THE PRESERVATION OF HMONG INTANGIBLE CULTURAL HERITAGE IN AMERICAN MUSEUMS
A Thesis submitted to the faculty of $ 5 San Francisco State University In partial fulfillment of ^ 1 ! ^ the requirements for w the Degree
Master of Arts
In
Museum Studies
by
Nancy Her
San Francisco, California
May 2018 Copyright by Nancy Her CERTIFICATION OF APPROVAL
I certify that I have read The Preservation of Hmong Intangible Cultural Heritage in
American Museums by Nancy Her, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree
Masters of Art in Museums Studies at San Francisco State University.
-HEttwardIward Luby, Ph.D. Professor
______Christine Fogarty, M!A. Lecturer of Museum Studies Associate Director, SFSU Global Museum THE PRESERVATION OF HMONG INTANGIBLE CULTURAL HERITAGE IN AMERICAN MUSEUMS
Nancy Her San Francisco, California 2018
A powerful but currently underutilized tool in the American museum community is integrating intangible cultural heritage (ICH) into museum activities, where ICH is defined as a community’s oral traditions, performing arts, and other expressions that help maintain cultural diversity in the face of growing globalization. To understand how American museums can work to serve communities, museum exhibits that involve the ICH of the Hmong, a group that mostly came to the United States beginning in the 1970s from Southeast Asia in the wake of the Vietnam War, will be examined in this thesis. A review of relevant literature and three case studies of museums and their Hmong-related exhibitions is conducted, followed by a discussion on how such museums have worked to preserve Hmong ICH. It is concluded that American museums must go “outside of their walls” and engage directly with the community to preserve Hmong ICH.
I certify that the Abstract is a correct representation of the content of this thesis.
Date ACKNOWLEDGEMENTS
I would like to dedicate this thesis to my parents, Ye Her and Sae Vang, the inspiration for my research. Thank you for instilling in me the importance of knowing and celebrating our Hmong culture.
Thank you to my thesis committee, Professor Edward Luby and Christine Fogarty, for your guidance and support.
Thank you to my family and friends for your constant words of encouragement.
v TABLE OF CONTENTS
List of Figures...... viii
List of Appendices...... ix
Chapter 1 Introduction ...... 1
Chapter 2 Intangible Cultural Heritage...... 6
UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage ...6
Definitions...... 8
International Intangible Cultural Heritage Preservation...... 12
Chapter 3 The Role of Museums and Intangible Cultural Heritage ...... 15
The Modem Museum...... 16
Museum as A Place of Stewardship...... 17
Museums and Intangible Cultural Heritage ...... 18
Co-Creation and Museums ...... 20
Chapter 4 The Hmong...... 25
Hmong Demographic Trends in the United States ...... 25
The Hmong Experience ...... 26
Hmong Culture...... 28
Paj Ntaub: Hmong Intangible Cultural Heritage ...... 29
Chapter 5 Methodology ...... 33 Literature Review...... 33
Case Studies...... 34
Chapter 6 Minnesota Historical Society ...... 39
Public Programming ...... 41
Interview Results: We Are Hmong Minnesota/Peg Yog Hmoob...... 42
Analysis...... 46
Chapter 7 Missoula Art M useum...... 49
Public Programming ...... 50
Interview Results ...... 51
Analysis...... 55
Chapter 8 Valene L. Smith Museum of Anthropology...... 57
Public Programming ...... 58
Interview Results: Hmong Reflections: Stories o f Our Own ...... 60
Analysis...... 64
Chapter 9 Discussion ...... 66
Chapter 10 Conclusion and Recommendations ...... 74
Conclusions...... 74
Recommendations...... 77
Further Research...... 78
References...... 80
Appendices...... 87
vii LIST OF FIGURES
Figures Page
1. Image of Minnesota History Center in Saint Paul, Minnesota...... 39 2. Let the Spirit Fly, 2015...... 44 3. Dual language text panels in Hmong and English ...... 45 4. Hmong cultural objects...... 47 5. Hmong Voices in Montana, 1992 ...... 52 6. Crossing the River: Hmong Story Cloths, 2014...... 53 7. From Flower Cloth to Story Cloth, 2017 ...... 54 8. Display of a Hmong story cloth and traditional Hmong clothes...... 61 9. Entrance to the exhibition...... 62 LIST OF APPENDICES
Appendix Page
1. UNESCO 2018a...... 87 2. UNESCO 2018b...... 94 3. UNESCO 2018c...... 97 4. UNESCO 2018d ...... 98 5. UNESCO 2018e ...... 99 6. UNESCO 2018f...... 100 7. UNESCO 2018g...... 101 8. UNESCO 2018h...... 103 9. UNESCO 2018i...... 104 10. UNESCO 2018 j...... 105 11. Wing Luke Museum 2018...... 106 12. Migration Policy Institute 2005...... 111 13. Kansas Historical Society 2018...... 115 14. Minnesota Historical Society 2018a...... 116 15. Minnesota Historical Society 2018b...... 117 16. Minnesota Historical Society 2018c...... 120 17. Minnesota Historical Society 2018d...... 121 18. Minnesota Historical Society 2018e...... 122 19. Minnesota Historical Society 2018 f ...... 124 20. Minnesota Historical Society 2018g...... 125 21. Missoula Art Museum 2018a...... 126
ix 22. Missoula Art Museum 2018b...... 128 23. Missoula Art Museum 2018c...... 129 24. Missoula Art Museum 2018d...... 130 25. Missoula Art Museum 2018e...... 131 26. Missoula Art Museum 2018 f...... 132 27. Missoula Art Museum 2018g...... 133 28. Missoula Art Museum 2018h...... 134 29. CSU Chico 2018a...... 135 30. CSU Chico 2018b...... 136 31. CSU Chico 2018c...... 137 32. CSU Chico 2018d...... 138 33. CSU Chico 2018e...... 139 34. CSU Chico 2018f...... 140 35. Center for Hmong Studies 2018...... 141 36. Hmong ABC 2018...... 142 37. PBS 2018...... 143 38. AAM 2018...... 144 39. Gerdner2010...... 145
x 1
CHAPTER 1
INTRODUCTION
Museums have traditionally focused on objects, but in the 21st century, a shift towards communities is underway, one that emphasizes how museums engage with and serve local community groups. While American museums are part of this development, objects in the collections of American museums still appear to play a dominant role in how they engage with communities, compared with museums in other areas of the world, despite the fact that a community’s oral traditions, social practices, or knowledge about the production of traditional crafts may be more important to them than a museum’s collections.
American museums are only recently beginning to learn and work with what is called “intangible cultural heritage,” defined by UNESCO as a community’s oral traditions, performing arts, social practices, rituals, festive events, knowledge and practices concerning nature and the universe, or the knowledge and skills to produce traditional crafts, which is important in maintaining cultural diversity in the face of growing globalization (UNESCO 2018a). For American museums to truly engage their communities, a powerful but currently underutilized tool is integrating intangible cultural heritage into their activities, especially in exhibits and related programming concerning the increasingly diverse groups that reside in many American communities.
One such diverse community in the United States today is the Hmong, a group 2
that mostly came to America beginning in the 1970s from Laos in the wake of the
Vietnam War (Migration Policy Institute 2005). The Hmong are an ethnic group from
Southeast Asia and China that lived in highland areas and practiced traditional agriculture and harvesting, but due to war and civil unrest in their homelands, have been displaced, with many leaving for the United States, especially California, Minnesota, and
Wisconsin.
The Hmong have endured many hardships, and today the sustainability and continued practice of their traditional customs are imperative to the longevity of their identity. Oral traditions are highly valued and are still in place today. Music, clothing, embroidery and crafts, folklores, and religion are all powerful forms of communication for the Hmong (PBS 2018). Indeed, the continuity of the Hmong is bestowed in their oral traditions and expressions, performing arts and social practices, rituals and festive events, knowledge and practices concerning nature and the universe, and traditional craftmanship.
How are American museums working with communities such as the Hmong to ensure that this community is being served, and especially, that critically important intangible cultural heritage of the Hmong is being preserved? How have museums with large numbers of Hmong in their communities responded to the Hmong community, especially through exhibits and related programs? American museums, with their role to preserve, as well as to engage communities, should be playing a vital role in meeting the needs of groups like the Hmong, where intangible cultural heritage is a key component of 3
their cultural traditions, by creating access to space, exhibitions, and by collecting objects and documenting traditional knowledge. The active participation of American museums can ensure that the practices and knowledge of Hmong cultural expressions are protected for future generations.
Indeed, as museum scholar Janet Blake argues in examining how museums can support efforts to preserve and safeguard intangible cultural heritage, “museums can play a pivotal role” in supporting the participation of cultural communities in the safeguarding process at various levels: “in order to do this effectively, museums
(especially those with a strong history of ethnographic research) must be able to expand their range of activities and, in many cases, re-consider their role within the local society and how they engage with local communities and groups” (Blake 2015, 32).
In this thesis, to understand how American museums can work to preserve and serve communities when their intangible cultural heritage is of prime importance, efforts to work with the Hmong community will be examined, by focusing on exhibitions and related programs that have featured the Hmong. A review of relevant literature and three case studies of American museums and their Hmong-related exhibitions will be conducted, followed by a discussion of how case study museums have worked to create a framework for preserving Hmong intangible cultural heritage. The thesis will close by outlining several conclusions concerning museum exhibitions and programs for preserving Hmong intangible cultural heritage, including how museums can actively work to meet the needs of the Hmong. 4
Specifically, the review of literature will be presented in Chapters Two, Three, and Four, and will outline the international framework for understanding intangible cultural heritage, especially the UNESCO 2003 Convention for the Safeguarding of the
Intangible Cultural Heritage, which sets guidelines and safeguarding standards. The literature review will also present an overview of the Hmong culture and population trends in the United States, and outline recent changes in how museums relate to communities.
Three case studies of American museums that have featured the Hmong and that have integrated intangible cultural heritage into their exhibitions and related programming will then be presented in Chapters Six, Seven, and Eight of this thesis.
Chief curators and registrars were interviewed as content experts to explore exhibition development procedures, community engagement efforts, and practices concerning objects. The exhibitions discussed include We Are Hmong Minnesota/Peb Yog Hmoob at the Minnesota Historical Society, Hmong-related exhibitions at the Missoula Art
Museum, and Hmong Reflections: Stories o f Our Own at the Valene L. Smith Museum of
Anthropology.
Museums today have a responsibility to work with and create accessibility for all members of their communities. This is especially true and urgent for those community groups, such as the Hmong in the United States, whose intangible cultural heritage could dissipate if no preservation efforts or policies are in place. By offering exhibitions with
Hmong community groups that create opportunities for community engagement, and by 5
collecting knowledge and skills from source communities, American museums can reaffirm their vital role as a place for connection, collaboration, and preservation. 6
CHAPTER 2
INTANGIBLE CULTURAL HERITAGE
American museums are just now beginning to understand and work with intangible cultural heritage, specifically Hmong intangible cultural heritage. For this reason, it is important to outline the United Nations Educational, Scientific and Cultural
Organization (UNESCO) Convention for the Safeguarding of the Intangible Cultural
Heritage and understand how it can apply to American museum best practices.
UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage
On October 17th, 2003, the Convention for the Safeguarding of the Intangible
Cultural Heritage, a UNESCO treaty, was adopted by the UNESCO General Conference at its 32nd session in Paris (UNESCO 2018a). The purposes of the Convention are to safeguard intangible cultural heritage and operate on both national and international levels (UNESCO 2018a). At the national level, State Parties are to “take the necessary measures to ensure the safeguarding of the intangible cultural heritage present in its territory” (UNESCO 2018a). To do so, State Parties must identify intangible cultural heritage in its territory, create inventories, foster research methodologies, establish and maintain documentations, and so forth (UNESCO 2018a). At the international level, the
Convention promotes international cooperation and assistance. This is possible by “the exchange of information and experience” (UNESCO 2018a) and State Parties “cooperate at the bilateral, subregional, regional, and international levels” (UNESCO 2018a). As of 7
2018, 177 States have ratified, approved, or accepted the Convention (UNESCO 2018b).
The United States has not ratified or accepted the Convention at this time. The provisions of the Convention are as followed:
I. General Provisions II. Organs of the Convention III. Safeguarding of the Intangible Cultural Heritage at the National Level IV. Safeguarding of the Intangible Cultural Heritage at the International Level V. International Cooperation and Assistance VI. Intangible Cultural Heritage Fund VII. Reports VIII. Transitional Clause IX. Final Clauses
Three types of lists of intangible cultural heritage are published and maintained by the Intergovernmental Committee of the Convention. The Committee is composed of 24 elected States Parties (UNESCO 2018a). The three lists are:
• Representative List of the Intangible Cultural Heritage of Humanity • The List of Intangible Cultural Heritage in Need of Urgent Safeguarding • Register of Best Safeguarding Practices
The Representative List of the Intangible Cultural Heritage of Humanity was established to better ensure the significance of intangible cultural heritage worldwide. It is “made up of those intangible heritage elements that help demonstrate the diversity of this heritage and raise awareness about its importance” (UNESCO 2018d). The List of Intangible
Cultural Heritage in Need of Urgent Safeguarding is composed of sites that “require urgent measures to keep them alive” (UESCO 2018d). Interested parties can offer and take adequate safeguarding measures. The Register of Good Safeguarding Practices 8
include programs and safeguarding practices that best meets the criteria of the
Convention. These criteria are:
1. The program, project or activity involves safeguarding, as defined in Article 2.3 of the Convention. (See Appendices for Article 2.3.) 2. The program, project or activity promotes the coordination of efforts for safeguarding intangible cultural heritage on regional, subregional and/or international levels. 3. The program, project or activity reflects the principles and objectives of the Convention. 4. If already completed, the program, project or activity has demonstrated effectiveness in contributing to the viability of the intangible cultural heritage concerned. If still underway or planned, it can reasonably be expected to contribute substantially to the viability of the intangible cultural heritage concerned. 5. The program, project or activity has been or will be implemented with the participation of the community, group or, if applicable, individuals concerned and with their free, prior and informed consent. 6. The program, project or activity may serve as a subregional, regional, or international model, as the case may be, for safeguarding activities. 7. The submitting State(s) Party(ies), implementing body(ies), and community, group or, if applicable, individuals concerned are willing to cooperate in the dissemination of best practices, if their program, project or activity is selected. 8. The program, project or activity features experiences that are susceptible to an assessment of their results. 9. The program, project or activity is primarily applicable to the particular needs of developing countries (UNESCO 2018e).
The lists are updated annually and published online. They can be accessed through the
UNESCO website.
Definitions
The provisions listed above are the guidelines and procedures to the Convention. The provisions provide definitions, establishes the roles of State Parties, and proposes ways to 9
ensure the preservation of intangible cultural heritage. In Article 2 of the Convention provision, intangible cultural heritage, is defined as:
the practices, representations, expressions, knowledge, skills - as well as the instruments, objects, artifacts and cultural spaces associated therewith - that communities, groups and, in some cases, individuals recognize as part of their cultural heritage. This intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity (UNESCO 2018a).
UNESCO describes that “safeguarding intangible cultural heritage is about the transferring of knowledge, skills, and meaning.” Safeguarding as defined by the
Convention is:
measures aimed at ensuring the viability of the intangible cultural heritage, including the identification, documentation, research, preservation, protection, promotion, enhancement, transmission, particularly through formal and non-formal education, as well as the revitalization of the various aspects of such heritage (UNESCO 2018a).
The Convention emphasizes the transmission of heritage from generation to generation.
For this reason, any safeguarding measure refers to strengthening and supporting those knowledge and skills for future generations. These measures must always be created and applied with the involvement and consent of the community. For this reason, if it is considered no longer relevant or meaningful for the community, intangible cultural heritage may not be revitalized (UNESCO 2018c): “Only intangible cultural heritage that 10
is recognized by the communities as theirs and that provides them with a sense of identity and continuity is to be safeguarded” (UNESCO 2018c).
Intangible cultural heritage manifests in oral traditions and expressions; performing arts; social practices, rituals, and festive events; knowledge and practices concerning nature and the universe; and traditional craftsmanship (UNESCO 2018a).
These domains of manifestations are intended to be inclusive and invites State Parties to use sub-categories or different systems of domains if needed.
Oral traditions and expressions play a crucial part in keeping culture alive by spoken forms. Examples of spoken forms may be riddles, tales, storytelling, prayers, chants, songs, and more. They are used to pass on information, values, and collective memory (UNESCO 2018f). UNESCO suggests ways to help safeguard oral traditions is by using information technology. Audio or video may be used to record expressive features, such as intonation. Recordings can then be broadcasted through mass media and communication technologies to their communities of origin and to a greater audience
(UNESCO 2018f).
