THE SCRIP - THE NEWSLETTER OF THE ASSOCIATION OF AFRICAN AMERICAN SPRING 2012 VOL. 6, NO. 3 The 2012 Association of African American Museums Annual Conference Commemorating Struggles: Claiming Freedom

he America of ca. War, protest, civil and ra- between these two dynamic For museums, particularly Afri- the 1860’s was cial unrest were accompanied periods of American history. can American museums, the marked by ex- by an expansion of new free- Our goal is for those in attend- challenges are as varied as the treme social doms and concerns previously ance to gain an understanding opportunities. Institutions will strife between un-witnessed in our country. of how the ending of 19th grapple with numerous topics Traces and cultures, families and From draft resistance and sit- century slavery and 20th centu- and themes that may or may communities, the North and ins to demonstrations and pro- ry racial segregation were im- not relate to mission state- the South, all leading to a long tests, many of the phenomena portant milestones in Ameri- ments and held collections, and bitterly divisive war. The which came to characterize the ca’s history and its pursuit of such as the secession of the era however, also saw the crea- 1960’s had its roots in the mid- the democratic ideal. Southern states, slavery and tion of social, political and 19th century. wartime civil liberties, or politi- economic institutions which The larger observations of the cal and constitutional demands laid the foundations for mod- The Association of African American Civil War’s Sesqui- during the war years. ern day America. American Museums’ 2012 an- centennial reveals how the nual conference will examine Civil War era continues to Presenting clear, convincing The legacy of this tumultuous this legacy through sessions shape and affect American exhibits and displays that make period revealed itself a century and discussions that will in- history and popular culture – the not-so-obvious connec- later in the 1960’s, another form and challenge attendees particularly in terms of govern- tions between the Civil War time of great change in Ameri- to explore the relationships ment, modern politics, and and the Civil Rights Movement ongoing race relations. With will undoubtedly demand com- few exceptions, these topics mitments of time and re- Claudine Brown to Deliver Keynote have not been brought togeth- sources needed to encourage er as a single narrative that skeptical audiences that they Claudine Brown, the first Assistant Secretary for Education and involves examining either the should come to new exhibi- Access at the Smithsonian Institution, will deliver the 2012 Asso- Civil War role played by Afri- tions. Sessions at this year’s ciation of African American Museums Annual Conference Key- can Americans or the social conference will address how note Address. The 2012 Annual Conference will take place in and political threads that run programs assess and , , and will be hosted by the Reginald F. Lewis from the 1860’s to the 1960’s, meet the needs of audiences Museum of Maryland African American History & Culture over and the inevitable impact of seeking to understand freedom; the weekend of August 22–25; this year’s conference theme is one era on the other. Accord- what resources are needed and “Commemorating Struggles: Claiming Freedom”. ing to James McPherson, an available to conduct this work; eminent Civil War historian at what impacts and outcomes are As Assistant Secretary for Education and Princeton University, speaking possible for the broadest un- Access, Ms Brown is responsible for defin- of commemorations of the derstanding of the American ing the Smithsonian’s education program war’s centennial 50 years ago freedom narrative and the Afri- and reports directly to Smithsonian Secretary “In a way, the civil-rights can American connection to it. Wayne Clough; her focus is the Institution- movement eclipsed the centen- wide plan for educational initiatives, assess- nial and was seen by many The 2012 Association of Afri- ment strategies and funding for students in people as being more relevant can American Museums Annu- the K-12 range. Ms Brown also oversees two than observation and com- al Conference will take place in of the Smithsonian’s educational organizations—the National memoration of military battles. Baltimore, Maryland, hosted by Science Resources Center and the Smithsonian Center for Edu- There was an idea that this war the Reginald F. Lewis Museum cation and Museum Studies—and coordinates 32 education- was about something that was- of Maryland African American based offices in museums and science centers. n’t really talked about.” History & Culture over the (Continued on page 6) weekend of August 22 – 25.

