1.
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
Robert J. Flaherty
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Robert J. Flaherty
Robert J. Flaherty
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R. J. Flaherty taking a movie,
Port Harrison, QC, 1920-21
Robert J. Flaherty
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Nyla, who played the role of the wife of
Nanook, and her child
2.
English language
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English /ˈɪŋɡlɪʃ/ is a West Germanic language that was first spoken in early medieval England and is now the global lingua franca. Named after the Angles, one of the Germanic tribes that migrated to England, English is either the official language or one of the official languages in almost 60 sovereign states. It is the third most common language in the world, after Mandarin. It is the most widely learned second language and a language of the United Nations, of the European Union. It is the most widely spoken Germanic language, accounting for at least 70% of speakers of this Indo-European branch, English has developed over the course of more than 1,400 years. The earliest forms of English, a set of Anglo-Frisian dialects brought to Great Britain by Anglo-Saxon settlers in the century, are called Old English. Middle English began in the late 11th century with the Norman conquest of England, Early Modern English began in the late 15th century with the introduction of the printing press to London and the King James Bible, and the start of the Great Vowel Shift. Through the worldwide influence of the British Empire, modern English spread around the world from the 17th to mid-20th centuries, English is an Indo-European language, and belongs to the West Germanic group of the Germanic languages. Most closely related to English are the Frisian languages, and English, Old Saxon and its descendent Low German languages are also closely related, and sometimes Low German, English, and Frisian are grouped together as the Ingvaeonic or North Sea Germanic languages. Modern English descends from Middle English, which in turn descends from Old English, particular dialects of Old and Middle English also developed into a number of other English languages, including Scots and the extinct Fingallian and Forth and Bargy dialects of Ireland. English is classified as a Germanic language because it shares new language features with other Germanic languages such as Dutch, German and these shared innovations show that the languages have descended from a single common ancestor, which linguists call Proto-Germanic. Through Grimms law, the word for foot begins with /f/ in Germanic languages, English is classified as an Anglo-Frisian language because Frisian and English share other features, such as the palatalisation of consonants that were velar consonants in Proto-Germanic. The earliest form of English is called Old English or Anglo-Saxon, in the fifth century, the Anglo-Saxons settled Britain and the Romans withdrew from Britain. England and English are named after the Angles, Old English was divided into four dialects, the Anglian dialects, Mercian and Northumbrian, and the Saxon dialects, Kentish and West Saxon. Through the educational reforms of King Alfred in the century and the influence of the kingdom of Wessex. The epic poem Beowulf is written in West Saxon, and the earliest English poem, Modern English developed mainly from Mercian, but the Scots language developed from Northumbrian. A few short inscriptions from the period of Old English were written using a runic script. By the sixth century, a Latin alphabet was adopted, written with half-uncial letterforms and it included the runic letters wynn ⟨ƿ⟩ and thorn ⟨þ⟩, and the modified Latin letters eth ⟨ð⟩, and ash ⟨æ⟩
English language
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The opening to the Old English epic poem
Beowulf,
handwritten in
half-uncial script: Hƿæt ƿē Gārde/na ingēar dagum þēod cyninga / þrym ge frunon... "Listen! We of the Spear-Danes from days of yore have heard of the glory of the folk-kings..."
English language
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Countries of the world where English is a majority native language
English language
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Title page of Geoffrey Chaucer's
Canterbury Tales c.1400
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
Ethnomusicology
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Ethnomusicologist
Frances Densmore recording
Blackfoot chief Mountain Chief for the
Bureau of American Ethnology in 1916.
4.