Performing arts, such as traditional music, dance, and theater, are most universal as it can be found in every society. Performing arts may recount a community’s history.
Music may be performed on varied occasions, whether it be marriages, rituals, festivals, or other events. UNESCO suggests that the preservation of traditional performing arts should be focused on the communication of knowledge and techniques, of playing and making instruments, and strengthening the relationship between master and learner 11
(UNESCO 2018i). “Performances may also be research recorded, documented,
inventoried, and archived” (UNESCO 2018i).
Distinctive social practices that are practiced specifically to a community that
support a sense of identity and continuity with the past were given priority in the
Convention (UNESCO 2018h). Social practices shape everyday life for members of the
community. Rituals and festive events often occur at special times and places. For
examples rituals may be performed at births, weddings or funerals. Social practices,
rituals, and festive events may include a wide variety of expressions and physical
elements, such as special clothing, special food, gestures and words, or others (UNESCO
2018h). Identities of communities or groups who practice such social practices, rituals
and festive events are often reaffirm and link them to a greater worldview (UNESCO
2018h).
Knowledge and practices concerning nature and the universe are developed by
communities interacting with the natural environment. These interactions may include
traditional ecological wisdom, indigenous knowledge, traditional healing systems,
shamanism, and much more (UNESCO 2018i). UNESCO suggests that the biggest threat
to knowledge and practices concerning nature and the universe is globalization. Rapid
urbanization and the expansion of agricultural lands have affected community’s natural
environment. UNESCO proposes that protecting the natural environment is a link to preserving this way of belief and knowledge. 12
Lastly, the focus of traditional craftsmanship is with the skills and knowledge of artistry. Examples of traditional craftsmanship includes clothing and jewelry, musical instruments, toys, decorative art, and much more. UNESCO advocates for “artisans to continue to produce craft and to pass their skills and knowledge onto others, particularly within their own communities” (UNESCO 2018j).
Now that basics of the Convention have been outlined, an assessments of successful international intangible cultural heritage preservation efforts in Indonesia will be outlined briefly below.
International Intangible Cultural Heritage Preservation
In 2009, a successful intangible cultural heritage safeguarding project called,
“Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational schools and polytechnic students, In collaboration with the
Batik Museum in Pekalongan,” was selected as a Best Safeguarding Practice (UNESCO
2018,4).
Batik is a traditional craft practice in Java and other areas in Indonesia. Patterns are created by using a resist-dye technique and applying wax on cloth. To apply hot wax for making dots and lines, a special bamboo pen with a tiny copper funnel is used
(UNESCO 2018, 14). The batik motifs symbolize nature, culture, history and the social status of local communities (UNESCO 2018, 14).
Pekalongan, also known as “Batik City,” is located in the north coast of central
Java. In this city, batik has been the main source of income for decades. Traditionally 13
batik had been produced by hand in family workshops and small-scale cottage industries, and taught orally for generations (UNESCO 2018, 14). However, due to a decrease in demand and the advancement of technology, batik production in Pekalongan has come under threat (UNESCO 2018, 14). As a result, younger members of the Indonesian community became “less aware of batik culture and are less attracted to a career as a batik-maker” (UNESCO 2018, 14).
In 2006, the Batik Museum of Pekalongan, a new museum devoted to the culture of batik culture and art opened. Unfortunately, it attracted few visitors, which attested to a lack of public interest in this heritage and tradition that once contributed to the livelihood of Indonesia (UNESCO 2018, 14). This left the director of the Batik Museum,
Zahir Widadi to wonder about how to revitalize the skills and knowledge necessary to encourage public interest in the batik culture and how to involve young people
(UNESCO 2018, 16).
The director contacted educational institutions to discuss the idea of offering batik lessons to students (UNESCO 2018, 22). The main objectives of the batik education program were to increase awareness and appreciation of the cultural heritage of
Indonesian batik by emphasizing it history, cultural values, and traditional skills; and to involve Museum staff with student and the general public in educational activities
(UNESCO 2018, 22). Museum staff were trained in giving instructions in batik cultural values and traditional handicrafts, as well as, responsible for producing written materials for teaching the craft (UNESCO 2018, 28). With a growing interest, the batik educational 14
program expanded beyond the walls of the museum and expert batik practitioners were consulted to teach at schools (UNESCO 2018, 30).
The batik education and training program initiated by the Batik Museum made an important contribution to revitalizing of batik-making in Indonesia (UNESCO 2018, 46).
Young people gained interest and a new appreciation of the skills and knowledge required to produce traditional Indonesian batik. The success of the program relied on the participation of the community, hands-on learning combined with concepts and context, and inclusive partnerships (UNESCO 2018, 58-59).
Christina Kreps emphasizes in Indigenous Curation, Museums, and Intangible
Cultural Heritage, that “it is logical that museums should play a prominent role in promoting intangible cultural heritage and the aims of the Convention since museums have long been devoted to curating and preserving cultural heritage” (Kreps 2009, 201).
As the case of Batik Museum of Pekalongan highlights, museums are key sites for promoting and safeguarding intangible cultural heritage (Kreps 2009, 206).
The following chapter will explore intangible cultural heritage in American museums; how museums are beginning to understand and explore intangible cultural heritage; and how museums are contributing to efforts to promote and preserve intangible cultural heritage. 15
CHAPTER 3
THE ROLE OF MUSEUMS AND INTANGIBLE CULTURAL HERITAGE
In this chapter, the role of museums as a place of stewardship, co-creation, and preservation of intangible culture heritage will be analyzed. Museums traditionally have had a focus on physical material or tangible culture. However, there has recently been a shift in the overall direction and missions of museums towards being more inclusive, serving a range of community-based purposes, and considering how museums can support “go beyond” an object-based approach and preserve cultural traditions that are associated with intangible cultural heritage.
This chapter will begin by discussing an article by de Varine-Bohan (1997) that outlines recent changes in museums and the shift to the “new museum.” This article provides a contextual framework for understanding why incorporating intangible cultural heritage in exhibitions and collections are important measures for preservation, for the continuity of a community’s identity, and for the promotion of learning. Next, collections stewardship standards established by the American Alliance of Museums (AAM) will be outlined. These standards provide a framework to guide museums in practicing stewardship, and thus, how museums should engage with and use their collections.
Finally, Patrick J. Boylan’s (2006) assessment of current museum intangible cultural heritage preservation methods will be outlined, along with Nina Simon’s approach to 16
community-based co-creation, followed by an example of co-creation efforts at the Wing
Luke Asian Art Museum in Seattle.
The Modern Museum
Hugues de Varine-Bohan is a French historian, museologist, and community development specialist. He served as Director of ICOM (International Council of
Museums) from 1965 to 1974 and spearheaded the New Museology movement along with Georges Henri Riviere.
In the article, The Modern Museum: Requirements and Problem of a New
Approach (1997), de Varine-Bohan argues that “a new form of museum has recently come into being, the ‘ecomuseum,’ or ecological museum, devoted to the environment, whether cultural or natural, and involving the participation of man himself as an actor than a visitor” (1997, 81). He calls for “participatory action” to identify community groups and to use cultural heritage as a resource for development.
De Varine-Bohan describes an ecomuseum as a museum that is focused on space, the use of its collections, and the involvement of local communities. De Varine-Bohan argues that museums are more than just the space they occupy, and that they must go beyond their walls and embody the communities they serve because the museum is the identity of a place, not only architecture (de Varine-Bohan 1997, 82). He further argues that collections should be accessible; that educational and cultural activities should be free; that museums should be selective and ‘client-centered;” and museums should promote receptive learning. 17
In sum, de Varine-Bohan’s description of the “new museum” is one where community is the center, where objects are not of paramount concern, and where museum staff work closely with community partners to supply highly accessible exhibits and programs to diverse populations.
Museums as A Place of Stewardship
Even though new models have been developed, collections remain a core feature of many museums, and collections stewardship continues to be an important obligation.
According to AAM, the purpose and importance of stewardship its emphasis on the careful management of collections that have been entrusted to a museum: “effective collections stewardship ensures that the objects the museum owns, borrows, holds in its custody and/or uses are available and accessible to present and future generations. A museum’s collections are an important means of advancing its mission and serving the public” (AAM 2018). To ensure proper collections stewardship, museums should implement strategic plans and act ethically, which includes understanding the provenance and provenience of collection items, supplying access to them, ensuring collections are cared for, and meeting standards. The standards in place for collections by the AAM ensure that responsible and thoughtful planning, decision making, and systematic development takes place (AAM 2018). Standards regarding collections stewardship as provided by AAM are:
• The museum owns, exhibits or uses collections that are appropriate to its mission. • The museum legally, ethically and effectively manages, documents, cares for and uses the collections. 18
• The museum conducts collections-related research according to appropriate scholarly standards. • The museum strategically plans for the use and development of its collections. • The museum, guided by its mission, provides public access to its collections while ensuring their preservation. • The museum allocates its space and uses its facilities to meet the needs of the collections, audience and staff. • The museum has appropriate measures in place to ensure the safety and security of people, its collections and/or objects, and the facilities it owns or uses. • The museum takes appropriate measures to protect itself against potential risk and loss.
Notably, AAM does not specifically include intangible cultural heritage in their stewardship standards. However, intangible cultural heritage can be associated with collections, so its care and preservation should be included in stewardship standards. For this reason, when creating collections policy and procedures, museums should consider and enlist strategies for proper documentation and care of intangible cultural heritage.
Museums and Intangible Cultural Heritage
To examine the impact of intangible cultural heritage and museum management,
Boylan (2006) very helpfully reviews the international framework in place for identifying and protecting intangible cultural heritage and discusses the UNESCO Safeguarding
Convention’s likely impact on the museum profession.
To begin, it is helpful to recall the core features of the UNESCO Safeguarding
Convention, as outlined in Chapter Two. The purposes of the Convention are to safeguard intangible cultural heritage and operate on both national and international levels (UNESCO 2018a). Intangible cultural heritage consists of oral traditions and 19
expressions; performing arts, social practices, ritual and festive events; knowledge and practices concerning nature and the universe; and traditional craftsmanship. The
Convention represents a major development, as well as an opportunity and challenge for museums. Boylan argues that museums, especially those working in the field of ethnography, folk life and traditional culture, have been working with communities and recording and diffusing their oral traditions and languages alongside the collecting of their material culture for some time, and that some museums “have played an important role in maintaining and promoting traditional languages” (Boylan 2006, 57).
Boylan makes several points about intangible cultural heritage and museums that are worth highlighting here. First, one way to preserve oral traditions and expressions is digitization. Digitizing collections of intangible cultural heritage related material is a measurable preservation method. Documenting traditional practices requires the use of stewardship skills and thorough documentation.
Second, museums have successfully incorporated intangible cultural heritage by offering cultural performing arts programs. Some museums even have dedicated spaces for performances and activities. Boylan notes that when incorporating performing arts in museums, there is a twofold benefit: “[museums are] actively supporting and promoting the intangible cultural heritage, and at the same time demonstrating the value and importance of the museum to their wider community” (Boylan 2006, 58).
Third, museums are engaged in recording and promoting social practices, rituals and festive events by organizing programs focused on collection items related to such 20
rituals and events (Boylan 2006). For example, some museums have organized annual or regularly occurring events such as special exhibitions or performances that are important to some of their local populations.
Fourth, Boylan explains that many science and ethnographic museums have presented exhibitions and special activities focusing on traditional views of the world and the universe (Boylan 2006).
Finally, Boylan notes that traditional craftsmanship is most recognizable by the display of objects in museums. The true aspect of traditional craftsmanship is the way in which it has been made and the way it is to be used. Boylan therefore argues that “not only should museums be investigating and recording manufacturing techniques and methods of use, but they can play an important role in ensuring that these techniques and skills are maintained” (Boylan 2006, 59).
Co-creation and Museums
The preservation of intangible cultural heritage and museums’ work with it involves the inclusion of its source community. An important approach to community that seems particularly insightful when considering how museums can integrate intangible cultural heritage into their efforts is Nina Simon’s model of co-creation
(2010). As explained in her book The Participatory Museum, museums should foster relationships with their communities and encourage participation by co-creation. In line with de Varine-Bohan, Simon’s outline of co-creative projects is another example of the 21
involvement of communities and how it can be successfully adapted into the missions of museums.
Simon explains that co-creative projects is a form of visitor participation and that there are three main reasons that cultural institutions engage in these projects: “to give voice and be responsive to the needs and interests of local community members, to provide a place for community engagement and dialogue, and to help participants develop skills that will support their own individual and community goals” (Simon 2010,
263). Co-creative projects can be started by museums inviting outside groups “to propose and work with staff on a project of mutual benefit,” or by a community group approaching the museum seeking assistance (Simon 2010, 264).
In co-creative projects, there is established trust in the communities to comprehend set museum standards and policy. The successfulness of co-creative projects relies on participation from community groups to execute the project and from museum staff to provide the skills and tools needed (Simon 2010). Projects are partnerships with communities that align in shared goals, that should investigate how and why. Simon explains that without a full investigation of the why, challenges can arise because goals and expectations are not aligned.
The Wing Luke Asian Museum of Asian Pacific American Experience in Seattle,
Washington, is an example of an organization dedicated to co-creative exhibition development. Their commitment to cocreation ensures that community groups are engaged in every step of the exhibition development. Their community-developed and 22
community-based model aims to empower community groups by providing space for groups to tell the stories that are most meaningful to them.
At the same time, it is clear that such an approach to exhibit development allows community groups to note that intangible cultural heritage is an important part of their culture, and that it should be included in exhibits. To understand how museums can develop exhibits through a co-creation approach, the process of exhibition development at the Wing Luke Asian Museum is outlined in detail below
The first stage out of the six stages the Wing Luke Asian Museum follows in making an exhibition is initial outreach. The Museum and community groups begin to learn about the one another and their dynamics. At the end of initial outreach, the
Museum confirms a list of Community Advisory Committee (CAC) members and hold their first meeting to begin exhibition development (Wing Luke 2018). The CAC consists of ten to 15 individuals and they are the primary decision makers for exhibit-related components. They are responsible for developing exhibition themes, messages, and other related content.
The second stage is exhibition development. This occurs over a series of intensive meetings. By the end of the exhibition development stage, all components related to the theme and message of the exhibition should have been identified and envisioned (Wing
Luke 2018).
The third stage is research and gathering. Museum staff, CAC members, interns, and volunteers all proactively study and enquire information from community 23
organization files, online databases, libraries, and historic societies. Oral history interviews are also conducted in this stage (Wing Luke 2018). Equipment, tracking, and processing is provided and completed by the Museum. Any supporting materials for the exhibition, such as photographs and documents, are contributed during research to be potentially included in the exhibition.
The next stage is exhibit design. Museum staff are responsible for fabrication and lead design, but exhibit decisions and directions are delegated by the CAC (Wing Luke
2018). This ensures that the general design is in line with exhibition goals and that the co- creative project is designed to deliver a meaningful and relevant to community groups.
The fifth stage is the exhibit opening. Invitations are sent out to Museum members, the CAC, participating community group and others. Mainstream media is also invited to cover the opening and therefore creates a mass display to a bigger general audience (Wing Luke 2018).
The final stage is follow up. When the exhibit closes, a thorough documentation process is required. Materials are archived and placed in the Governor Gary Locke
Library and Community Heritage Center, items loaned from the community are returned to its rightful owner, and the next co-creative project is identified by community members for future exhibits (Wing Luke 2018).
Overall, the Wing Luke Asian Museum’s approach to exhibit development encourages community groups to co-create exhibits, and this undoubtedly leaves room for such groups to stress that intangible cultural heritage must be included in exhibits. 24
In sum, museums such as the Wing Luke Asian Museum, and the work of people such as Nina Simon, Patrick J. Boylan, and Hugues de Varine-Bohan, highlight the role that organizations can play in presenting and preserving the intangible cultural heritage of community groups. In particular, the Wing Luke Asian Museum values community ownership of their stories. For this reason, opportunities to develop community led exhibitions are nurtured to encourage community empowerment by connecting and collaborating. Museums can provide a safe space for community groups to express experiences and stories through co-creative projects. This is an important way to incorporate intangible cultural heritage into museum educational and exhibition efforts and to support preserving the continuity of a community group’s identity.