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The Reginald F. Lewis Museum of Maryland African American History and Culture

“To be the premier experience and While the State of Maryland committed best resource for information and $30 million toward the design and capital construction costs of the institution, the inspiration about the lives of Afri- City of Baltimore donated the land on can American Marylanders”. which the Museum is located. In June 2002, the Reginald F. Lewis Foundation ith that statement, awarded the Museum a $5 million endow- the Reginald F. Lew- ment to be used in conjunction with all is Museum of Mary- educational programs. land African Ameri- The Museum’s permanent exhi- can History and In gratitude for the gift, the Museum was bition explores the diversity of WCulture seeks to realize its mission by col- renamed the Reginald F. Lewis Museum of the African American experience lecting, preserving, interpreting, document- Maryland African American History and in Maryland as told through a ing and exhibiting the rich contributions of Culture; Reginald F. Lewis was a native multitude of individual stories, African American Marylanders from the Marylander who became the first African from historical perspectives to state’s earliest history to the present and American to own a Fortune 500 corpora- insights on today’s contempo- into the future. tion, TLC Beatrice Foods. rary era. It includes three perma-

nent gallery spaces. An exciting and dynamic 82,000 square

foot facility, the Reginald F. Lewis Muse- BUILDING MARYLAND, BUILDING AMERICA um of Maryland African American History Explores three major types of work in and Culture is the largest African American which free and enslaved people of Afri- museum on the East Coast and includes can descent engaged: work on the wa- over 13,000 square feet of permanent and ter, tobacco cultivation, and iron work- temporary exhibition space, an oral history ing; these endeavors were essential to recording and listening studio, a 200 seat building first, the colony, and later, the theater, a conservation lab, an information state of Maryland. resource center, storage facilities, two classrooms, a museum shop and café, and THINGS HOLD, LINES CONNECT The Reginald F. Lewis Museum is located at flexible public program areas, all of which Shows how African American families 830 Pratt Street in downtown Baltimore. provide preservation and interpretation of and community organizations provided Maryland’s world renowned African Amer- comfort and support in the face of ican history and culture. The Freelon oppression, while creating environ- Originally designated as the Maryland Mu- Group is the building’s award-winning ments in which resistance to oppres- seum of African American History and architectural team. sion could be planned and nurtured. Culture, the Museum’s beginning was the result of a statewide analysis of existing THE STRENGTH OF THE MIND and potential state resources related to Features stories about the creative spir- African American heritage tourism. The it of Maryland African Americans by analysis concluded that there was a sub- focusing on their accomplishments in stantial need and significant potential for a the arts and education. It highlights the statewide museum to protect and interpret experiences of famous and not-so- Maryland’s African American history and famous African Americans from Mary- culture. land and reveals untold stories and little known facts about the lives of Freder- In 1998, the Maryland African American ick Douglas, , Frances Museum Corporation was formalized as a Ellen Watkins Harper and Benjamin 501 (c)(3) organization and as an independ- Finally, the Museum is an important venue Banneker. The Museum’s exhibition ent unit of the executive branch of the that has shared Maryland’s African Ameri- also explores the lives and times of State of Maryland. The 32 member Board can history with over a million visitors such 20th century personalities as of Directors brought an Executive Direc- since opening its doors in 2005; it is situat- , Juanita Jackson tor on board to help guide the Museum to ed just two blocks east of one of the state’s Mitchell, Esther McCready and Kweisi fruition. most popular attractions, the Baltimore Mfume. Inner Harbor.

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AAAM at the 2012 American Association of Museums Conference : The Africa-US Cultural Heritage Strategic Partnership By Dr. Deborah Mack