New media
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New media most commonly refers to content available on-demand through the Internet, accessible on any digital device, usually containing interactive user feedback and creative participation. Common examples of new media websites such as online newspapers, blogs, wikis, video games. A defining characteristic of new media is dialogue, New Media transmit content through connection and conversation. It enables people around the world to share, comment on, unlike any of past technologies, New Media is grounded on an interactive community. Most technologies described as new media are digital, often having characteristics of being manipulated, networkable, dense, compressible, some examples may be the Internet, websites, computer multimedia, video games, virtual reality, augmented reality, CD-ROMS, and DVDs. New media does not include television programs, feature films, magazines, books, Facebook is an example of the social media model, in which most users are also participants. Wikitude is an example for augmented reality and it displays information about the users surroundings in a mobile camera view, including image recognition, 3D modeling and location-based approach to augmented reality. In the 1950s, connections between computing and radical art began to grow stronger, in the late 1980s and early 1990s, however, we seem to witness a different kind of parallel relationship between social changes and computer design. Although causally unrelated, conceptually it makes sense that the Cold War, writers and philosophers such as Marshall McLuhan were instrumental in the development of media theory during this period. Until the 1980s media relied primarily upon print and analog broadcast models, such as those of television, the last twenty-five years have seen the rapid transformation into media which are predicated upon the use of digital technologies, such as the Internet and video games. However, these examples are only a representation of new media. The use of computers has transformed the remaining old media, as suggested by the advent of digital television. Andrew L. Shapiro argues that the emergence of new, digital technologies signals a potentially radical shift of who is in control of information, experience and resources. W. Russell Neuman suggests that whilst the new media have technical capabilities to pull in one direction, economic, Neuman argues that new media will, Alter the meaning of geographic distance. Allow for an increase in the volume of communication. Provide the possibility of increasing the speed of communication, allow forms of communication that were previously separate to overlap and interconnect. Scholars, such as Lister et al, New Media as Computer Technology Used as a Distribution Platform – New Media are the cultural objects which use digital computer technology for distribution and exhibition. E. g. Internet, Web sites, computer multimedia, the problem with this is that the definition must be revised every few years
New media
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Topics and terminology
5.
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
Visual arts by indigenous peoples of the Americas
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Haida totem pole, Thunderbird Park, British Columbia
Visual arts by indigenous peoples of the Americas
Visual arts by indigenous peoples of the Americas
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Dresden Codex, Maya, circa 11th or 12th century
Visual arts by indigenous peoples of the Americas
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A petroglyph of a caravan of
bighorn sheep near
Moab, Utah, United States; a common theme in glyphs from the southwestern
desert
6.
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
Indigenous Australian art
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Bradshaw rock paintings found in the north-west
Kimberley region of Western Australia
Indigenous Australian art
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Aboriginal pictographs known as
Wondjina in the Wunnumurra Gorge,
Barnett River,
Kimberley, Western Australia
Indigenous Australian art
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Aboriginal
Namadgi National Park featuring a
Kangaroo,
Dingoes,
Echidna or
Turtles,
totems and stories are created using dots.
Indigenous Australian art
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This photo shows the painting of Baiame made by an unknown Wiradjuri artist in "Baiame's cave", near Singleton, NSW. Notice the length of his arms which extend to the two trees either side.
7.
Oceanic 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
Oceanic art
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Moai at
Rano Raraku,
Rapa Nui (Easter Island)
Oceanic art
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Split gong figures from
Vanuatu
Oceanic art
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Modern
Maori tiki pendant
Oceanic art
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Birdmen (
Tangata manu) paintings in a cave at the foot of
Rano Kau,
Rapa Nui (Easter island).
8.
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
Centro Cultural Mexiquense
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View of the mall and Museum of Modern Art at the complex
Centro Cultural Mexiquense
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Museum director Thelma Morales with artisan
Ana Karen Allende and Sinhué Lucas at opening of exhibition
Centro Cultural Mexiquense
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Facade of the Museum of Popular Cultures
9.
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
Museum of Anthropology at UBC
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Museum of Anthropology
Museum of Anthropology at UBC
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The multi-media Presentation Circle at the UBC Museum of Anthropology.
Museum of Anthropology at UBC
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2010 UBC MOA sign.
10.
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
Museum of Indian Arts and Culture
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Museum of Indian Arts and Culture
11.
Robert Hull Fleming Museum
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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
Robert Hull Fleming Museum
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Rickshaw driver picking up two clients, circa 1909. This is a photo-postcard from a trip to Japan that Katherine Wolcott and her uncle, Robert Hull Fleming, made in 1909.