The following chapter will explore the Hmong culture and how museums are beginning to work with and understand this community group. 25
CHAPTER 4
THE HMONG
This chapter will provide an overview of the Hmong demographic trends in the
United States and a general outline of Hmong intangible cultural heritage. The primary resources consulted for this chapter include 2010 United States Census, 2016 American
Community Survey, An Introduction to Hmong Culture by Ya Po Cha (1968), Hmong Art
Tradition and Change (1986), and various webpages on Hmong history and textiles.
These resources form the basis of this chapter for three reasons. First, the U.S. Census is mandated by the U.S. government, and citizens are required by law to complete census forms, thus, supplying important information on the Hmong community. Second, the
2016 American Community Survey report is a more recent source of information and outlines relevant social and economic data on the Hmong population. Third, An
Introduction to Hmong Culture (1968) provides a holistic perspective of the Hmong way of life, written by someone from the community.
Hmong Demographic Trends in the United States
The 2010 U.S.Census reported that there were 247,595 Hmong persons in the 50
U.S. states, the District of Columbia, and Puerto Rico. The top five states with the largest
Hmong population were California (260,076), Minnesota (66,181), Wisconsin (49,240),
North Carolina (10,864), and Michigan (5,924). In Minnesota and Wisconsin, the Hmong were the largest detailed Asian group, with 64,000 Hmong residing in the metro area of 26
Minneapolis-Saint Paul-Bloomington, MN-WI. In the metro areas of the Central Valley of California, there were 31,771 Hmong persons in Fresno, 26,996 Hmong persons in
Sacramento-Arden-Arcade-Roseville, 7,254 Hmong persons in Merced, 6,968 Hmong persons in Stockton, 4,354 Hmong persons in Chico, and 2,883 Hmong persons in Yuba
City.
Analyzing more recent reports, in 2016, the American Community Survey reported that 296,890 persons of Hmong origin were counted in the 50 U.S. states, the
District of Columbia and Puerto Rico. Compared to the 2010 U.S. Census, the Hmong have experienced an increase in population in the last eight years. The highest percentage of Hmong persons by age was between the ages of 5 to 17 years old at 25.7%. The second highest percentage of Hmong persons by age was 23% between the ages of 25 to
34 years old. The median age for the Hmong is 24 years old.
Analyzing the data here shows that the Hmong community today is composed of many young people. This is noteworthy because the Hmong people generally view elders with respect and deference, as Hmong elders are considered to possess life experience and wisdom (Gerdner 2010). The wisdom of Hmong elder’s supports and fosters the rich
Hmong oral traditions.
The Hmong Experience
The Hmong are an ethnic group from Southeast Asia and China. They are deeply rooted in their traditional customs. Traditionally, the Hmong lived in highland areas and practiced agriculture and harvesting. They cultivated and lived from the land, foraging for 27
most food. The most recent place of origin for the Hmong residing in the United States is
Laos (Migration Policy Institute 2005).
During the height of the Vietnam War in Indochina, Americans believed the
Hmong had exceptional combat skills and recruited Hmong men to join in a CIA-led ground operation (Migration Policy Institute 2005). Alienated, due to their involvement with the CIA serving as the U.S. Secret Army, the Hmong were persecuted and expatriated in Laos when the country fell under Communist reign. Many fled to neighboring countries, such as Thailand, living in refugee camps. Others resettled in
Western countries, such as the U.S., France, and Australia. In 1975, the first group of
Hmong, approximately 3,500 people, immigrated to the U.S. (Migration Policy Institute
2005). The largest wave of Hmong immigrants continued to arrive in the U.S. during the
1980s and continued through the 1990s. In 2004 the U.S. experienced another major resettlement of Hmong refugees. Migration Policy reports that in 2004, over 15,000
Hmong refugees from Laos were resettled in the U.S.
The second wave of Hmong resettlement in the U.S. was due to the closing of the
Buddhist Wat Tham Krabok monastery in Thailand. Many official Hmong refugee camps were closed in the mid-1990s. Because of that, many Hmong fled to rural areas and were sent to transit camps to await repatriation to Laos or fled to the Buddhist monastery
(Migration Policy Institute 2005). Though the Thai government did not officially recognize the monastery as a refugee camp, a local religious leader had organized shelter and services. Decisions were made by Thai officials to close the monastery in 2003. The 28
Hmong refugees who had sought shelter there were refused repatriation by the Laotian government due to their past resistance activities. For this reason, the US agreed to resettle those Hmong registered at the temple in the early 2000s. This group was resettled with family and relatives, mainly in California, Minnesota, and Wisconsin (Migration
Policy Institute 2005). It is conclusive that this second wave of Hmong immigrants contributed to the increase of Hmong population in the U.S. over the last eight years, since the 2010 Census report.
Hmong Culture
The Hmong are a cultural group that have endured many hardships. Thus, the sustainability and continued practice of their traditional customs are imperative to the longevity of their identity. Oral traditions are highly valued and are still in place today.
Music, clothing, embroidery and crafts, folklores, and religion are all powerful forms of communication for the Hmong (PBS 2018).
Hmong history, rituals, and ceremonial practices have been passed down from one generation to the next through their rich oral tradition. The Hmong did not have an established writing system until the early 1950’s, when missionaries William Smalley,
Linwood Barney, and Yves Bertrais developed the Hmong Romanized Popular Alphabet
(Cha 1968). This writing system uses the symbols of the Roman alphabet to depict the
Hmong tonal language. However, presently many Hmong people continue to practice and preserve these rituals orally. Examples of rituals and ceremonies include funerals, New
Year celebrations, and weddings (Cubbs 1986, 21). 29
The identity of the Hmong is strongly integrated in their traditional crafts. In an interview transcribed and translated by the Missoula Art Museum, Ying Thao, a grandmother from Sam Neua, reflects:
The younger generation doesn’t know how to make the clothes, or even how to wear them properly without help... parents and elders taught everything by memory and it is knowledge kept inside. The elder Hmong do everything out of their heads. No patterns, no books. By observation, one learned to be a leader Now, everything is missing, except that we still feel that we are Hmong (Miller, 35).
Hmong traditional crafts include making hemp clothing, sewing paj ntaub and story cloths, weaving baskets, and manufacturing tools, such as knives. As Thao states here, Hmong experiences in the U.S. have slowly diminished their traditional way of thinking and making. However, there is still a strong tie to one’s Hmong identity and wanting to preserve it.
Paj Ntaub: Hmong Intangible Cultural Heritage
Considering that the development of the written Hmong language is fairly new, for this reason, much of the Hmong culture was shared and passed from generation to generation orally or through textiles and crafts. Traditional Hmong textile craftsmanship will be examined in detail below.
The Hmong placed emphasis on their traditional apparel and created elaborate paj ntuab (directly translates in English to “flower cloth”) and story cloths. Traditionally, in
Laos, Hmong girls learned to sew at an early age (Cubbs 1986, 21). The creation of
Hmong costumes required training and thorough knowledge of needlework, including 30
applique, reverse applique, embroidery, and batik. In addition to needlework skills,
Hmong girls and women also developed a proficiency in making cloth (Cubbs 1986, 21).
The brightly decorated costumes were referred by the Hmong as paj ntaub. It is used as
everyday clothing, and also serves a major role in Hmong ceremonial life (Cubbs 1986,
21).
New attire is made and worn to Hmong New Year festivals, to celebrate the
fortunes of the past year and to also foreshadow prosperity for the future. Wearing old
clothing could signify poverty and misfortune (Cubbs 1986, 21). The New Year festival
was also a time of courtship and wearing a fine traditional dress aided in attracting a
prospective mate. Young women could display their textile skills on their elaborate
costumes, while extravagant clothing worn by young men hinted at their possible wealth
(Cubbs 1986,21).
Additionally, weddings are another occasion to wear and showcase special
traditional costumes. The bride would wear intricately decorated clothing, gifted to her
from her family, as a dowry. A baby carrier would also be gifted to the bride from her
mother, to promise the birth of many children (Cubbs 1986, 21). Traditional costumes are
also given at the time of birth and funeral.
Traditional costumes also differ depending on which Hmong group one identified
with. The basic elements of the paj ntaub remains the same, but groups are distinguished by minor differences in customs and dialects of language (Cubbs 1986, 26). Paj ntaub consists of a vocabulary of traditional designs and motifs, precise patterning, even tiny or 31
invisible stitching, and smooth surfaces (Cubbs 1986, 21). Patterns and motifs used inpaj ntaub often imitated nature and the choice of colors used served a purpose:
Several paj ntaub motifs seem to possess talismanic qualities the rows of triangles which commonly serve as border designs are often described as tiger or shark teeth, images which thwart attack through the symbolic threat of violence. Needleworkers also refer to the jagged designs as “protecting mountains,” figures which defend against malevolent forces just as the hills in Laos sheltered Hmong villages from outside intrusion. Similarly, the borders outlining traditional belts and collars are referred to as thaiv ntug, “a fence placed around Hmong villages to keep away Chinese enemies” (Cubbs 1986, 22).
A shift in Hmong paj ntaub happened in the 1970’s. Displaced by war, story cloths were developed and made in refugee camps in Thailand to generate income and appeal to tourists (Cubbs 1986, 27). The story cloths depicted various narratives, ranging from scenes of the Vietnam War, emigration, traditional
Hmong folklore and village life (PBS 2018). The development of story cloths also shifted gender roles in the Hmong culture. Traditionally only created by women and girls, “prompted by the availability of time in the Thai camps and by the promise of revenue, a few men have joined in the manufacture of needlework products” (Cubbs 1986, 27).
As a result of the new developments of paj ntaub, the traditional practice has become commercialized: “A deference to American consumer tastes, the vast number of Hmong women have abandoned the vivid colors of their traditional costume. Subdued hues of blue, brown, mauve, and grey are now common. Bold 32
patterns replace the intricate needlework traditionally prized by the Hmong, for the fine detailing proves unprofitable in terms of time” (Cubbs 1986, 27).
Possessing fine needlework skills to create the intricate embroidery is a source of pride and applies meaning to the Hmong ethnic identity. If the knowledge of sewing paj ntaub and the information the textiles transcribes are demised, “it would eliminate one of the most important tools for the continuation of the Hmong as a definite ethnic group”
(Kansas Historical Society 2011). For this reason, many American museums that are working to preserve Hmong intangible cultural heritage should highlight paj ntaub and story cloths in their Hmong exhibitions. 33
CHAPTER 5
METHODOLOGY
In this thesis, the museum’s role in preserving intangible cultural heritage, specifically in the Hmong culture, was examined. Questions to be examined in this thesis include how museums manage Hmong intangible cultural heritage and interact with the
Hmong community, and how museums make Hmong intangible cultural heritage collections accessible through exhibits and public programming. One important goal of this thesis is to provide an assessment of the museums community’s preservation practices in the area of Hmong intangible cultural heritage and to offer recommendations to the field about how to support, enhance, and maintain such heritage. To examine how museums are preserving Hmong intangible cultural heritage, a literature review and case studies were conducted, as outlined below.
Literature Review
A literature review, presented in Chapters Two through Four, was first conducted.
Chapter Two provides insight on the UNESCO Convention for the Safeguarding of
Intangible Cultural Heritage. Intangible cultural heritage terminology was defined and the need for the preservation of intangible cultural heritage was outlined. Chapter Three provided an overview of the Hmong culture and examined the Hmong diaspora in the
United States. Hmong demographics were presented in reference to the selections of case studies for this thesis. Chapter Four explored the role of museums in preserving 34
intangible cultural heritage. Examples of work at the Wing Luke Museum of the Asian
Pacific American Experience are presented. Some resources for this chapter include Nina
Simon The Participatory Museum, and several articles from Museum International and the International Journal of Intangible Heritage.
Case Studies
In addition to a literature review, case studies of museum efforts to preserve
Hmong intangible cultural heritage were conducted. Case studies included interviews of museum personnel, serving as content experts, who had worked with the Hmong community in the context of intangible cultural heritage preservation. The case studies consisted of three parts: an overview of the museum, including institutional collections policy, exhibition development, and community engagement, especially as it relates to the Hmong community; second, the results of interviews conducted with museum professionals who served as content experts; and finally, an analysis of the museum’s efforts to preserve Hmong intangible cultural heritage.
The three case studies were selected through a two-part process. First, a web search using the terms “Hmong and museums” was conducted to identify a selection of current museum programs and exhibits that include Hmong intangible cultural heritage.
An initial list of 15 potential case study exhibitions resulted from this search. The websites for each of the 15 potential case studies were then carefully examined in each of the following four areas:
1. Did the institution present a Hmong-related exhibition clearly on their website? 35
2. Did the institution list a contact name, email, or phone associated with the
Hmong-related exhibition?
3. Was the Hmong-related exhibition supported with public programming?
4. Was the Hmong-related exhibition was discussed in newspaper articles or
professional discussion boards?
Potential case studies were then grouped into four different categories: traditional museums, historical societies, university museums, and cultural centers. The three categories of museums were selected to examine practice across the museum sector.
Based on a review of the web pages of the 15 potential case studies, a final list of three case studies were created. The final three case studies selected were: the Missoula
Art Museum, the Minnesota Historical Society, and the Valene L. Smith Anthropology
Museum at California State University, Chico. These three case studies were selected because they met the criteria mentioned above; were assessible to the author; were in a range of geographic areas; and were associated with specific Hmong demographics in the
United States. The Missoula Art Museum represented a traditional museum, while the
Minnesota Historical Society represented a historical society, and the Valene L. Smith
Museum of Anthropology represented a university museum.
Next, content experts at each institution were identified on the website and were contacted. Content experts who served as registrars, curators, and collection managers were considered to be the most likely personnel to be involved in the care and preservation of Hmong intangible cultural heritage. 36
The first case study interview was conducted with Brian Horrigan, an exhibit developer for the Minnesota Historical Society. The interview was conducted by phone on Thursday, January 18, 2018. The second case study interview was conducted by phone with Jennifer Reifsneider, registrar for the Missoula Art Museum, on Tuesday, January
23, 2018. The third case study was conducted with William D. Nitzky, a professor at
CSU Chico and exhibition developer for the Valene L. Smith Anthropology Museum.
The interview was conducted in person on Monday, January 29, 2018.
A total of eleven questions were asked of each content expert. Each interviewee was asked the same eleven questions to allow for consistency and to support comparison across case studies. The questions were grouped into four categories: collections, exhibition development, community collaboration, and future implications.
Questions one through four focused on collections and were designed to examine the collections policy of the museum and to determine if any informal or formal policies existed. Specifically, the first group of questions asked:
1. Does your museum have a formal or informal policy for how you acquire Hmong
objects?
2. How does the museum acquire information about Hmong cultural practices? And
how is this information used?
3. Does your museum incorporate or encourage traditional care practices in its
management of collections? Any formal or informal policy? 37
Questions four through six focused on exhibition development and were designed to examine the museum’s decision-making and acquisition of the Hmong objects. The second group of question specifically asked:
4. For Hmong-related exhibits, what was the decision-making process in developing
content related to including elements of oral traditions, social practices, or
performing arts?
5. How are determinations made about what objects to include in Hmong-related
exhibits?
6. Did your museum acquire any of these objects for recent Hmong-related exhibits?
If so, how? If not, why?
Questions seven through nine focused on community engagement and were designed to examine the museum’s exchanges with the Hmong community. The questions specifically asked were:
7. Why did the museum decide to develop a relationship with the Hmong
community?
8. How were/are Hmong community members involved in the development of
public programming?
9. How are educational programs related to the Hmong made relevant to general
audiences? To the Hmong?
Questions ten through eleven were focused on future museum implications. These questions were designed to examine plans the museum may have in the future in working 38
with the Hmong community and Hmong intangible cultural heritage preservation. The questions specifically asked:
10. Does the museum plan to maintain or establish relationships with the Hmong
community? If so, how will this be accomplished?
11. Are there plans to keep or have the Hmong community involved in future
preservation efforts or collections care?
The next three chapters will present case studies of the selected three museums and their Hmong intangible cultural heritage preservation efforts. The case studies will be followed by a discussion chapter, and finally, by a conclusion and recommendation chapter. 39
CHAPTER 6
MINNESOTA HISTORICAL SOCIETY
The Minnesota Historical Society (MNHS) was established in 1849 by Minnesota
Territory’s legislature and has remained a dedicated institution to preserving Minnesota’s history. In its early years, MNHS operated in temporary quarters, until 1918 when a completion of a building in the capitol complex in Saint Paul was dedicated to them.
MNHS acquired its first historic site in 1958 and has since increased its care to 26 other sites and museums. As MNHS continue to grow its size and operations, limitations in space became clear, and in 1992, the Minnesota History Center was opened to serve as a facility for exhibits, programs, library, and collections. Today, MNHS welcomes more than one million guests each year (MNHS 2018a).