n early 2011, AAAM joined an the development and physical and virtual ogies to greatly enhance their reach and U.S.- Africa Cultural Heritage distribution of exhibitions. In a panel engage larger and different stakeholder Strategic Partnership as an inau- presentation, teams of experts from Amer- communities. The presentations illustrate gural partner. The Partnership ican and African museums that have re- models for the shared creation of tools was initiated to collaboratively cently engaged in or are in the planning that generate new skills as well as increased Iexplore collaboratively shared needs in the stages of innovative collaborations will access to and use of collections for ex- museum and cultural heritage sectors of share their perspectives and experiences. panded teaching and learning. This is an the and Africa. Topics for discussion include: fostering initiative of the US-Africa Cultural Herit- and negotiating shared ownership and age Strategic Partnership. The Partnership consortium is led by the management, understanding and incorpo- following institutions/organizations: the rating cross-cultural differences and inter- Endorsed by ICOM-US, AAAM, AAM Di- Association of African American Muse- ests into planning and implementation, versity in Museums PNC (DIVCOM), AAM ums/AAAM; the American Association of building content contributors and users, Exhibition PNC (NAME) and AAM Latino Museums/AAM; the International Council assessment of impacts, resource sharing, Network PNC, this session was simultaneously of African Museums/AFRICOM; the In- and using new digital tools. interpreted in French. stitute of Museum and Library Services/ IMLS; Michigan State University (MSU Endorsed by ICOM-US and AAAM, this Young, Informed, Engaged: Innovation Museum; MATRIX; and the African Stud- panel was simultaneously interpreted in Mandarin, in Creating Sustainable Global Youth ies Center); the Smithsonian Institution Spanish, Arabic and French. Communities. (National Museum of African Art, Nation- American and African museums are collab- al Museum of African-American History Trauma: creating shared communities in orating on new models to work with young and Culture, and the Center for Folklife cultural/natural heritage risk manage- stakeholders on issues of civic engagement, and Cultural Heritage). ment responsible citizenship and creating pro- In Africa – as in other places around the ductive contributions to local, national and In meetings held in Johannesburg, in Da- globe, trauma situations - whether brought global societies. This panel describes ef- kar and in Washington D.C., partners have about by armed conflict, natural disasters, forts to create long-term connections with worked to identify and clarify priority areas or other causes - present a host of health, young people that inform and enhance of need, developing a draft “Big Frame- economic, social, and cultural challenges to their civic engagement, their decision- work” that delineates these needs and ar- museums, governments, and communities. making as national and global citizens and ticulates specific actions and strategies to A panel of experts will present case studies their opportunities. Panelists describe is- address them. of cultural/natural heritage risk manage- sues and challenges in fostering and nego- ment challenges with the goal of fostering tiating shared ownership, in shared collab- The conference theme for the recent 2012 an international cadre of cultural/natural orative management, in building cadres of American Association of Museums Annual heritage museum professionals equipped learning participants and in resource shar- Meeting in Minneapolis, Minnesota (April with the cultural and technical expertise ing. 29-May 2) was Creative Community. The required to map heritage resources, and Partnership presented four panels during who can be mobilized quickly in the event Endorsed by ICOM-US, AAAM, AAM Pub- AAM, as well as Partner-focused orienta- of a disaster and/or its aftermath in order lic Relations and Marketing PNC (PRAM), this tion and evaluation sessions. AAAM was to identify, assess, avert or remedy actual session was simultaneously interpreted in Manda- prominently represented among the panels or impending threats to critical cultural and that included leading museum profession- natural heritage resources. als from both Africa and the United States. Endorsed by ICOM-US, AAAm and sponsored The four panel presentations focused on by TARGET, this session was simultaneously proposed Partnership priority areas: interpreted in French

US and African museum exhibits in a Preservation and Access: Creating global digital age: creating and linking local community access to African heritage and global communities collections American and African museums are collab- Case study presentations demonstrate orating on new ways to create and link partnerships in development, using new communities — in their own geographic collaborative approaches and new technol- areas and across the Atlantic — through

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Commemorations of Struggles: Part I “Know who you are before By Peter Hanes they have to tell you.” useums and their institutional partners have 1862, which abolished slavery in the Nation’s capital, freed —Wolof Proverb a broad range of national and international some 3,100 enslaved persons, and is the only instance in anniversaries to consider when preparing which the US Government paid slaveholders for the freedom exhibits, projects, educational programs and of slaves. outreach efforts. Commemorations that Mmark the many significant milestones in history involving the struggle for freedom and human rights have recently taken place or are currently in various stages of preparation for dates in the Emancipation Day near future. visit to U.S. Capitol Visitor Center (CVC) The African American Civil War Memorial and Museum, which Emancipation Hall. preserves, interprets and celebrates the contributions of over 209,000 African Americans who served in the United States Col- ored Troops and the Union Navy recently held its Veteran’s Day Wreath Laying Ceremony. The event featured performances of African American spirituals, South African freedom songs, and presentations by members of the Company B, 54th Massachusetts Infantry Regiment Honor Guard and many moving remarks by Ms Rosemary Sadlier, president of the Ontario Black History Society and the Rev. Dr. Don Meredith, Senator, Senate of Canada, among others.

View of a model of the Spirit of Freedom Statue as she looks out on Emancipation Hall.

The variety of events and celebrations are numerous and in some instances, are scheduled through the year 2018.