12.
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
Salvage ethnography
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A
Hupa fisherman—In the early 20th century,
Edward Curtis traveled across America recording photographs of the disappearing lifestyle of
American Indian tribes.
13.
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
Tribal art
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A Punu tribe mask. Gabon West Africa
Tribal art
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Artwork in the
Museum of Indian Terracotta, New Delhi, India.
Tribal art
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Congolese Nkisi Nkondi, a female power figure, with nails, collection BNK, Royal Tribal Art
14.
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
Folk art
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"Gran calavera eléctrica" by
José Guadalupe Posada, Mexico, 1900–1913
Folk art
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Island of Salvation Botanica, Piety Street,
Bywater, New Orleans
Folk art
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Darrel Mortimer holding 8' tattooed bamboo
chillum; photograph by Sally Larsen, 2009
Folk art
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House in
New Orleans
15.
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
Gregory Bateson
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Rudolph Arnheim (L) and Bateson (R) speaking at the
American Federation of Arts 48th Annual Convention, 1957 Apr 6 / Eliot Elisofon, photographer.
American Federation of Arts records,
Archives of American Art,
Smithsonian Institution.
16.
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
Franz Boas
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Franz Boas
Franz Boas
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Boas' dissertation: Beiträge zur Erkenntniss der Farbe des Wassers (Faculty of Philosophy,
University of Kiel 1881)
Franz Boas
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"Franz Boas posing for figure in US Natural History Museum exhibit entitled "Hamats'a coming out of secret room" 1895 or before. Courtesy of National Anthropology Archives. (
Kwakiutl culture)
Franz Boas
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Drawing of a
Kwakiutl mask from Boas's The Social Organization and the Secret Societies of the Kwakiutl Indians (1897). Wooden skulls hang from below the mask, which represents one of the cannibal bird helpers of Bakbakwalinooksiwey.
17.
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
Pierre Bourdieu
–
Pierre Bourdieu
18.
John Collier (anthropologist)
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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
John Collier (anthropologist)
–
John Collier Jr.
19.
Frances Densmore
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Frances Theresa Densmore was an American anthropologist and ethnographer born in Red Wing, Minnesota. Densmore is known for her studies of Native American music and culture, as a child Densmore developed an appreciation of music by listening to the nearby Dakota Indians. She studied music at Oberlin College for three years and she helped preserve their culture in a time when government policy was to encourage Native Americans to adopt Western customs. Densmore began recording music officially for the Smithsonian Institutions Bureau of American Ethnology in 1907, in her fifty-plus years of studying and preserving American Indian music, she collected thousands of recordings. Many of the recordings she made on behalf of the BAE now are held in the Library of Congress, while her original recordings often were on wax cylinders, many of them have been reproduced using other media and are included in other archives. The recordings may be accessed by researchers as well as tribal delegations, Densmore frequently was published in the journal American Anthropologist, contributing consistently throughout her career. She wrote The Indians and Their Music in 1926, between 1910 and 1957, she published fourteen book-length bulletins for the Smithsonian, each describing the musical practices and repertories of a different Native-American group. These were reprinted as a series by DaCapo Press in 1972 and she also was a part of A Ventriloquy of Anthros in the American Indian Quarterly along with James Owen Dorsey and Eugene Buechel. Frances Densmore page from Minnesota Public Radio Frances Densmore Minnesota Historical Society
Frances Densmore
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Frances Densmore
Frances Densmore
–
Densmore with
Blackfoot chief, Mountain Chief, during a 1916
phonograph recording session for the
Bureau of American Ethnology.
20.
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
Robert Hugh Layton
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Robert Hugh Layton
21.
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
Alan Lomax
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Lomax playing guitar on stage at the Mountain Music Festival,
Asheville, North Carolina, in the early 1940s.
22.
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
Margaret Mead
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Margaret Mead in 1948.
Margaret Mead
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Samoan girl, c. 1896
Margaret Mead
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Mead, ca. 1950.
23.
Alan 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
Alan Merriam
–
Alan Merriam
24.