Figure 1: Image of Minnesota History Center in Saint Paul, Minnesota. Image courtesy o f Capitol Area Architectural and Planning Board. 40
With a mission of “using the power of history to transform lives,” MNHS is dedicated to preserving, sharing, and connecting (MNHS 2018b). MNHS offers access to exhibitions and educational programs. MNHS values stewardship, service, innovation, resourcefulness, integrity, inclusion, and collaboration (MNHS 2018b). The vision of
MNHS, as stated on their website is:
• A home for collections, programs, staff, and leaders that reflect and serve the diversity of people who are today’s and tomorrow’s Minnesotans. • A partner in helping young people make connections between history and today’s world. • An advocate for and steward of historical resources and facilitator of compelling, substantive, and enjoyable learning experiences. • A workplace that attracts, retains, and develops talented people and enables them to do excellent work. • A broad network of supporters, public officials, members, donors, volunteers, trustees and others who work to extend our impact and strengthen our future.
Strategic priorities of MNHS are to offer educational relevance by “providing context and connecting the present with the past,” be a historical resource by “sharing access to meaningful places, programs, resources, events, services, and exhibits,” practice inclusion and diversity by “welcoming and serving all communities,” and exercise sustainability and stewardship by “ensuring valued service now and for future generations” (MNHS 2018b). Due to their extended list of stewardship sites, MNHS is managed with the guidance of an executive leadership team and governing board consisting of officers, executive council, ex-officio, an emeritus council, and an honorary council. 41
Sites and museums managed by MNHS are also high tourist attractions in
Minnesota (MNHS 2018c). MNHS manages 26 historic sites and museums throughout
Minnesota, ranging from history centers and farms to city museums, historic sites, Native
American associated places, and battlefields.
Public Programming
Because Hmong associated exhibits are typically located in the Minnesota History
Center in Saint Paul, several recent educational programs offered there will be described below.
Efforts by MNHS to preserve and celebrate Hmong include organized educational programs and events that are free and open to the public. On May 14, 2017 from 2 to 5 pm at the Minnesota History Center, MNHS hosted their annual Hmong American Day.
This celebration was created in 2013 to “remember the day that General Vang Pao, along with 2,500 Hmong soldiers and families, were evacuated from Laos and made the United
States - and Minnesota - home (MNHS 2018d). Activities included a welcome program, music, dance, games, art activities, a meet-and-greet with Hmong businesses and organizations and the We Are Hmong Minnesota/Peb Yog Hmoob pop up exhibit (MNHS
2017d). Hmong women trailblazers were also celebrated and honor in the program as the event coincided with Mother’s Day.
Additionally, MNHS offer field trip programs to engage students (Horrigan
2018). Educators can sign up for a field trip online. During the time of the We are Hmong 42
Minnesota/Peg Yog Hmoob exhibitions, field trips were offered for students to participate in the interactives and specialized lessons (Horrigan 2018).
Interview Results: We Are Hmong Minnesota/Peb Yog Hmoob
As mentioned in Chapter Three, Minnesota has one of the largest Hmong population outside of Southeast Asia. For this reason, the Hmong are a vital part of the
Minnesota history and their story is to be considered important, preserved and shared by
MNHS. In 2015, MNHS curated an exhibition, We Are Hmong Minnesota/Peg Yog
Hmoob, to commemorate the 40th anniversary of the Hmong migration to Minnesota and
“celebrate the significant political, social and economic contributions the Hmong have made to the Minnesota and the nation” (MNHS 2018e). Most importantly, this exhibition was developed in partnership with the Hmong community (Horrigan 2018).
Planning for We Are Hmong Minnesota/Peb Yog Hmoob began in 2013 when a group of Hmong from the Saint Paul community approached the museum and expressed an interest for a Hmong exhibition (Horrigan 2018). Hmong community advisors were approached, and an established advisory panel, so that planning for the exhibition could begin. In planning for the exhibition, MNHS consulted with Hmong community members for their expertise in the culture for the exhibition’s interpretation, as well as what they would like to see on display (Horrigan 2018). Exhibition developers attended Hmong community meetings, interviewed Hmong community leaders, and went beyond the museum’s walls to gather information (Horrigan 2018). We Are Hmong Minnesota/Peb 43
Yog Hmoob was exhibited at the Minnesota History Center from March 7, 2015 through
January 3, 2016.
The exhibition was divided into three sections: honoring, remembering, and understanding (MNHS 2018f). The first section, honoring, was located in the first gallery.
It featured a selection of artifacts from Hmong traditional life in Laos. These objects included basketry, textiles, jewelry, weapons, and objects for spiritual rituals. MNHS has a collection of Hmong objects, mainly textiles, that were acquired when a store in Saint
Paul was closing and its inventory came to MNHS (Horrigan 2018). MNHS has no formal policy for collecting Hmong tangible or intangible cultural heritage, but objects that were chosen for the exhibition derived from their collection and loans from members of the Hmong community (Horrigan 2018). While in general MNHS does not solicit for donations, after the exhibition, the Historical Society did ask if individuals would consider donating their objects to the institution (Horrigan 2018). In addition to the artifacts from Hmong traditional life in Laos, a timeline of Hmong history was displayed on one entire wall of the gallery. The timeline consisted of information from the origination of Hmong, to conflicts of war, and then their displacement in the 20th century
(MNHS 2018f).
The second section, remembering, was located in the transitional space linking the two galleries. An art installation titled, Let the Spirit Fly, by artist Sieng Lee was fixed in the space (MNHS 2018f). The installation consisted of thousands of spirit papers, usually burned as offerings at Hmong funerals (MNHS 2018f). Lee described it as “a 44
remembrance of the countless lives, memories, and heartaches that have paved the way for Hmong Americans today who are still living in transition, looking to redefine a future” (MNHS 2018f).
Figure 2: Let the Spirit Fly, 2015. Image Courtesy o f the Minnesota Historical Society.
The third and final section, understanding, was located in the second gallery. The focus of this theme was on the Hmong journey from Thailand to Minnesota from 1975 to
2004 (MNHS 2018f). When consulting with Hmong community members in planning for the exhibition, they expressed interest in displaying a live refugee camp (Horrigan 2018).
Hmong advisors spoke about remembering the sounds of chickens and roosters, sitting outside their bamboo straw houses, and doing daily everyday chores (Horrigan 2018). As a result, in the second gallery, MNHS replicated the Ban Vinai Refugee Camp (Horrigan
2018). Visitors could explore life in the refugee camps, the Hmong clan system, 45
language, religion and spirituality, politics, Hmong women’s history in Minnesota, an interactive farmers’ market, and contemporary artworks by Hmong artists (MNHS 2018).
Figure 3: Dual language text panels in Hmong and English. Image courtesy of the Minnesota Historical Society.
Interpretation and text labels for the exhibition were provided in English and
Hmong (Horrigan 2018). Information provided about the exhibition online was also in
English and Hmong. Exhibition developers thought it was of utmost importance to design
We are Hmong Minnesota/Peg Yog Hmoob for the general public, but also to cater to their Hmong audience (Horrigan 2018). 46
Analysis
Three areas of the MNHS approach to preserving Hmong intangible cultural heritage will be analyzed. First, exhibits, developed in contact with the Hmong community, served as a vehicle for preserving intangible cultural heritage. MNHS engaged with intangible cultural heritage preservation best practices by consulting with the respected community groups for information used for We are Hmong Minnesota/Peg
Yog Hmoob. By doing so, relationships were fostered in a valuable way. Hmong community members who would otherwise not frequent museums attended the exhibition because they saw that they were represented and could also understand the materials on display.
Second, the use of dual language for interpretation materials, created an awareness-raising by the institution fully respecting the Hmong community. In doing so, participation from the Hmong community was encouraged. Presenting the contextual information in English and Hmong helped to directly engaged and foster a welcoming atmosphere for their Hmong audience.
Lastly, MNHS integrated physical objects that had been previously collected on a basis to engage artists and community members. By displaying the house alter and traditional clothing, topics such as religion and social practices were presented in the exhibition in an insightful and respectful technique that highlighted the identity of the
Hmong. 47
Figure 4: Hmong cultural objects. Image courtesy o f the Minnesota Historical Society.
In the future, the Minnesota Historical Society hopes to continue their Hmong
Oral History Project (Horrigan 2018). In the early 1990s, nine Hmong community members were interviewed to collect stories on their experiences of immigration from
Laos and Thailand to the United States (MNHS 2018g). These interviews were recorded, edited, and transcribed (Horrigan 2018). The length of the interviews are over 8 hours long and the transcripts are 75 pages (MNHS 2018g). The Hmong Oral History Project is available online via the MNHS website. MNHS hopes to continue the Hmong Oral 48
History Project as they understand stories to be an important and vital part of the Hmong culture (Horrigan 2018).
The next chapter of this thesis will explore how another similar Hmong exhibition at the Missoula Art Museum was designed and their Hmong intangible cultural heritage preservation practices. 49
CHAPTER 7
MISSOULA ART MUSEUM
This chapter will explore the efforts at the Missoula Art Museum to preserve
Hmong intangible cultural heritage. Notably, since its founding, the Museum has exhibited four Hmong-related exhibitions.
The Missoula Art Museum (MAM) was founded in 1975 in Missoula, Montana.
The mission of the museum, as stated on their website is as follow: “MAM serves the public by engaging audiences and artists in the exploration of contemporary art relevant to the community, state and region” (MAM 2018a). MAM is located in Missoula’s historic downtown, and offers free admission every day to its eight exhibition spaces, its library, and its education and information lounge. The successful operations of MAM are made possible by the staff of ten: an executive director, a senior curator, an associate curator, a registrar, a director of finance and administration, a visitor services and retail staff person, a development director, an education curator, a marketing and communications staff member, and an events and public programs staff member; and a board of directors.
MAM operates out of a Carnegie Library building. In 1903, Missoula Free Public
Library, designed by architect A.J. Gibson, was built with a $12,500 grant from Andrew
Carnegie (MAM 2018a). In 1912, Carnegie granted an additional $9,000 for the construction of the second floor (MAM 2018a). Between 1972 and 1974, the Missoula 50
Festival of the Arts Committee petitioned the Missoula City Council to establish a civic center in the defunct library building. The Missoula City Council agreed to lease the building and allotted funds for repairs to the building (MAM 2018a). On March 15, 1975, the Museum opened. MAM began to collect art and was awarded accreditation by AAM in 1987. MAM’s endowment was established in 1989, and the Museum was reorganized as a county agency to a 501(c)3 in 1995. In 1998, the MAM Board decided to remodel and expand the Carnegie Library building. With the support of the City of Missoula,
Missoula County, and Missoula Redevelopment Agency, the construction begun (MAM
2018a). Construction was completed in 2006, fusing the 100-year-old Carnegie Library building with a contemporary addition (MAM 2018a). In 2017, the Museum expanded again with the addition of “Art Park.” Art Park is a dedicated outdoor space with trees and public art to promote community building and to reduce stress (MAM 2018b).
Public Programming
In addition to the Hmong exhibitions that will later be analyzed, MAM also organizes public events and develops material resources to highlight the Hmong culture and people. MAM aims to let artists and communities speak for themselves. For this reason, to support the most recent exhibition, From Flower Cloth to Story Cloth, MAM organized a family friendly event (Reifsneider 2018). The event occurred at the museum on July 26, 2017 from 4 to 7 PM. Guests were invited to tour the exhibition and to enjoy traditional Hmong dance and music, performed by local Hmong community members. A 51
Hmong food truck provided refreshments. This event was designed to celebrate the
Hmong culture through art, music, dance, and food.
Other events organized by MAM includes Gallery Talk, Saturday and Talk, and
Saturday and Tour. All three events are free and open to the public. Gallery Talk includes presentation and dialogue with artists and curators. For the exhibition Crossing the River:
Hmong Story Cloths, Gallery Talk was organized with Susan Lindbergh Miller, former curator at MAM and a noted collector of Hmong textiles, as the featured presentation.
MAM publicized the event for museum goers to attend and engage with Miller about
Hmong textiles and techniques (MAM 2018g).
Lastly, MAM prepares catalogs for their exhibitions. In 1993, MAM published a
72-page catalog consisting of color and black and white images, transcribed interviews with Hmong members, and history of the Hmong and their resettlement in Montana
(MAM 2018c). The catalog can be purchased online via the MAM website or in their gift shop at the museum. One reason why this is important is because the publication of the catalog creates a tangible source related to the knowledge and stories of the Hmong.
Significantly, the catalog bridges the gap between the intangible and tangible.
Interview Results
The first Hmong focused exhibition at MAM was Montana Hmong. This exhibition was displayed for a month in June 1978. The exhibition featured numerous
Hmong artists and highlighted traditions, culture, and art forms “to help Montanans better understand and appreciate the complexities of their new neighbors” (MAM 2018f) 52
The second Hmong focused exhibition at MAM was Hmong Voices in Montana.
This exhibition was displayed from October 30, 1992, through February 14, 1993.
Hmong Voices in Montana documented the Hmong way of life and their transition from
Laos to Montana by featuring over 250 artifacts and approximately 100 photographs
(MAM 2018d). Some featured objects that were exhibited included embroidered story cloths, musical instruments, traditional clothing, and tools (MAM 2018d). During this time, most of the textiles collection were acquired by Susan Lindbergh Miller
(Reifsneider 2018). Hmong objects are rarely purchased for the MAM collection, with most of the Hmong collection having been donated (Reifsneider 2018).
Figure 5: Hmong Voices in Montana, 1992. Image courtesy of the Missoula Art Museum. 53
Miller also helped to co-curate the show along with Hmong community members,
Tou Yang and Vee Kiatoukaysy (Reifsneider 2018). Later in 2011, Miller would donate her personal collection of over 230 Hmong textiles to MAM (MAM 2018e). With the help of Yang and Kiatoukaysy serving as community liaisons, MAM would consult with other Hmong community members, who served as content experts, to learn about textiles and objects used for the exhibition.
The third Hmong related exhibition was, Crossing the River: Hmong Story
Cloths. The exhibition highlighted the practice of Hmong storytelling through embroidery and textiles. Crossing the River was exhibited at MAM from June 24 to
December 24, 2014 (MAM 2018h).
Figure 6: Crossing the River: Hmong Story Cloths, 2014. Image courtesy of the Missoula Art Museum. 54
The most recent Hmong exhibition at MAM is From Flower Cloth to Story Cloth:
Hmong Textiles in the MAM Collection. This is the fourth major Hmong exhibition at
MAM. In designing From Flower Cloth to Story Cloth, curators wanted to be mindful of immigrant identities and their cultural practices. For this reason, rather than telling the narrative of immigration, From Flower Cloth to Story Cloth focuses on the narratives of the textile makers (Reifsneider 2018). The textiles donated by Miller in 2011 were on displayed in this exhibition.
Figure 7: From Flower Cloth to Story Cloth, 2017. Image courtesy of the Missoula Art Museum. 55
Although they would like to, presently MAM has no future organized plans or procedures for establishing or maintaining relationships with the Hmong community
(Reifsneider 2018). One future project the Museum hopes to finish, is to fully catalogue the Museum’s Hmong collection (Reifsneider 2018). MAM currently has a little over 300
Hmong objects, consisting of mainly textiles, ritual material such as gongs and spirit shafts, and tools (Reifsneider 2018). These objects will be catalogued as set by the MAM collections policy, which however does not include any procedures for collecting intangible cultural heritage (Reifsneider 2018).
Analysis
Two main themes regarding the preservation of Hmong intangible cultural heritage can be observed at the Missoula Art Museum. First, MAM emphasizes preserving storytelling through textiles, as this supports the longevity of the Hmong identity; and second, MAM’s efforts highlight how preserving Hmong intangible cultural heritage can be successful on any museum level, even in a small contemporary art museum.
First, MAM has displayed many story cloths and embroidered textiles in its four
Hmong related exhibitions. By exhibiting the textiles and developing supporting publications, MAM is sharing the knowledge both to their communities of origin and to a wider audience. MAM’s efforts foster awareness of the Hmong, inside and outside their community, and emphasize their distinct history and how they are relevant to the 56
Montana community. At the same time, MAM uses tangible objects to highlight intangible heritage, and integrates this into its exhibits and publications.
Second, MAM has demonstrated their ability to preserve Hmong intangible cultural heritage. As a small contemporary art museum, it may seem odd to some to have cultural artifacts in their collection. However, the Hmong are a part of the community that the museum serves, and it is clear that their tangible objects are recognized and valued as artwork. For this reason, the Hmong are a part of the Museum’s mission, and so it is vital that MAM contributes to the preservation of their social practices and culture.