 150th anniversary of the American Civil War (2011-2015)  signing of the Emancipation Proclamation (January 1, 2013)  centennial of Harriet Tubman’s passing (March 10, 2013)  establishment of the U.S. Bureau of Colored Troops (May 22, 2013) Emancipation Wreath Laying Program at African American Civil War Memorial.  50th anniversary of the American Civil Rights Movement (including the March on Washington, DC for Jobs and Free- Washington, DC marked the 150th anniversary of slavery’s end dom (2013) with a series of educational events during April 2012:  ratification of the 13th Amendment to the U.S. Constitution ending slavery (December, 2015)  The Frederick Douglass National Historic Site, historic home  200th anniversary of the War of 1812 (2012-2015) of the distinguished abolitionist, hosted a lecture program  100th Anniversary of (2014-2018) featuring historian C.R. Gibbs, who brought to light many  International Emancipation Day (annual observance marking examples of the shared history between the U.S. and Canada, the August 1, 1834 abolition of slavery in the ) including the Underground Railroad and the United States  Annual Observances: Colored Troops 1st Regiment Infantry, an army unit orga-  International Women’s Day (March 8) nized in 1863 in Washington which included fugitive slaves  International Day of Remembrance for Victims of and freed Blacks from the Mid-Atlantic States, Canada and Slavery & the Transatlantic Slave Trade (March 25) the Caribbean.  Nelson Mandela International Day (July 18)  Other events acknowledged the DC Emancipation Act, signed into law by President Abraham Lincoln on April 16,

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Archiving Modern Objects of African American Lifestyles By Barbara Garnes show how we have evolved while keeping offering visitors products that reflect the mu·se·um up with the changing times. creative history of a people while present- Noun: A building in which objects of ing the wares of new and talented artists. historical, scientific, artistic, or cultural Many community and museum gift shops The purchase of products for sale in gift interest are stored and exhibited; an have done a great job of offering culturally shops is often appropriately coordinated institution devoted to the procurement, based products - made for us by us. Cus- with scheduled events or special group care, study, and display of objects of tomers are in awe and make wish lists for visits. Visitors often purchase items as sou- lasting interest or value. future purchases; some commented that a venirs; however the visitor will incorporate particular shop in Brooklyn was like a mu- the gift into everyday life. frican American museums seum. They were sure to discover some- have a unique opportunity thing creative every time they visited the Sources to archive the works of store. With the unfortunate closing of many artists and businesses in the of these stores, consumers should know How does a African heritage community that our museums can be a destination spot m u s e u m Awhile educating society about talented to find great products and gifts. store find achievers. Museums are in a unique posi- these compa- tion to build revenue from works produced Today we can produce virtually ANY- nies? By by black suppliers. THING, there’s no lack of product or raw starting lo- materials. We have access to areas we’ve cally; there Educate only dreamed of in the past. Pick a category are African and there will be something suitable for any A m e r i c a n Self expression is through the art of creativ- location. Apparel/ wearable art, jewelry, vendors in ity. There are numerous art forms we have home textiles, furniture and greeting cards local vicini- learned over the centuries starting with are basic areas available to museum shop ties that are capable of supplying great handmade objects and items. Why do we buyers. Buyers should be reminded that products. Contact other museums and ask create? If we needed it, we made it our- within each category there is the “Made in for leads. Read emails and respond to sup- selves. “It” had meaning to the individual America” aspect which is a very important pliers who reach out to buyers and tell craftsperson and finally to the community. part of our history! them what is needed. Quilting is one of the precious arts that tell beautiful stories of who we are; one of the Stimulate the economy What better place to tell the story of Afri- dying arts is sewing. Some have taken this can American lifestyles than the African talent onto international runways. We have A n o t h e r American museum? And there’s no better evolved through our exposure to work advan tage place than the museum to find objects cre- environments, education and technology; A f r i c a n ated for this lifestyle whether on exhibit or today we can manufacture or mass produce A m e r i c a n in the gift shop. large quantities of items. m u s e u m s have is that Our community is rich in creativity. In the Imports from Africa are wonderful; bas- they can be words of Vernard Grey: "We have every- kets, mudcloth, kente and cowrie shells are points of thing we need in this room." Maggie An- classics. However, the insertion of African distribution derson of the Empowerment Experiment art into America lifestyles has major signifi- for prod- encourages us to support ourselves. To- cance. By reworking original art into practi- ucts pro- gether, African American museums and cal everyday objects using images and duced by African American suppliers. Buy- businesses can be a winning combination; graphics, we are making a huge impact with ers for African American museums support with the right product mix, promotions and consumers. I've seen customers cry and our manufacturers and artists, help stimu- marketing will keep the flow of visitors through their tears as they whisper "At late our local economies and strengthen our coming well past Kwanzaa and Black His- last..." communities. Buyers should keep in mind tory Month. . that there are numerous small African Archive American owned businesses that produce Barbara Garnes, the Lifestyle Creator of Southern Hemisphere quality merchandise but that cannot always Design Group, Inc. (SoHe Designs) has been a product develop- er and manufacturer for over 20 years; she is also the founder of If necessity is the mother of invention, afford the expense of a trade show venue. BK-NY-USA: made in America by us, an initiative that museums can be the resource to showcase connects small businesses in the United States with consumers creations by our community. By exposing A museum that supports local artists is The and gift shops. Discussions on collaboration between African our work, museums position themselves to Studio Museum of Harlem located in the American museums and small businesses are welcome. Contact [email protected] for a list of African American owned attract more visitors to support the arts, to heart of Harlem, New York; its museum suppliers. Visit the websites www.sohedesigngroup.com, tell the story behind each product and to gift shop has done a commendable job www.bknyusa.com and the online showcase www.sohe.tv.