Hortense Powdermaker
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Hortense Powdermaker was an American anthropologist best known for her ethnographic studies of African Americans in rural America and of Hollywood. Born to a Jewish family, Powdermaker spent her childhood in Reading, Pennsylvania and she studied history and the humanities at Goucher College, graduating in 1921. She worked as an organizer for the Amalgamated Clothing Workers. She left the United States to study at the London School of Economics, where she met the eminent anthropologist Bronisław Malinowski, who convinced her to embark on a course of doctoral studies. While at the LSE, Powdermaker also worked under and was influenced by other well-known anthropologists such as A. R. Radcliffe-Brown, E. E. Evans-Pritchard, Powdermaker completed her PhD on leadership in primitive society in 1928. Like her contemporaries, Powdermaker sought to identify her work with a primitive people. After returning to the United States, Powdermaker was given an appointment at the new, Rockefeller Foundation supported, director Edward Sapir encouraged her to apply ethnographic field methods to the study of communities in her own society. She remained at Yale between 1930 and 1937, during which time she conducted anthropological fieldwork in an African-American community in Indianola, Mississippi, in 1938 she began working at Queens College, where she founded the departments of Anthropology an Sociology during a career spanning three decades. Subsequent research yielded Hollywood, the Dream Factory, the first and she then worked documenting the mining industry and the consumption of American media in Northern Rhodesia. She died two years later of a heart attack, the building on the Queens College campus that houses the anthropology and sociology departments is named in her honor. This study was the source of her groundbreaking theory focusing on the psychological adaptation undergone by Blacks, most people outside of the field of anthropology know of Powdermaker from her study of Hollywood. Hollywood, the Dream Factory, published in 1950 remains the only serious anthropological study of Hollywood, in order to write Copper Town, Powdermaker had to overcome some difficulties. It has been criticized by social anthropologists who objected to her use of psychological concepts as well as her lack of “linguistic preparation”. Nevertheless, it is an important work regarding the effects of the cinema on African culture presented in an anthropological perspective and this work was published in 1962 in the United States. This book discusses the direct implication that the cinema, or the “bioscope” as it was called by Northern Rhodesians, had on the people who went to it, there were numerous studies on the effects of the cinema on African people, Powdermakers among them. Copper Town, Changing Africa was a study of the effects on Northern Rhodesia specifically. One of the points of her work was to explain the confusion many Africans experienced when viewing Western films. One was their understanding the concept of acting, some who attended were confused by the concept of a film being fictional
Hortense Powdermaker
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Powdermaker in 1950
25.
Social anthropology
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In the USA, social anthropology is commonly subsumed within cultural anthropology. Differences among British, French, and American sociocultural anthropologies have diminished with increasing dialogue, Social and cultural anthropologists, and some who integrate the two, are found in most institutes of anthropology. Thus the formal names of institutional units no longer necessarily reflect fully the content of the disciplines these cover, most retain the name under which they were founded. It is differentiated from sociology, both in its methods, and in its commitment to the relevance and illumination provided by micro studies. It extends beyond strictly social phenomena to culture, art, individuality, many social anthropologists use quantitative methods, too, particularly those whose research touches on topics such as local economies, demography, human ecology, cognition, or health and illness. The subject has been enlivened by, and has contributed to, approaches from other disciplines, such as philosophy, the history of science, psychoanalysis, the subject has both ethical and reflexive dimensions. An example of this is the effect, whereby those being studied may alter their behaviour in response to the knowledge that they are being watched and studied. Social anthropology has historical roots in a number of 19th-century disciplines, including ethnology, folklore studies, thus, savages from the colonies were displayed, often nudes, in cages, in what has been called human zoos. Penniman to write a history of the discipline entitled A Hundred Years of Anthropology, at the time, the field was dominated by the comparative method. It was assumed that all societies passed through an evolutionary process from the most primitive to most advanced. Non-European societies were seen as evolutionary living fossils that could be studied in order to understand the European past. Scholars wrote histories of prehistoric migrations which were sometimes valuable but often also fanciful and it was during this time that Europeans first accurately traced Polynesian migrations across the Pacific Ocean for instance - although some of them believed it originated in Egypt. Finally, the concept of race was actively discussed as a way to classify -, Tylor and James George Frazer are generally considered the antecedents to modern social anthropology in Britain. Tylor advocated strongly for unilinealism and a form of uniformity of mankind, Frazer, a Scottish scholar with a broad knowledge of Classics, also concerned himself with religion, myth, and magic. His comparative studies, most influentially in the editions of The Golden Bough, analyzed similarities in religious belief. Neither Tylor nor Frazer, however, were interested in fieldwork, nor were they interested in examining how the cultural elements. The Golden Bough was abridged drastically in subsequent editions after his first, the findings of the expedition set new standards for ethnographic description. As a subject of the Austro-Hungarian Empire resident on a British colonial possession, theoretically, he advocated a functionalist interpretation, which examined how social institutions functioned to satisfy individual needs
Social anthropology
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The British Museum, London
Social anthropology
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E.B. Tylor, 19th-century British anthropologist
Social anthropology
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Bronislaw Malinowski, Anthropologist at the London School of Economics
Social anthropology
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The main LSE entrance
26.