In sum, through its exhibitions, programs and publications, MAM highlights how a small museum can serve a general and specific audience while working to preserve
Hmong tangible and intangible cultural heritage.
The next chapter will explore a similar Hmong-related exhibition at the Valene L.
Smith Museum of Anthropology in Chico, California. 57
CHAPTER 8
VALENE L. SMITH MUSEUM OF ANTHROPOLOGY
This chapter will examine the efforts made by the Valene L. Smith Museum of
Anthropology to preserve Hmong intangible cultural heritage. The Museum’s public programming and Hmong related exhibitions will be outlined in detail below.
The Valene L. Smith Museum of Anthropology serves as an educational facility, with student and faculty led exhibitions. The mission statement of the
Museum of Anthropology as stated on their webpage is:
.. .to promote respect and appreciation for human diversity through our academic museum studies program within the Department of Anthropology. The museum is committed to the care of collections and to inspiring a diverse community through exhibitions and events” (CSU Chico 2018f).
The Museum was established in 1970 in Trinity Hall on the campus of California
State University Chico, to support the Department of Anthropology’s museum training program (CSU Chico 2018a). Currently, the Museum is located in the
Meriam Library complex. Students are able to pursue a degree in Museum Studies with either a Certificate in Museum Studies or a Master’s Degree in
Anthropology.
The Museum of Anthropology operates with four staff: a museum director, a Museum Studies faculty, a curator of education, and an assistant 58
curator. The Museum of Anthropology is opened Tuesday through Saturday from
11 AM to 3 PM and is closed between exhibitions.
Public Programming
Public programming offered by the Museum of Anthropology includes school tours, Museum-In-A-Box, Summer Camp and Night at the Museum. These programs will be outlined below.
The Museum of Anthropology offers group tours to students in grades
Kindergarten to 12th grade. The duration of the tours are 45 minutes to an hour, and they feature a scavenger hunt in the exhibition and other hands-on activities. The Museum also offers educators the opportunity to customize their visit depending on the age group or learning abilities (CSU Chico 2018b). Tours are free of charge and can be scheduled by contacting the curator. Information for arranging a tour is available and is listed online.
Another outreach program organized by the Museum of Anthropology is
Museum-In-A-Box. This program features two types of experiences with objects packed into a box that can be loaned to schools (CSU Chico 2018c). One box, Behind the Mask:
Looking into the Human Story, includes 10 mask replicas that students can touch and observe. Masks are replicas from around the world and offer students an experience to learn about various peoples and cultures. Hand-on lessons, books and plays are included for students to engage with and learn about the artifacts (CSU Chico 2018c). The second box, Early Humans, includes skull replicas for students to learn about early humans and
Anthropology. This box was designed to coordinate with the California standards for 59
sixth grade education (CSU Chico 2018c). Museum-In-A-Box was made possible through a donation by the Soroptimists of America. This initiative provides students who would otherwise not make it to the museum, whether it be due to budget restraints, distance, or other reasons, an opportunity to experience it still. Boxes are available for educators to check out for several weeks to incorporate with their curriculum.
The Museum of Anthropology also offers Summer Camp from children ages 5 -
11. Summer Camp provides creative activities to encourage students to learn about other people, places, and time periods throughout the world (CSU Chico 2018d). The four- week long camp include activities such as cooking, art, music, and science. Registration for Summer Camp opens in the Spring and parents or guardians can register via a registration form and small payment. Pricing for the Summer Camp is $ 100 a week. A week consists of activities from Monday through Thursday.
The last public program that the Museum of Anthropology offers is Night at the
Museum. Night at the Museum offers the opportunity for 35 children, ages 5 - 11, to experience a night surrounded by museum exhibits and hands-on projects (CSU Chico
2018e). Children are cared for by the Museum curator and student counselors from CSU
Chico. Admission for Night at the Museum include dinner, snacks, and a fun-filled learning experience. 60
Interview Results: Hmong Reflections: Stories of Our Own
The Hmong play a vital role in the Chico community. As such, the Museum of
Anthropology saw fit to include Hmong artifacts in their collections and to develop exhibitions that highlighted Hmong culture and people.
On January 26, 2017, the Museum of Anthropology opened an exhibition called,
Hmong Reflections: Stories o f Our Own, which was on display through July. The focus of the exhibition was on stories - Hmong narratives that reflect on the community’s history, identity, and hardship. This exhibition was the result of the collaborative efforts of the
Chico State Museum Studies program, the Oroville Hmong Cultural Center, the Hmong
Student Association, Sacramento State University, and many Hmong individuals from the community (Nitzky 2018). Nineteen students enrolled in the Museum Studies class
“Exhibit Research, Design, and Installation” spearheaded the exhibition fabrication and design, but chose themes and content with the help of a 5-member Hmong advisory board
(Nitzky 2018). MaiHoua Lo, a financial aid advisor at CSU Chico, served as the main translator and student faculty liaison and bridged the gap between Museum Studies and the Hmong Student Association (an on-campus student club) (Nitzky 2018). Hmong students in the student club organization were also approached to be involved in the exhibition development (Nitzky 2018). 61
Figure 8: Display of a Hmong story cloth and traditional Hmong clothes. Image courtesy o f the Smithsonian.
Hmong Reflections was an exhibition with multimedia displays of traditional
Hmong clothes, embroidery and textiles, photographs, audio recordings, musical instruments, and jewelry. More than 200 traditional objects were displayed in the exhibition (Nitzky 2018). Most objects were loaned from the Hmong community and from Sacramento State University (Nitzky 2018). Themes in the exhibit were created with the influence from Hmong elders, who were also consulted about the appropriate display of traditional items (Nitzky 2018). Museum staff noticed that the Hmong groups were hesitant to work with the Museum because they did not feel welcomed or did not know enough about the Museum and its mission or focus (Nitzky 2018). In response, museum staff and students attended community events to discuss the exhibition 62
development and themes. Thus, museum staff were going beyond the museum walls to engage with their audience.
Figure 9: Entrance to the exhibition. To the right is a dual language text panel in Hmong and English. Image courtesy o f the Valene L. Smith Museum o f Anthropology.
To be more inclusive, the Museum created text panels and interpretation in both
Hmong and English. Five audio recordings in the exhibition featured personal narratives,
Hmong folktales, knowledge of textile making, and music, and played continuously.
Audios were all in Hmong. The Museum wanted to be mindful about the complete representation of the Hmong culture, and not voiceover the audio with English (Nitzky
2018). Instead, they opted to provide English translation for the audio on a text panel. 63
In addition to audios and the display of traditional Hmong objects, the Museum of
Anthropology also created a refugee tent replica (Nitzky 2018). This section of the exhibition illustrated the locations of major refugee camps throughout Thailand (Chico
State Today 2017). The tent was made from mosquito netting and mats on the floor.
When the Museum consulted with the Hmong community, they were told stories about the refugee camps. Hmong community members recalled the sounds of animals and the hardships that they had endured from the Vietnam War. The Museum believed it was important to portray those narrative and reflections in the exhibition (Nitzky 2018).
To close the exhibition, the Museum of Anthropology organized a panel discussion with the Museum staff, Museum Studies students, the Hmong advisory board, and Hmong elders from the community (Nitzky 2018). This panel discussion was approximately two hours long. The greater Chico community and museum goers were free to attend the panel discussion and to ask the Museum staff, students, and Hmong community members questions regarding the exhibition development, Hmong culture, the impact of the War, immigration issues, and life in the United States (Nitzky 2018).
Also premiered at the panel discussion was a film about the Vietnam War (Nitzky 2018).
After the closing of Hmong Reflections, text panels were given to the Oroville
Cultural Hmong Center with the idea of cultural sustainability and the objective that they could develop their own Hmong exhibition (Nitzky 2018). Relationships that were fostered during the development of the exhibition will be continued through ongoing engagement with the Hmong community in Chico (Nitzky 2018). Currently there is a 64
Museum Studies student designing a virtual tour of the Hmong Reflections exhibition as part of their graduation capstone (Nitzky 2018). In the future, the Museum of
Anthropology hopes to start an oral history project and cultural mapping project with the
Hmong (Nitzky 2018).
Analysis
Three main themes can be observed from the Valene L. Smith Museum of
Anthropology’s approach to the preservation of Hmong intangible cultural heritage. First, the Museum uses a “participatory approach” to involve, engage, and consult with Hmong community groups in the display of and preservation of Hmong intangible cultural heritage; second, museum staff proactively engaged with the Hmong community by going “beyond the museum walls” to consult with and learn about the Hmong culture; and third, the exhibit provided a place for community engagement and dialogue.
First, the Museum of Anthropology co-created Hmong Reflections by direct consultations with Hmong community members. As Nina Simon says in her book The
Participatory Museum, “co-creative projects progress very similarly to collaborative projects, but they confer more power to participants. Staff members and community partners work closely to achieve their shared goals” (2010, 264). The Museum of
Anthropology was committed to empowering the Hmong community by engaging members in exhibition development and encouraging members to tell stories that were most meaningful to them, and these stories, as intangible heritage, were directly integrated into the exhibit. 65
Second, to ensure high quality results, the Museum of Anthropology consulted with the Hmong community, by meeting with them outside the museum. As a result,
Hmong community members offered curatorial direction and guidance in multimedia story creation. The Museum’s staff, students, and the Hmong community members developed a mutual respect for each other’s goal in the exhibition and supported one another along every step of the exhibition development. The decision to use intangible heritage as a key exhibition element appears to have been an important reason why the relationship developed so successfully.
Finally, the Museum of Anthropology provided a safe space for community engagement and dialogue. With organized public programs such as museum tours and panel discussions, the Museum further exposed the Hmong culture and history to a broad audience, but great efforts were taken to make the community understand the Museum’s goals for the exhibit, and to respect the knowledge, perspectives, and views of the Hmong consultants.
In sum, the Valene L. Smith Museum of Anthropology used intangible cultural heritage as a major part of its Hmong exhibition, linking tangible objects to stories through consultation and a participatory approach. The Museum of Anthropology demonstrated that importance of community involvement when developing and displaying Hmong exhibitions. 66
CHAPTER 9
DISCUSSION
To varying degrees, the exhibits We Are Hmon Minnesota/Peb Yog Hmoob at the
Minnesota Historical Society, Hmong-related exhibitions at the Missoula Art Museum, and Hmong Reflections: Stories o f Our Own at the Valene L. Smith Museum of
Anthropology, served as a catalyst for preserving Hmong intangible cultural heritage. In reviewing the case studies discussed in Chapters Six through Eight of this thesis, five key components of how these museums worked to create a framework for preserving Hmong intangible cultural heritage can be identified: 1) through extensive consultation with
Hmong advisory panels; 2) by informally collecting Hmong intangible cultural heritage;
3) by organizing support programs focused on teaching and learning; 4) by creating an accessible museum experience that caters to their Hmong audience; and 5) by recognizing that there is more preservation work to do.
Each of these five components will be discussed in terms of how they are reflected in the case studies, as well as what the literature reviews suggests about their broader significance, especially in light of the recommendations outlined in the UNESCO
Convention for the Safeguarding of the Intangible Cultural Heritage. 67
1. Consulting with a Hmong Advisory Panel
Each of the case study museums worked with a Hmong advisory panel. The panels created at each institution consisted of local Hmong community members who were considered leaders in their groups, as well as elders or students.
The MNHS, for example, created a Hmong advisory panel for We Are Hmong
Minnesota/Peb Yog Hmoob from among the Hmong community members who had expressed an interest in having an exhibition to honor the 40th anniversary of the
Hmong’s resettlement to the United States. The advisory panel consisted of 18 community members. In addition to an advisory panel, MNHS also worked with Hmong organizations, such as the Center for Hmong Studies at Concordia University in Saint
Paul, Minnesota, as well as the Hmong ABC Bookstore.
The Center for Hmong Studies is an academic resource center that promotes “the scholarly interest, the rich legacy and the complex heritage of the Hmong people” (Center for Hmong Studies 2018). MNHS worked with the Center for Hmong Studies to create institutional relationships and cultural sustainability. Hmong ABC Bookstore is a recognized retail distributor of Hmong arts, books, and crafts. It is the first established
Hmong bookstore and is dedicated to preserving and promoting Hmong publications
(Hmong ABC 2018). In creating a partnership with the Hmong ABC Bookstore, MNHS recognized the importance of Hmong literacy to the community. For this reason, dual languages were used in the exhibition. Thus, at the MNHS, both the advisory panel and 68
community organizations contributed to the development of the We Are Hmong
Minnesota/Peb Yog Hmoob exhibition and to the related programs.
MAM also consulted with two Hmong community members, as their advisory panel, to develop their exhibition Hmong Voices in Montana. The Hmong first resettled in Montana in the mid-1970’s following the end of the Vietnam War. This exhibition was designed in the early 1990’s at the height of interest of the Hmong in Montana. The two
Hmong community members also functioned as community liaisons.
Finally, Hmong Reflections: Stories of Our Own by the Museum of Anthropology was developed in partnership and with the consultation of many local Hmong organization groups. These partnerships provided the Museum of Anthropology the foundation for establishing the exhibition themes and creating much of the multimedia displays in the exhibition. Stories featured in the exhibition were recollections directly sourced from Hmong community members in the Chico and the larger Butte County area.
The result of the Museum reaching out to these organizations represented their understanding for the need to have source communities involved in every step of the exhibition development.
As emphasized in the Safeguarding Convention, “any safeguarding measure refers to strengthening and reinforcing the diverse and varied circumstances, tangible and intangible, that are necessary for the continuous evolution and interpretation of intangible cultural heritage, as well as for its transmission to future generations” (UNESCO 2018c).
Efforts such as developing exhibits with advisory panels that are composed of source 69
community members can therefore be critically important in safeguarding intangible cultural heritage, as they also can result in strong partnerships.
Overall, when an advisory panel is created, when supporting organizations are identified, when source communities are consulted as content experts, and when positive relationships are established and maintained, Hmong related exhibitions can be successfully developed and unveiled. As Alison K. Brown and Laura Peers argue in
Museums and Source Communities'.
By viewing collections through the eyes of source communities, museum staff are able to think more broadly about the meanings of objects and their continued significance for communities today, alerting them to new possibilities for interpretation. As the roles are reversed and museum staff find that they are being educated by community members, they begin to see a new light the assumptions embedded in traditional museum training, and become open to alternative ways of doing things (Brown and Peers 2003, 10).
2. Informally collecting Hmong Intangible Cultural Heritage
When collecting objects in a museum, it is important to follow the collections policy developed by the institution. The three museums selected, however, currently have no formal procedures in place for collecting intangible cultural heritage. As a result, they were all informally collecting Hmong intangible cultural heritage by recording and documenting the information gathered from consulting with Hmong community members.
First, the MNHS informally collected intangible cultural heritage as part of their
Oral History Project that was started in the early 1990’s (MNHS 2018g), and in the We 70
Are Hmong Minnesota/Peb Yog Hmoob exhibition, during the process of researching content information. As outlined in the Safeguarding Convention, “oral traditions and expressions are used to pass on knowledge, cultural and social values and collective memory. They play a crucial part in keeping cultures alive” (UNESCO 2018h). In recording Hmong community members as art of their project, MNHS is participating in preserving Hmong stories and narratives.
Second, MAM has informally collected intangible cultural heritage by publishing their catalog for the Hmong Voices in Montana exhibition (1993). The catalog consisted of translated interviews with Hmong community members regarding their experience and journey to the United States.
Third, the Museum of Anthropology informally collected and preserved Hmong intangible cultural using mass media and technology. In Hmong Reflections, curators chose to display musical instruments with audio recordings of the sounds of the instrument. Notably, the Safeguarding Convention recognizes that music plays “an important role in cultural exchange and encouragefs] creativity that enriches the international art scene” (UNESCO 2018i). For example, by consulting with the source community, museum staff and students learned about the power of music in the Hmong culture. This information was then provided in the exhibition for museum goers to learn and interpret as well.
Overall, although no formal intangible cultural heritage collection policy was in place, all three institutions still managed to obtain important knowledge and information 71
from the source communities. Information was gathered by interacting with and listening to the Hmong community. Museum staff and curators used the knowledge and skills learned about the objects in areas such as their general use and purpose, how these objects are made, who is allowed to use them, and much more, to strategically exhibit the information to their broader audience via text panels and general interpretative material.