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Margaret Santiago, Smithsonian Institution Americans; and providing leadership in AAAM Notes retired. arts education. Visit them at http:// ~ Samuel W. Black www.nea.gov/ AAAM EXHIBIT AWARDS DEVELOPMENT AND GRANT RESOURCES National Endowment for the Humani- The AAAM Curators, Archivists, Regis- ties (NEH) is an independent agency of trars, and Exhibits (CARE) standing pro- There are numerous development re- the United States government for grants in fessional committee will launch its annual sources available for institutions that serve history, languages, philosophy and other competition for exhibition, preservation people of color. The AAAM website, areas of the humanities. Visit them at and multi-media presentation awards dur- www.blackmuseums.org provides access http://www.neh.gov/ ing the 34th annual conference in Balti- and insight on many. The largest and most more. resource-laden are listed below: NEW JOB LISTINGS

The awards will proffer professional stand- Guidestar is both an assessment and anal- Six new jobs at member museums are ards in the field for innovative exhibitions, ysis site as well as an information portal for listed on the website. preservation projects, and new technology development opportunities. Its search en- presentations that advance the work of gines provide everything from completed Curator, Louis Armstrong House, Corona, museums. The “Leadership in Art, History, IRS Form 990 for all non-profit organiza- NY - May 2012 Culture and Science Exhibit Awards” will tions to information on foundation and be presented each year during the annual giving and focus areas. Visit them at Event Associate, Senator John Heinz conference and all AAAM members are www.guidestar.com History Center, Pittsburgh, PA - June 2012 eligible to apply. The criteria will be for- mally announced in Baltimore. Foundation Center is a non-profit service Exhibit Designer/Department Direc- dedicated to building public understanding tor, Senator John Heinz History Center, Anthony Dixon, Ph.D. chair of CARE is of the foundation field by maintaining a Pittsburgh, PA - June 2012 excited about this award and its ability to database on foundations and corporate provide a platform for the field. The award giving programs and the grants offered. Facilities Manager, Fort Pitt Museum, was approved by members attending the Visit them at http://fdncenter.org/ Pittsburgh, PA - June 2012 CARE meeting on August 5, 2011 in Talla- hassee, Florida. Those in attendance were: Institute of Museum and Library Ser- Multimedia Manager, Senator John John Franklin, NMAAHC-SI; Anthony vices (IMLS) is an independent federal Heinz History Center, Pittsburgh, PA - Dixon, John P. Riley House Museum; agency that fosters leadership, innovation, June 2012 Samuel W Black, John Heinz History Cen- and a lifetime of learning by supporting the ter; Alice Jackson, Tangipahoa African nation's museums and libraries. Visit them Planetarium Manager/Instructor, I.P. American Heritage Museum; Jessica Darke, at http://www.imls.gov Stanback Museum, Orangeburg, SC - May Eisterhold Associates; Essie DeNoms, 2012 African American Research Library and National Endowment for the Arts Cultural Center Broward County; Burnade- (NEA) is a public agency dedicated to Visit www.blackmuseums.org for more job an Warren, Tangipahoa; Wayne Coleman, supporting excellence in the arts, both new listings. Birmingham Civil Rights Museum and and established; bringing the arts to all