Cultural anthropology
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Cultural anthropology is a branch of anthropology focused on the study of cultural variation among humans. It is in contrast to social anthropology, which perceives cultural variation as a subset of the anthropological constant, a variety of methods are involved in cultural anthropological, including participant observation, interviews, and surveys. The term civilization later gave way to definitions given by V. Gordon Childe, with forming an umbrella term. Anthropologists have argued that culture is human nature, and that all people have a capacity to classify experiences, encode classifications symbolically, since humans acquire culture through the learning processes of enculturation and socialization, people living in different places or different circumstances develop different cultures. Anthropologists have also pointed out that through culture people can adapt to their environment in non-genetic ways, much of anthropological theory has originated in an appreciation of and interest in the tension between the local and the global. Colonialism and its processes increasingly brought European thinkers into direct or indirect contact with primitive others, the umbrella term socio-cultural anthropology draws upon both cultural and social anthropology traditions. Anthropology is with the lives of people within different parts of the world, particularly in relation to the discourse of beliefs, in addressing this question, ethnologists in the 19th century divided into two schools of thought. Other ethnologists argued that different groups had the capability of creating similar beliefs, Morgan, in particular, acknowledged that certain forms of society and culture could not possibly have arisen before others. For example, industrial farming could not have been invented before simple farming, Morgan, like other 19th century social evolutionists, believed there was a more or less orderly progression from the primitive to the civilized. Some 20th-century ethnologists, like Julian Steward, have argued that such similarities reflected similar adaptations to similar environments. But these ethnographers also pointed out the superficiality of such similarities. They noted that even traits that spread through diffusion often were given different meanings, others, such as Claude Lévi-Strauss, have argued that apparently similar patterns of development reflect fundamental similarities in the structure of human thought. Cultural relativism is a principle that was established as axiomatic in anthropological research by Franz Boas, Boas first articulated the idea in 1887. civilization is not something absolute, but. is relative, and. Our ideas and conceptions are only so far as our civilization goes. Although, Boas did not coin the term, it became common among anthropologists after Boas death in 1942, to express their synthesis of a number of ideas Boas had developed. Boas believed that the sweep of cultures, to be found in connection with any sub-species, is so vast, Cultural relativism involves specific epistemological and methodological claims. Whether or not these claims require a specific ethical stance is a matter of debate and this principle should not be confused with moral relativism. Cultural relativism was in part a response to Western ethnocentrism, ethnocentrism may take obvious forms, in which one consciously believes that ones peoples arts are the most beautiful, values the most virtuous, and beliefs the most truthful
Cultural anthropology
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Edward Burnett Tylor
Cultural anthropology
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In the
unilineal evolution model at left, all cultures progress through set stages, while in the
multilineal evolution model at right, distinctive culture histories are emphasized.
Cultural anthropology
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Franz Boas, one of the pioneers of modern anthropology, often called the "Father of American Anthropology"
Cultural anthropology
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Margaret Mead (1901-1978)
