooks, she searched for a form of religion that gave an expression of the faith that she had been acquainted with. In doing so, she found the rituals of the Episcopal Church to fit the expression of religion she was seeking, Margaret studied one year,1919, at DePauw University, then transferred to Barnard College where she earned her bachelors degree in 1923. She studied with professor Franz Boas and Dr. Ruth Benedict at Columbia University before earning her masters degree in 1924, Mead set out in 1925 to do fieldwork in Samoa. In 1926, she joined the American Museum of Natural History, New York City and she received her Ph. D. from Columbia University in 1929. Before departing for Samoa, Mead had an affair with the linguist Edward Sapir. But Sapirs conservative ideas about marriage and the role were anathema to Mead. Mead received news of Sapirs remarriage while living in Samoa, where, on a beach and her first husband was American Luther Cressman, a theology student at the time who eventually became an anthropologist. Mead dismissively characterized their union as my student marriage in Blackberry Winter and her second husband was New Zealander Reo Fortune, a Cambridge graduate and fellow anthropologist. Meads third and longest-lasting marriage was to the British anthropologist Gregory Bateson, with whom she had a daughter, Mary Catherine Bateson and she readily acknowledged that Gregory Bateson was the husband she loved the most. She was devastated when he left her, and she remained his friend ever after, keeping his photograph by her bedside wherever she traveled. Mead also had a close relationship with Ruth Benedict, one of her instructors. In her memoir about her parents, With a Daughters Eye, Mead never openly identified herself as lesbian or bisexual
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Alan P. Merriam
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Alan Parkhurst Merriam was an American cultural anthropologist and ethnomusicologist. He is known for his studies of music in Native America and Africa, in his book The Anthropology of Music, he outlined and develops a theory and method for studying music from an anthropological perspective with anthropological methods. He was a co-founder of the Society for Ethnomusicology in 1952 and he edited the Newsletter of the Society for Ethnomusicology from 1952 to 1957, and he edited the journal Ethnomusicology from 1957 to 1958. Merriams initial work was based on fieldwork carried out in his native Montana and he undertook extensive field research among the Flathead Indians of Montana in 1950 and again in 1958. In Africa, he studied with the Basongye and Bashi people of Zaïre and Burundi in the 1950s, later, Merriam proposed a tripartite model for the study of ethnomusicology, centering on the study of music in culture. This model suggested that music should be studied on three levels, conceptualization about music, behavior in relation to music, and analysis of musics sounds. In later works, Merriam amended his original concept of music in culture to music as culture, Merriam died in the LOT Polish Airlines Flight 007 catastrophe, on March 14,1980. Merriam, Alan P. Ethnomusicology of the Flathead Indians, an African world, the Basongye village of Lupupa Ngye