Claudine Brown - cont. also became the deputy assis- community-based arts educa- communities, she has served tant secretary for the arts and tion programs. She also for more than 20 years as a In 1990, Claudine Brown humanities and developed worked with innovative organ- faculty advisor and instructor joined the Smithsonian to policy for many Smithsonian izations that have helped crea- in the Leadership in Museum serve as director of the Na- museums. tive young people acquire new Education Program at Bank tional African-American Mu- -media literacy. Street Graduate School of seum Project. In this position, In 1995 Ms Brown became Education in New York City, she coordinated the efforts of director of the arts and culture From 1977 to 1990, Claudine giving her the opportunity to advisory committees that con- program at the Nathan Cum- Brown held several positions work with some of the pre- sidered the role of the Smith- mings Foundation in New at The Brooklyn Museum: eminent museum evaluators, sonian in the development of York; she positioned the or- museum educator (1977- educators and thinkers in the a national museum devoted ganization as a leading arts 1982), manager of school and field. Brown earned her bach- exclusively to the documenta- grant maker that supports community programs (1982- elor’s degree from Pratt Insti- tion of African American life, institutions that are committed 1984) and assistant director tute in New York City and art, history and culture. She to excellence, diversity and for government and commu- master’s degree in museum developed the Institution’s community involvement. Dur- nity relations (1985). education from Bank Street final study on the project and ing the early years of her ten- College of Education. She a program plan for the pro- ure at the foundation, Ms In addition to working in the earned her law degree from posed museum. In 1991, she Brown worked to strengthen museum and philanthropy Brooklyn Law School.

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From the President’s Desk . . .

Each year AAAM continues to advance its mission of sup- porting African and African American focused museums on a national and international level. Through our pro- grams, we also support the museum professionals who protect, preserve and interpret African and African American art, history and culture.

The goal of AAAM is to continue to make a difference in the larger museum field but especially among our mem- bers. For those members who have not yet renewed, please do so. We look forward to having you back and seeing you in Baltimore for the annual AAAM conference.

Thanks again for your generous support of our efforts to enhance the African American museum field.

On behalf of the African American Association of Muse- Samuel W. Black ums, I would like to thank each of our individual and in- Senator John Heinz History Center stitutional members for renewing their annual member- President AAAM ships; your commitment to AAAM is sincerely appreciat- Phone: 412-454-6391 ed. Email: [email protected]

Are you a Member? As the oldest organization advocating on behalf of African American professionals and museums, AAAM has proven itself vital to those engaged in this work. The opportunity to network with colleagues while advancing the field, our institutions, our galleries, and centers remains invaluable. Newly instituted membership fee structures will broaden the reach of AAAM while bringing us together as a community of museum professionals. A two-year option is currently offered for indi- viduals and institutions; the institutional rate is based on annual budgets. Retirees wishing to main- tain their membership and corporate sponsors seeking to engage the AAAM mission can also join. Members now have the option to secure a lifetime membership in AAAM, paying for that level in five $100.00 installments. All 2012 annual meeting non-member full conference registrations will include a one year AAAM membership. Now is the time to renew an individual or institutional member- ship in AAAM. Visit our website at www.blackmuseums.org to download an application.

INDIVIDUAL MEMBERSHIP Retiree $25 Extended (two year term) $45 Student $25 Extended (two year term) $45 Individual Member $55 Extended (two year term) $99 Scholar $65 Extended (two year term) $117 Trustee/Board Member $75 Extended (two year term) $135 Lifetime Individual $500 (payable in 5 annual installments) INSTITUTIONAL MEMBERSHIP (based on annual budget level) Under $25,000 $125 Extended (two year term) $225 $25,000 - $100,000 $175 Extended (two year term) $315 $100,000 - $500,000 $300 Extended (two year term) $540 $500,000 - $1,000,000 $500 Extended (two year term) $900 Over $1,000,000 $1,000 Extended (two year term) $1,800 AFFILIATE MEMBERSHIP (based on annual budget level) $0 - $100,000 $125 Extended (two year term) $225 $100,000 - $500,000 $250 Extended (two year term) $450 Over $500,000 $500 Extended (two year term) $900 CORPORATE MEMBERSHIP Corporate Membership $1000

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