This in return, helps to promote and preserve the intangible cultural heritage of the
Hmong.
3. Organizing Supporting Programs
All three museums also organized public, free programs to support their Hmong related exhibitions. These programs were dedicated to teaching their audiences and raising awareness about the Hmong culture and peoples.
MNHS and MAM both organized a public event that highlighted Hmong performances and music. They were labeled and advertised as “family days.” The
Museum of Anthropology organized a panel discussion. These three programs provided the occasion for the greater museum audience to directly engage with and see the Hmong.
These opportunities could foster experiences for the audience to leave the event wanting to learn more about the Hmong culture and people.
One of the main agendas of the Safeguarding Convention is to raise awareness about the importance of intangible cultural heritage (UNESCO 2018a). The visibility of intangible heritage is a central aspect for preserving intangible heritage (UNESCO 72
2018a). All three museums provided a platform for the Hmong community to showcase their rich culture and stories.
4. Creating an Accessible Museum Experience Specifically for the Hmong Audience
To understand and respect both tangible and intangible cultural heritage, the three museums also used the Hmong language as components of their exhibition efforts to connect with their communities and visitors.
Specifically, both MNHS and the Museum of Anthropology used dual languages in their exhibitions. For We Are Hmong Minnesota/Peg Yog Hmoob, MNHS produced interpretation materials in Hmong and English to create a welcoming space for the
Hmong community, who generally do not frequent museums. Meanwhile, MAM published an exhibition catalog as additional supporting material. Although interviews in the catalog were translated into English, the essence of the stories remained.
5. Recognizing the Need for More Preservation Efforts and Planning for the Future
All three museums recognized that there is much more work to be done to preserve the Hmong culture. For this reason, MNHS hopes to restart their Oral History
Project, the Museum of Anthropology plans to develop an oral history or cultural mapping project, and MAM anticipates finish cataloguing their Hmong collections.
Though developing an exhibition focused on displaying the Hmong culture and people is an important preservation measure, preserving intangible cultural heritage requires much more effort. 73
In sum, the exhibits at the Minnesota Historical Society, the Missoula Art
Museum, and the Valene L. Smith Museum of Anthropology, help to preserve Hmong intangible cultural heritage through extensive consultation with Hmong advisory panels, by informally collecting Hmong intangible cultural heritage, by organizing supporting programs focused on teaching and learning, by creating an accessible museum experience that caters to their Hmong audience, and by recognizing that there is more preservation work to do. Such efforts are consistent with the goals of the UNESCO Convention for the
Safeguarding of the Intangible Cultural Heritage.
The following chapter will outline several conclusions about the state of Hmong intangible cultural heritage in American museums and will outline recommendations for how museums can better approach and implement related preservation efforts. 74
CHAPTER 10
CONCLUSION AND RECOMMENDATIONS
In this chapter, conclusions and recommendations concerning museum
exhibitions and programs for preserving Hmong intangible cultural heritage will be
presented, including how museums can actively work to meet the needs of the Hmong to
preserve their intangible cultural heritage. Finally, the limitations of this study and the
potential for further research will be addressed.
Conclusions
Three conclusions concerning museum exhibitions and programs for preserving
Hmong intangible cultural heritage are as follows: 1) only a small number of museums in
the United States appear to be working actively to preserve Hmong intangible cultural
heritage; 2) it is urgent that American museums make strong efforts to preserve the
Hmong culture and its intangible cultural heritage; and 3) museum staff who seek to work
to preserve Hmong culture must go beyond walls of the museum to engage with Hmong
community members, so that importance of intangible cultural heritage to the community
is understood.
1. Few American Museums are Working to Preserve Hmong Intangible Cultural
Heritage
First, in searching for museums that could serve as case studies for this thesis, the
results were very limited. The small of museums actively working with the Hmong 75
community is worrisome: American museums appear to be unaware of international approaches to intangible cultural heritage, and there appears to be little training for identifying intangible cultural heritage at the local level. This suggests that American museums are still in transition from the traditional museum model to more community- based type of museum, because a key concern for many communities is their intangible cultural heritage; if museums are unaware and possess little training in this area, it seems unlikely that they can live up to their full potential as places that serve their communities.
Moreover, this suggests that the Hmong are an underserved community group that museums have not recognized and/or are still trying to learn about.
While it is understandable that museums develop exhibits in response to the local demographics of their communities, American museums appear to be missing an opportunity to engage with local communities by highlighting intangible cultural heritage. The example of Hmong exhibits highlights how museums can work with both this and other communities by using intangible cultural heritage to engage, educate, and preserve.
2. American Museums Need to Make Strong Efforts to Preserve the Hmong
Culture and its Intangible Cultural Heritage
Second, the Hmong resettled in the U.S. in the 1970’s. In the forty years that have passed, many of the first Hmong immigrants to arrive are elderly or have passed away.
With those that have passed, the knowledge and skills to create traditional craftmanship, 76
oral expression and traditions, are also lost. For this reason, there is an urgency to preserving Hmong intangible cultural heritage.
If museums do not help preserve Hmong intangible cultural heritage, various traditions and practices exercised during real events and in everyday people’s lives could disappear. Museums taking part in preserving Hmong intangible cultural heritage are playing a key part in preserving Hmong culture, with elderly members playing a key role in sharing knowledge and skills, but it is urgent that more museums become involved.
3. Museum Staff Who Seek to Work to Preserve Hmong Culture Must Go Beyond
the Walls of the Museum
Finally, as the Hmong are a group who do not frequent museums, it is the responsibility of the museum staff to go beyond the walls of the museum to engage with the community. Museums analyzed in this thesis physically went outside of their institutions to engage with the Hmong community. In doing so, these museums recognized the distinct interests of the Hmong community members and positioned them as community assets. The museums were successful in encouraging Hmong visitors and supported Hmong community members to be an integral part of exhibition development.
As a result, the museums succeeded in integrating the Hmong as a part of their core audiences. 77
Recommendations
Based on the above conclusions, four recommendations are briefly outlined below to support the development, implementation, and evaluation of measurable Hmong intangible cultural heritage preservation methods.
First, museums need to adopt or establish a formal intangible cultural heritage preservation policy. This could be included in their collections policy, or a separate documentation. The formal intangible cultural heritage preservation policy should include standard procedures for collecting, inventorying, and care of intangible cultural heritage.
Second, museums should continue to maintain relationships with Hmong community groups that were involved in the advisory panels or in development of exhibits. Reserving time and resources to engage with the community outside of the museum ensures museums are aware of community needs, aware of cultural trends and practices, and is committed to maintaining sustaining partnerships. As the Hmong community is enriched by kinship, continuing to maintain a relationship after the exhibitions and programs end is also a symbol of good faith to source communities that the museum is aware of their culture and that it will continue to be invested in preservation efforts.
Third, more training should be developed and provided for American museum staff, interns, and volunteers when working with Hmong intangible cultural heritage and
Hmong community members. As the U.S. is not a ratified party of the UNESCO
Safeguarding Convention, proper training in American museums with handling intangible 78
cultural heritage would be extremely beneficial. Training should include improved understanding of the benefits of participating in the Safeguarding Convention at a local level, identifying local intangible cultural heritage, how to engage with source communities, and policies for collecting Hmong intangible cultural heritage.
Fourth, evaluations that focus on Hmong involvement, how the Hmong perceive
Hmong-related exhibits, and what the broader audience learns from such exhibits and programs should be conducted throughout the exhibition development process and after the closing of the exhibit. Asking community participants for feedback informally or by providing comment cards, reviewing successes and challenges with advisory panel during meetings, or sending follow up survey emails are ways to engage in assessment.
Further Research
While this thesis found that successful Hmong intangible cultural heritage preservation efforts do exist in museums, opportunities for better understanding of
Hmong intangible cultural heritage should take place. Outlined below are suggestions for additional research.
First, scholarly articles and books written by the Hmong community exist. These publications are available, though they are sometimes challenging to find, and should be used as a direct resource for learning and teaching the Hmong culture.
Second, the U.S. Congress will be conducting a new Census report in two years, in 2020. The data used for this thesis was gathered from the 2010 Census, and is outdated in representing current Hmong demographics. For this reason, the 2016 American Survey 79
was also used as a supporting resource. It will be beneficial to analyze the Hmong population trends in the 2020 Census report. The data could reflect that Hmong populations may have increased in certain areas, and if so, it will be important for museums in those areas to reconsider their activities to better serve the Hmong community.
Finally, it would be helpful to understand what impact museum preservation efforts that focus on Hmong intangible cultural heritage have on broader audiences and visitors in the museum. Is the broader museum audience learning about the Hmong culture from exhibitions? How many visitors are coming to the museum specifically for the Hmong exhibition? How can museum audiences and visitors access this information after the exhibition?
In closing, both museums and the Hmong benefit from attempts to work together.
The Hmong find a place that will help support the preservation of their irreplaceable cultural heritage, while museums learn new ways to reach audiences by tapping into the potential of intangible cultural heritage. 80
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APPENDICES
Appendix 1: UNESCO 2018a. Text of the Convention for the Safeguarding of the Intangible Cultural Heritage
The General Conference of the United Nations Educational Scientific and Cultural Organization hereinafter referred to as UNESCO meeting in Paris from 29 September to 17 October 2003 at its 32nd session. Referring to existing international human rights instruments in particular to the Universal Declaration on Human Rights of 1948 the International Covenant on Economic Social and Cultural Rights of 1966 and the International Covenant on Civil and Political Rights of 1966 Considering the importance of the intangible cultural heritage as a mainspnng of cultural diversity and a guarantee of sustain a tte dev elopment as underscored m the UNESCO Recommendation on the Safeguarding of Traditional Culture and Folklore of 1989 in the UNESCO Universal Declaration on Cultural Diversity of 2001 and in the Istanbul Declaration of 2002 adopted by the Third Round Table of Ministers of Culture Considering the deep-seated interdependence between the intangible cultural hentage and the tangible cultural and natural heritage Recognizing that the processes of globalization and social transformation alongside the conditions they create for renewed dialogue among communities also give rise as does the phenomenon of intolerance to grave threats of deterioration disappearance and destruction of the intangible cultural heritage in particular owing to a lack of resources for safeguarding such hentage Being aware of the universal will and the common concern to safeguard the intangible cultural hentage of humanity. Recognizing that communities, in particular indigenous communities groups and. in some cases, individuals, play an important role in the production, safeguarding maintenance and re-creation of the intangible cultural heritage thus helping to enrich cultural diversity and human creativity. Noting the far-reaching impact of the activities of UNESCO in establishing normative instruments for the protection of the cultural hentage in particular the Convention for the Protection of the World Cultural and Natural Heritage of 1972. Noting further that no binding multilateral instrument as yet exists for the safeguarding of the intangible cultural heritage Considering that existing international agreements recommendations and resolutions concerning the cultural and natural hentage need to be effectively enriched and supplemented by means of new provisions relating to the intangible cultural hentage Considering the need to build greater awareness especially among the younger generations of the importance of the intangible cultural hentage and of its safeguarding Considering that the international community should contnbute together with the States Parties to this Convention, to the safeguarding of such heritage in a spirit of cooperation and mutual assistance Recalling UNESCO s programmes relating to the intangible cultural hentage in particular the Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity Considering the invaluable role of the intangible cultural hentage as a 'actor in bringing human beings closer together and ensunng exchange and understanding among them Adopts this Convention on this seventeenth day of October 2003 88
I. General provisions
Article 1 - Purposes of the Convention
The purposes of this Convention are (a) to safeguard the intangible cultural heritage (b) to ensure respect for the intangible cultural herrtage of the communities groups and individuals concerned (c) to raise awareness at the local national and international levels of the importance of the intangible cultural heritage, and of ensuring mutual appreciation thereof (d) to provide for international cooperation and assistance
Article 2 - Definitions
For the purposes of this Convention 1 The intangible cultural heritage means the practices representations expressions knowledge skills - as well as the instruments objects artefacts and cultural spaces associated therewith - that communities groups and in some cases individuals recognize as part of their cultural heritage This intangible cultural hentage transmitted from generation to generation is constant^ recreated by communities and groups in response to their environment their interaction with nature and their history and provides them with a sense of identity and continuity thus promoting respect for cultural diversity and human creativity For the purposes of this Convention consideration will be given solely to such intangible cultural heritage as is compatible with existing international human rights instruments as well as with the requirements of mutual respect among communities groups and individuals and of sustainable development 2 The intangible cultural heritage as defined in paragraph 1 above is manifested inter alia in the following domains (a) oral traditions and expressions including language as a vehicle of the intangible cultural heritage: (bi performing arts (c) social practices rituals and festive events (d.i knowledge and practices concerning nature and the universe (ei traditional craftsmanship 3 Safeguarding means measures aimed at ensuring the viability of the intangible cultural heritage including the identification documentation research, preservation protection promotion enhancement transmission particularly through formal and non-formal education as well as the revitalization of the various aspects of such hentage 4 States Parties means States which are bound by this Convention and among which this Convention is m force 5 This Convention applies mutatis mutandis to the territones refened to in Article 33 which become Parties to this Convention in accordance with the conditions set out in that Article To that extent the expression States Parties also refers to such territories
Article 3 - Relationship to other international instruments
Nothing in this Convention may be interpreted as (a i altering the status or diminishing the level of protection under the 1972 Convention concerning the Protection of the World Cultural and Natural Hentage of Work* Heritage properties with which an item of the intangible cultural hentage is directly associated or (bi affecting the nghts and obligations of States Parties deriving from any international instrument relating to intellectual property rights or to the use of biological and ecological resources to which the/ are parties 89
II. Organs of the Convention
Article 4 - General Assembly of States Parties
1 A General Assembly of the States Parties is hereby established herein after referred to as the General Assembly The General Assembly is the sovereign body of this Convention 2 The General Assembly shall meet in ordinary session every two years It may meet in extraordinary session if it so decides or at the request either of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Hentage or of at least one-third of the States Parties 3 The General Assembly shall adopt its own Rules of Procedure
Article 5 - Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage
1 An Intergovernmental Committee for the Safeguarding of the Intangible Cultural Hentage hereinafter referred to as the Committee' is hereby established within UNESCO It shall be composed of representatives of 18 States Parties elected by the States Parhes meeting in General Assembly once this Convention enters into force in accordance with Article 34 2 The number of States Members of the Committee shall be increased to 24 once the number of the States Parties to the Convention reaches 50
Article 6 - Election and terms of office of States Members of the Committee
1 The election of States Members of the Committee shall obey the principles of equitable geographical representation and rotation 2 States Members of the Committee shall be elected for a term of four years by States Parties to the Convention meeting in General Assembly 3 However, the term of office of haK of the States Members of the Committee elected at the first elect on is limited to two years These States shall be chosen by lot at the first election 4 Every two years the General Assembly shall renew half of the States Members of the Committee 5 It shall also elect as many States Members of the Committee as required to fill vacancies 6 A State Member of the Committee may not be elected for two consecutive terms 7 States Members of the Committee shall choose as their representatives persons who are qualified in the vanous fields of the intangible cultural heritage
Article 7 - Functions of the Committee
Without prejudice to other prerogatives granted to it by this Convention the functions of the Committee shall be to (a) promote the objectives of the Convention, and to encourage and monitor the implement a ton thereof (b) provide guidance on best practices and make recommendations on measures for the safeguarding of the intangible cultural heritage (c; prepare and submit to the General Assembly for approval a draft plan for the use of the resources of the Fund in accordance with Article 25 (d i seek means of increasing its resources and to take the necessary measures to this end. in accordance with Article 25 (e) prepare and submit to the General Assembly for approval operational directives for the implementation of this Convention (f) examine, in accordance with Article 29 the reports submitted by States Parties and to summarize them for the General Assembly: (g) examine requests submitted by States Parties and to decide thereon in accordance with objective selection criteria to be established by the Committee and approved by the General Assembly for CO inscription on the lists and proposals mentioned under Articles 16 17 and 18: (H) the granting of international assistance in accordance with Article 22 90
Article 8 - Working methods of the Committee
1 The Committee shall be answerable to the General Assembly It shall report to it on all its activities and decisions 2 TheCommittee shall adopt its own Rules of Procedure by a two-thirds majority of its Members 3 The Committee may establish, on a temporary basis whatever ad hoc consultative bodies it deems necessary to carry out its task 4 The Committee may invite to its meetings any public or private bodies as well as private persons, with recognized competence in the various fields of the intangible cultural hentage in order to consult them on specific matters
Article 9 - Accreditation of advisory organizations
1 The Committee shall propose to the General Assembly the accreditation of non-governmental organizations with recognized competence in the field of the intangible cultural hentage to act in an advisory capacity to the Committee 2 The Committee shall also propose to the General Assembly the criteria for and modalities of such accreditation
Article 10 - The Secretariat
1 The Committee shall be assisted by the UNESCO Secretariat 2 The Secretanat shall prepare the documentation of the General Assembly and of the Committee as well as the draft agenda of their meetings, and shaH ensure the implementation o? their decisions
III. Safeguarding of the intangible cultural heritage at the national level
Article 11 - Role of States Parties
Each State Party shall (a) take the necessary measures to ensure the safeguarding of the intangible cultural heritage present m its territory: Article 12 - Inventories 1 To ensure identification with a view to safeguarding, each State Party shall draw up in a manner geared to its own situation one or more inventories of the intangible cultural heritage present in its territory These inventories shali be regularly updated 2 When each State Party periodically submits its report to the Committee in accordance with Article 29. it shall provide relevant information on such inventories Article 13 - Other measures for safeguarding To ensure the safeguarding development and promotion of the intangible cultural hentage present in its territory each State Party shall endeavour to: (a i adept a general policy aimed at promoting the function of the intangible cultural hentage in society and at integrating the safeguarding of such heritage into planning programmes: (b) designate or establish one or more competent bodies for the safeguarding of the intangible cultural hentage present in its territory (C; foster scientific, technical and artistic studies as well as research methodologies, with a view to effective safeguarding of the intangible cultural heritage m particular the intangible cultural heritage in danger (di adopt appropnate legal technical administrative and financial measures aimed at (i) fostering the creation or strengthening of institutions for training in the management of the intangible cultural heritage and the transmission of such heritage through forums and spaces intended for the performance or expression thereof 91 (I) ensuring access to the intangible cultural heritage while respecting customary practices governing access to specific aspects of such hentage (Hi i establishing documentation institutions for the intangible cultural hentage and facilitating access to them Article 14 - Education, awareness-raising and capacity-building Each State Party shall endeavour by all appropnate means to: (a) ensure recognition of respect for. and enhancement of the intangible cultural hentage in society in particular through CO educational awareness-raising and information programmes aimed at the general public in particular young people (I) specific educational and training programmes within the communities and groups concerned: (ii,i capacity-building activities for the safeguarding of the intangible cultural heritage, in particular management and scientific research and (iv)non-formal means of transmitting knowledge (b) keep the pubiic informed of the dangers threatening such heritage, and of the activities earned out in pursuance of this Convention (ci promote education for the protection of natural spaces and places of memory whose existence is necessary for expressing the intangible cultural heritage Article 1 5 - Participation of communities, groups and individuals VVKhin the framework of its safeguarding activities of the intangible cultural hentage each State Party shall endeavour to ensure the widest possible participation of communities groups and. where appropnate individuals that create maintain and transmit such heritage, and to involve them actively in its management. IV. Safeguarding of the intangible cultural heritage at the international level Article 16 - Representative List of the Intangible Cultural Heritage of Humanity 1 In order to ensure better visibility of the intangible cultural hentage and awareness of its significance and tc encourage dialogue which respects cultural diversity the Committee upon the proposal of the States Parties concerned, shall establish keep up tc date and publish a Representative List of the Intangible Cultural Hentage of Humanity 2 The Committee shall draw up and submit to the General Assembly for approval the criteria for the establishment updating and publication of this Representative List Article 17 - List of Intangible Cultural Heritage in Need of Urgent Safeguarding 1 With a view to taking appropnate safeguarding measures the Committee shall establish keep up to date and publish a List of Intangible Cultural Hentage in Need of Urgent Safeguarding and shall inscribe such heritage on the List at the request of the State Party concerned 2 The Committee shall draw up and submit to the General Assembly for approval the criteria for the establishment updating and publication of this List 3 In cases of extreme urgency - the objective critena of which shall be approved by the General Assembly upon the proposal of the Committee - the Committee may inscribe an Item of the hentage concerned on the List mentioned m paragraph 1 in consuNation with the State Party concerned Article 18 - Programmes, projects and activities for the safeguarding of the intangible cultural heritage 1 On the basis of proposals submitted by States Parties and in accordance with criteria to be denned by the Committee and approved by the General Assembly, the Committee shall penodically select and promote national subregional and regional programmes projects 92 Article 18 - Programmes, projects and activities for the safeguarding of the intangible cultural heritage 1 On the basis of proposals submitted by States Parties and in accordance with criteria to be defined by the Committee and approved by the General Assembly, the Committee shall periodically select and promote national, subregional and regional programmes projects and activities for the safeguarding of the heritage which it considers best reflect the principles and objectives of this Convention taking into account the special needs of developing countries 2 To this end it shall receive examine and approve requests for international assistance from States Parties for the preparation of such proposals 3 The Committee shall accompany the implementation of such projects programmes and activities by disseminating best practices using means to be determined by it. V. International cooperation and assistance Article 19 - Cooperation 1 For the purposes of this Convention international cooperation includes inter alia the exchange of information and experience joint initiatives and the establishment of a mechanism of assistance to States Parties in their efforts to safeguard the intangible cultural hentage 2 Without prejudice to the provisions of their national legislation and customary law and practices the States Parties recognize that the safeguarding of intangible cultural hentage is of general interest to humanity and to that end undertake to cooperate at the bilateral subregional regional and international levels Article 20 - Purposes of international assistance International assistance may be granted for the following purposes (a.i the safeguarding of the heritage inscnbed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding (b) the preparation of inventories in the sense of Articles 11 and 12 (c) support for programmes projects and activities earned out at the national subregional and regional levels aimed at the safeguarding of the intangible cultural heritage (d) any other purpose the Committee may deem necessary Article 21 - Forms of international assistance The assistance granted by the Committee to a State Party shall be governed by the operational directives foreseen in Article 7 and by the agreement referred to in Article 24 and may take the following forms (a) studies concerning various aspects of safeguarding (bj the provision of experts and practitioners (ci the training of all necessary staff: (d) the elaboration of standard-setting and other measures (e.i the creation and operation of infrastructures (f) the supply of equipment and know-how (gi other forms of financial and technical assistance including, where appropriate the granting of low-mterest loans and donations Article 22 - Conditions governing international assistance 1 The Committee shall establish the procedure for examining requests for international assistance and shall specify what information shall be included in the requests such as the measures envisaged and the interventions required together with an assessment of their cost 93 2 In emergencies requests for assistance shall be examined by the Committee as a matter of priority 3 In order to reach a decision the Committee shall undertake such studies and consultations as it deems necessary Article 23 - Requests for international assistance 1 Each State Party may submit to the Committee a request for international assistance for the safeguarding of the intangible cultural hentage present in its territory 2 Such a request may also be jointly submitted by two or more States Parlies 3 The request shall include the information stipulated in Article 22 paragraph 1 together '.vith the necessary documentation Article 24 - Role of beneficiary States Parties 1 In conformity v/ith the provisions of this Convention the international assistance granted shall be regulated by means of an agreement betv/een the beneficiary State Party and the Committee 2 As a general rule the beneficiary State Party shaU within the limits of its resources, share the cost of the safeguarding measures for whrch international assistance is provided 3 The beneficiary State Party shall submit to the Committee a report on the use made of the assistance provided for the safeguarding of the intangible cultural hentage VI. Intangible Cultural Heritage Fund Article 25 - Nature and resources of the Fund 1 A Fund for the Safeguarding of the Intangible Cultural Heritage' hereinafter referred to as the Fund' , is hereby established 2 The Fund shall consist of funds-in-trust established in accordance v/ith the Financial Regulations of UNESCO 3 The resources of the Fund shall consist of: (a i contributions made by States Parties (b.i funds appropriated for this purpose by the General Conference of UNESCO (c) contributions gifts or bequests which may be made by 0) other States («,t organizations and programmes of the United Nations system particularly the United Nations Development Programme as well as other international organizations ( i i public or private bodies or individuals (d) any interest due on the resources of the Fund: (e) funds raised through collections, and receipts from events organized for the benefit of the Fund (f) any other resources authorized by the Fund s regulations, to be drawn up by the Committee 4 The use of resources by the Committee shall be decided on the basis of guidelines laid down by the General Assembly 5 The Committee may accept contributions and other forms of assistance for general and specific purposes relating to specific projects provided that those projects have been approved by the Committee 6 No political economic or other conditions which are incompatible with the objectives of this Convention may be attached to contributions made to the Fund 94 Appendix 2: UNESCO 2018b. List of ratified States who has approved or accepted UNESCO Safeguarding Convention. Convention for the Safeguarding of the Intangible Cultural Heritage. Paris, 17 October 2003.1 1 Algeria 15 03/2004 Approval 2 Mauritius 04 06/2004 Ratification 3 Japan 15 06/2004 Acceptance 4 Gabor 18/06/2004 Acceptance 5 Panama 20/08/2004 Ratification 6 China 02 12^2004 Ratification 7 Centre! Afncan Republic 07/12/2004 Ratification S Latvia 1401/2005 Acceptance 9 Lithuania 21/01/2005 Ratification 10 M a n n 03/02/2005 Approval 11 Republic of Korea 09 02/2003 Acceptance 12 Seychelles 1 5 0 2 2 0 0 5 Ratification 13 Syrian Arab Republic I t 03/2005 Ratification 14 Unitec Arab Emirata* 02 05/2005 Ratification 13 Mali 03/06/2005 Ratification 16 Mongolia 29 06/2005 Ratification 17 Croatia 28 07/2005 Ratification 18Egypt 03/08/2005 Ratifiation 19 Oman 04/08,2005 Rat r*. «o o> o o o in m m m m m m m m m ^ a> *r> u> r - r.. I . f', r~> r . !IS8S!lI!(i»ii!giigiSSSi»8i5SiSg8IlllS»SS3l»i!SISSMiSlSSH&SHH»lili 97 Appendix 3: UNESCO 2018c. Safeguarding without freezing To be kept alive intangible cultural heritage must be relevant to its community continuously recreated and transmitted from one generation to another There is a risk that certain elements of intangible cultural heritage could die out or disappear without help but safeguarding does not mean fixing or freezing intangible cultural heritage in some pure or primordial form Safeguarding intangible cultural heritage is about the transferring of knowledge, skills and meaning Transmission - or communicating hentage from generation to generation - is emphasized in the Convention rather than the production of concrete manifestations such as dances songs musical instruments or crafts Therefore to a large extent, any safeguarding measure refers to strengthening and reinforcing the diverse and varied circumstances, tangible and intangible, that are necessary for the continuous evolution and interpretation of intangible cultural hentage as well as for its transmission to future generations Safeguarding measures to ensure that intangible cultural hentage can be transmitted from one generation to another are considerably different from those required for protecting tangible hentage natural and cultural). However some elements of tangible heritage are often associated with intangible cultural heritage That is why the Convention includes in its definition of intangible cultural hentage the instruments objects artefacts and cultural spaces associated with it. Does this mean that intangible heritage should always be safeguarded or be revitalized at any cost? As any living body it follows a life cycle and therefore some elements are likely to disappear after having given birth to new forms of expressions It might be that certain forms of intangible cultural heritage despite their economic value are no longer considered relevant or meaningful for the community itself As indicated in the Convention only intangible cultural heritage that is recognized by the communities as theirs and that provides them with a sense of identity and continuity is to be safeguarded By recognition the Convention means a formal or more often informal process by which communities acknowledge that specific practices representations expressions knowledge and skills and if appropnate associated instruments objects artefacts and cultural spaces fonm part of their cultural heritage Safeguarding measures must always be developed and applied with the consent and involvement of the community itself In certain cases public intervention to safeguard a community s heritage may be undesirable smce it may distort the value such hentage has for its community Moreover, safeguarding measures must always respect the customary practices governing access to specific aspects of such heritage for example sacred intangible cultural hentage manifestations or those that are considered secret 98 Appendix 4: UNESCO 2018d. Purpose of the Lists of Intangible Cultural Heritage and of the Register of Good Safeguarding Practices The Committee meets annually to evaluate nominations proposed by States Parties to the 2003 Convention and decide whether or not to inscribe those cultural practices and expressions of intangible hentage on the Convention s Lists List of Intangible Cultural Heritage in Need of Urgent Safeguarding Representative List of the Intangible Cultural Hentage of Humanity Register of Good Safeguarding Practices List of intangible Cultural Heritage in Need of Urgent Safeguarding The List of Intangible Cultural Hentage in Need of Urgent Safeguarding i.see criteria) is composed of intangible heritage elements that concerned communities and States Elements inscribed on the USL Parties consider require urgent measures to keep them alive Inscriptions on this List help to mobilize international cooperation and assistance for stakeholders to undertake appropriate safeguarding measures Representative List of the Intangible Cultural Heritage of Humanity The Representative List of the intangible Cultural Hentage of Humanity -;see criteria) is made up of those intangible heritage elements that help demonstrate the diversity Elements inscribed on the RL of this heritage and raise awareness about its importance Register of Good Safeguarding Practices The Register of Good Safeguarding Practces « see criteria; contains programs projects and activities that best reflect the principles and the objectives of the Good Safeguarding practices selected Convention 99 Appendix 5: UNESCO 2018e. Criteria and timetable for selection of Register of Best Safeguarding Practices Article 18 in the 2003 Convention stipulates that the intergovernmental Committee periodically selects among proposals submitted by States Parties programmes projects and activities for the safeguarding of intangible cultural hentage considered to best reflect the principles and objectives of the Convention. Once selected the Committee promotes these initiatives as good safeguarding practices and accompanies toeir implementation for wider dissemination This register of good practices is expected to serve as a platform for shanng good practices as well as serve as a source of inspiration to States communities and anyone interested in safeguarding intangible cultural heritage Learning more about effective safeguarding measures with proven success across various types of intangible cultural heritage in different geographical regions wHI help the parties concerned develop their own appropriate safeguarding measures States Parlies and communities wishing to share their effective safeguarding measures are invited to fill in and submit to UNESCO form ICH-03 available for download from the ICH Form Proposals may include any of the safeguarding measures mentioned in Article 2.3 of the Convention and at any level whether national, subregional regional or international In the proposal submitting States Parties are requested to describe and explain why the proposal should be considered for and included in the register of good safeguarding practices From among the programmes projects or activities proposed to the Committee by States Parties, only those that best satisfy the following cnteria are selected Criterion- The programme oroject or activity involves safeguard ng. as def ned *n Article 2 3 of the Convention 1 Cntenorv- The programme, project or actvity promotes the coordination of efforts for safeguard ng intangible cultural heritage on regional. 2 sub'egoral and/or international levels Criterion- The programme project or activity reflects the pn napes and objectives of the Convention. 3 Critenon- If a^eady oompetec the programme, project or activity has demonstrated effect veness in contrioutmg to the vabiity of the 4 intangole cu-tura oertage concemec sf still underway or planned, t car -easonably be expected to contribute substantial y to the viab'lity of the ntangib* cultural hentage concerned. Crrtenor- The programme, oroject or actvity has been or w>fl be implemented with the part opat on of the community. group or, if applicable. 5 individuals conoerred and with their fr*e. pnor and informed consent Criterion- The programme project or activity may se've as a subregional. regional or ntemationa mode*, as the case may be. for 6 safeguarding activities Criterion- The submitting Stateis) Party(ies). implementing body(ies). anc community, group or. if applicable, individuals concerned are w ’ing 7 to oocoerate :n the ctssemiration of best practices, f their jyog*amme. prpject or actvity is selected Critenon- The programme project or actvity features exoererces that are susceptble to ar assessment of their results. 8 Critenon- The programme project or actvity is pnmanty appiicaole to the particular neecs of developing countries 0 100 Appendix 6: UNESCO 2018f. The ora traditions and expressions doman encompasses an enormous varety of scoker forms including proverbs 'dales, ta es njrse^ rhymes tegenas mytns epic songs and poems, charms. prayers, chants. sc»*gs dramatic performances and more Cral traditions and express c^s a^e used to pass on knoweage cutura and social va^es ana co ective memory Tney play a crucia pa*: m keep ng cu lures alive Some types of oral expression a'e common and can p* j§«a by entire communties wttie cthe^ are limited to pa'ticular soea* groups, onfy men or women perhaps or only the elde'?y In many societies performing o^ai :rad lions is a hignty specialized oocueater ara the community holds professoral performers n the righest 'e;ard as g-ardars of col ective memory Sue** performers can oe found *r communities a over tne wor^ VVfcile poets ana storyte ers in non-Westem societies such as the gnots ana dyeH from Af-ca are well known there is a»sc a rich oral fadifcor ir Europe and North America In Germany ana the USA. for example the-e a e njrdreds of p*ofess*ona storytellers Because trey a'e passed on by wo-d of mout*. oral raditons ana expressions ofse*’ vary sign ficantly in t^eir tefhng Stores are a cornstraton - Offering from ge-re to gerr*. from context to context ana from performer to pe^orme' - of reeroducton, improvisation and creaton This combinat or ma Appendix 7: UNESCO 2018g. The performing arts range from vocal and instrumental music, dance and theatre to pantomime sung verse and beyond. They include numerous cultural expressions that reflect human creativity and that are also found to some extent, in many other intangible cultural hentage domains Music is perhaps the most universal of the performing arts and is found in every society most often as an integral part of other performing art forms and other domains of intangible cultural hentage including rituals festive events or oral traditions It can be found in the most diverse contexts sacred or profane classical or popular, closely connected to work or entertainment There may also be a political or economic dimension to music it can recount a community s history, sing the praises of a powerful person and play a key role in economic transactions The occasions on which music is performed are just as varied: marriages funerals rituals and initiations festivities all kinds of entertainment as well as many other social functions Dance, though very complex, may be descnbed simply as ordered bodily movements usually performed to music. Apart form its physical aspect, the rhythmic movements steps and gestures of dance often express a sentiment or mood or illustrate a specific event or daily act. such as religious dances and those representing hunting warfare or sexual activity Traditional theatre performances usuaBy combine acting, singing dance and music dialogue narration or recitation but may also include puppetry or pantomime These arts, however are more than simply performances for an audience, they may also play crucial roles in culture and society such as songs sung while carrying out agncultural work or music that is part of a ritual In a more intimate setting lullabies are often sung to help a baby sleep The instruments objects artefacts and spaces associated with cultural expressions and practices are all included in the Convention s definition of intangible cultural hentage In the performing arts this includes musical instruments masks costumes and ether body decorations used in dance, and the scenery and props of theatre Performing arts are often performed in specific places when these spaces are closely linked to the performance they are considered cultural spaces by the Convention Many forms of performing arts are under threat today As cultural practices become standardized many traditional practices are abandoned. Even m cases where they become more popular, only certain expressions may benefit while others suffer Music is perhaps one of the best examples of this with the recent explosion in the popularity of Work* Music Though it performs an important role in cultural exchange and encourages creativity that ennches the international art scene the phenomenon can also cause problems Many diverse forms of music may be homogenized with the goal of delivering a consistent product In these situations, there is little place for certain musical practices that are vital to the process of performance and tradition in certain communities Music dance and theatre are often key features of cultural promotion intended to attract tourists and regularly feature in the itineraries of tour operators Although this may bring more visitors and increased revenue to a country or community and offer a window onto its culture, it may also result m the emergence of new ways of presenting the performing arts, which have been altered for the tourist market While tourism can contribute to reviving traditional performing arts and grve a market value to intangible cultural heritage it can also have a distorting effect as the performances are often reduced to show adapted highlights in order to meet tourist demands. Often traditional art forms are turned into commodities in the name of entertainment with the loss of important forms of community expression In other cases wider social or environmental factors may have a serious impact on performing art traditions Deforestation 102 for example can deprive a community of wood 1o make traditional instruments used to perform music Many music traditions have been adapted to fit western forms of not at on so they may be recorded or for the purpose of education but this process can be destructive. Many forms of music use scales with tones and intervals that do not correspond to standard western forms and tonal subtleties may be lost in the process of transcription As wen as music bemghomogemsed changes to traditional instruments to make them more familiar or easier to play for students such as the addition of frets to stringed instruments fundamentally alter the instruments themselves. Safeguarding measures for traditional performing arts should focus mainly on transmission of knowledge and techniques of playing and making instruments and strengthening the bond between master and apprentice The subtleties of a song the movements of a dance and theatrical interpretations should all be reinforced Performances may also be researched, recorded documented, inventoried and archived There are countless sound recordings in archives all around the world with many dating back over a century These older recordings are threatened by deterioration and may be permanently lost unless digitized The process of digitisation allows documents to be properly identified and inventoried Cultural media, institutions and industnes can also play a crucial role in ensuring the viability of traditional forms of performing arts by developing audiences and raising awareness amongst the general public Audiences can be informed about the various aspects of a form of expression allowing it to gain a new and broader popularity while also promoting connoisseurship which in turn encourages interest in local variations of an art form and may result in active participation in the performance itself Safeguarding may also involve improvements in training and infrastructure to property prepare staff and institutions for preserving the fun range of performing arts In Georgia students are trained in anthropological fieldwork methods as well as how to record polyphonies allowing them to create the foundations of a national inventory by creating a database 103 Appendix 8: UNESCO 2018h. Soaa practices rituals a**: fest ve events art habitual activities that structure tne 1 ves of communftes and groups and that 3 * shared by and relevant to many of m e* members They are significant because t*ey reaffirm the identity of those wno practise them as a g'oup or a society ard. whether peformed in puoc or private, are cosely ltn Migration, especia ry of young ceopte may draw these who practise forms of intangible cultural hentage away from their communities a*d endanger seme cultural practces At the same time, however soaa practices 'ituals ano *estve events may serve as special occasions on which people return home to celeb'ate wim thei” family and community reaffirming their identity and l#tk to the community's traditions Mary communit.es find tnat tourists are ncreasingly parte cat ng r their festive everts and while t*ere may be positive aspects to tourist invo vement t**e festival* ofte* suffe* in the same way as t-aditonal performing arts The v»ao»itfy of socal practices, rituals a^d esceca ty festive events may also aepend quite heav y on general socio-eco^cm c oonditons. Tne prepa^ators tne p-oductor of oostumes and masks ar*d providing for the participants s often very expels ve and may not be sustainable in times of eooromic downturn Ensunng the cortnuity of socal practces rituas or festive events ofter squires tne fnoMsafliOfi of large numce's of naivouals ard tne social ooiitca and legal nstitutons and mechan sms of a 104 Appendix 9: UNESCO 2018i. Knowledge and practices concerning nature and the universe include knowledge knowhow skills practices and representations developed by communities by interacting with the natural environment These ways of thinking about the universe are expressed through language oral traditions, feelings of attachment towards a place memones spirituality and worldview They also strongly influence values and beliefs and underlie many social practices and cultural traditions They, in turn are shaped by the natural environment and the community s wider world. This domain includes numerous areas such as traditional ecological wisdom indigenous knowledge knowledge about local fauna andflora. traditional healing systems rituals beliefs initiatory rites cosmologies, shamanism possession ntes social organisations festivals languages and visual arts Traditional knowledge and practices lie at the heart of a community s culture and identity but are under serious threat from globalisation Even though some aspects of traditional knowledge such as medicinal uses of local plant species may be of interest to scientists and corporations many traditional practices are nevertheless disappearing Rapid urbanisation and the extension of agncultural lands can have a marked effect on a community s natural environment and their knowledge of it; Andean cosmovtsmn of the Kal clearing land may result in the disappearance of a sacred forest oc the need to find an alternative source of wood for building Climate change continued deforestation and the ongoing spread of deserts inevitably threaten many endangered species and results in the decline of traditional craftsmanship and herbal medicine as raw materials and plant species disappear Safeguarding a world view or system of beliefs is even more challenging than preserving a natural environment Beyond the external challenges to the social and natural environment many underpnvileged or marginalized communities are themselves inclined to adopt a way of life or a purely economic development model which are far from their own traditions and customs Protecting the natural environment is often closely linked to safeguarding a community s cosmology as well as other examples of its intangible cultural heritage. 105 Appendix 10: UNESCO 2018j. Traditional craftsmanship is perhaps the most tangible manifestation of intangible cultural heritage However the 2003 Convention is mainty concerned with the skills and knowledge involved in craftsmanship rather than the craft products themselves Rather than focusing on preserving craft objects, safeguarding attempts should instead concentrate on encouraging artisans to continue to produce craft and to pass their skills and knowledge onto others particulariy within their own communities There are numerous expressions of traditional craftsmanship tools clothing and jewellery: costumes and props for festivals and performing arts storage containers objects used for storage transport and shelter decorative art and ritual objects: musical instruments and household utensils, and toys both for amusement and education Many of these objects are only intended to be used for a short time, such as those created for festival rites while others may become heirloom that are passed from generation to generation The skills involved in creating craft objects are as varied as the items themselves and range from delicate detailed work such as producing paper votives to robust rugged tasks like creating a sturdy basket or thick blanket Like other forms of intangible cultural heritage, globalization poses significant challenges to the survival of traditional forms of craftsmanship Mass production whether on the level of large multinational corporations or local cottage industries can often supply goods needed for daify life at a lower cost both in terms of currency and time than hand production Many craftspeople struggle to adapt to this competition Environmental and climatic pressures impact on traditional craftsmanship too. with deforestation and land cleahng reducing the availability of key natural resources Even in cases where traditional artisanship develops into a cottage industry, the increased scale of production may result in damage to the environment As social conditions or cultural tastes change festivals and celebrations that once required elaborate craft production may become moreaustere resulting in fewer opportunities for artisans to express themselves Young people in communities may find the sometimes lengthy apprenticeship necessary to learn many traditional forms of craft too demanding and instead seek work in factories or service industry where the work is less exacting and the pay often better Many craft traditions involve trade secrets that should not be taught to outsiders but if family members or community members are not interested in learning it. the knowledge may disappear because sharing it with strangers violates tradition The goal of safeguarding as with other forms of intangible cultural heritage is to ensure that the knowledge and skills associated with traditional artisanry are passed on to future generations so that crafts can continue to be produced within their communities providing livelihoods to theirmakers and reflecting creativity Many craft traditions have age-old systems of instruction and apprenticeship One proven way of reinforcing and strengthening these systems is to offer financial incentives to students and teachers to make knowledge transfer more attractive to both Local traditional markets for craft products can also be reinforced while at the same time creating new ones. In response to urbanization and industrialization many people around the world enjoy handmade objects that are imbued with the accumulated knowledge and cultural values of the craftspeople and which offer a softer alternative to the numerous high tech items that dominate global consumer 106 Appendix 11: Wing Luke Museum 2018. Exhibition Process. When you make exhibits, develop programs or run an organization, how do you integrate community members throughout the process? Let’s take exhibits for example. From development and design to fabrication and installation, what does the process look like? Behind each exhibit are community members making decisions - determining exhibit directions, setting priorities, making selections, and guiding execution each step of the way. Each Exhibit Team generally includes: • Museum staff • Core community members • Participating community members Since Museum staff has experience creating exhibits, they serve as: • “community organizers," mobilizing volunteers and bringing community members together toward a shared vision • "project administrators," monitoring timelines and budgets, finding resources and facilitating communication • "technical advisors," providing input on exhibit components, feasibility and constructability - "professional liaisons," gathering research and materials from other institutions, where everyday individuals may not normally have access Core community members nclude a Community Advisory Committee (CAC), typically ten to 15 individuals. CAC members serve as the primary decision-makers and are charged with developing the main messages, themes, content and form of the exhibit and its related components. The CAC also connects the project to other community members by: • inviting others to join the CAC • sharing about the project with family members, peers and community contacts 107 - sharing about the project with family members, peers and community contacts • suggesting individuals for oral histories and artifact photograph and document loans • helping gather materials Oftentimes, individuals on the CAC or others they know will: write the exhibit text, create an exhibit video, take new photographs to showcase oral history participants and/or community life, serve on an artwork selection panel, provide graphic design services, and more. Participating community members a/so contribute by: Participating in and helping conduct oral history interviews, translating and transcribing - Loaning artifacts, photographs and documents Researching in libraries, historic societies, museums and other institutions - Outreaching to other community members and the general public - Serving as docent guides, speakers, public program participants and volunteers 108 Initial Outreach Museum staff conducts Initial Outreach during the first stage. We begin learning about the community and its dynamics. Community members also get to Know us - exhibits we have done in the past how we create exhibits, and what resources exist in the Museum to use. At the end of initial Outreach, we have a confirmed list of CAC members and are ready to hold our first meeting and begin Exnibit Development. Exhibit Development Exhibit Development occurs over a series of intensive meetings, sometimes stretching over a year. By the end of Exhibit Development, we nave all the materials we need to move forward with Exhibit Design, assured that we have identified the vision, including the main messages, themes, content and form of the exhibit and its related components, envisioned and prioritized by the CAC. 109 Research and Gathering Research and Gathering for an exhibit begins almost immediately. Museum staff, interns, CAC members and volunteers scour libraries, historic societies, museums, community organization files, news articles and online databases. We conduct oral history interviews, with Museum staff training volunteers, providing equipment, tracking contacts, and processing interviews. Community members contribute artifacts, photographs and documents for potential inclusion in the exhibit. Exhibit Design Armed with decisions and direction from the CAC, we begin Exhibit Design. The Exhibit Designer uses the storyline, exhibit components, and descriptions of the exhibit look, feel and atmosphere to guide design of the physical space. During this time, the Exhibit Team also selects specific materials for the exnibit.______110 Exhibit Opening We send out invitations to Museum members and special invited guests, including the CAC. participating community members and other contacts. We use community networks and media to spread the word. We invite mainstream media to amplify the voice. Follow-up Public programs and education initiatives planned by the CAC further the exhibit throughout its run. When the exhibit closes, we document it, archive materials in our Governor Gary Locke Library and Community Heritage Center [insert link], return items to community members, and sook forward to next projects that may have been identified by community members for future work. I ll Appendix 12: Migration Policy Institute 2005. The Foreign-Born Hmong in the United States JANUARY 1,2005 SPOTLIGHT | By Jennifer Yau The summer of 2004 marked the beginning of the latest refugee wave from the U.S. Cold War involvement in Indochina. Over 15,000 Hmong refugees from Laos, who have spent years in Thailand, are being resettled in the U.S.. This Spotlight provides an overview of the political developments marking their experience as refugees over the last three decades, as well as statistics representing the Hmong's demographic impact in the United States. Developments Shaping Policies Toward Hmong Refugees: • The Hmong in the United States are mainly from Laos, where they are considered an ethnic minority group. • The root of the Hmong refugee experience lies in an alliance with American Cold War efforts in Laos. • Since 1975, more than 200,000 Hmong have fled Laos as refugees. Thailand has been the staging arena for the resettlement or repatriation of most Hmong refugees. • Because of their role in the U.S.-led war in Laos, approximately 90 percent of Hmong refugees have been resettled to the United States. • All official refugee camps in Thailand serving the Hmong were closed in the mid-1990s. • The Hmong community at Wat Tham Krabok monastery’, though not officially recognized as a refugee camp, was tolerated by Thai officials until a decision to close the complex in 2003. This led to the latest resettlement 112 program for Hmong refugees to the U.S.. A Statistical Overview of Hmong Immigrants in the U.S.: • There are approximately 103,000 foreign-born Hmong in the United States. • The states with the largest number of Hmong immigrants are California, Minnesota, and Wisconsin. • While the foreign-born Hmong make up less than one-half of one percent of the foreign-born population in the United States, they accoimt for approximately 10 percent of immigrants in Minnesota and Wisconsin • The metropolitan areas with the most Hmong immigrants are the Minneapolis-St. Paul, Minnesota- Wisconsin, area, and the Fresno, California, area. Developments Shaping Policies Toward Hmong Refugees: Hmong foreign-born population for the United States (View Table) The Hmong in the United States are mainly from Laos, where they are considered an ethnic minority group. In Laos, the Hmong are one of several ethnic groups that have traditionally lived in the highland areas of the country. Approximately 315,000 are still in Laos. Several million Hmong also live in China, Vietnam, Thailand, and Burma. Back to the top The root of the Hmong refugee experience lies in an alliance with American Cold War efforts in Laos. Concerned about a Communist takeover of Indochina, the United States engaged in a CLA-led ground operation in Laos from the early 1960s to 1975. The Hmong, who Americans believed had exceptional combat skills, made up most of the manpower in this effort. Not all Hmong, however, joined the U.S. effort. Back to the top Explanation of the Census data in this Spotlight Numbers for this Spotlight are based on population counts based on racial grouping. Beginning with 2000 year data, the Census derived such groupings from responses to questions asking a person to list his or her race. The Census 2000 questionnaire allowed people to self-ideotify one or more races they considered themselves to be. Census statistics for the "Hmong alone' group pertain to respondents who only identified them set ves as Hmong in response to the question "What is this person's race?" Census statistics for the "Hmong atone or in any combination" group pertain to both respondents only identified themselves as Hmong. and those who identified themselves as Hmong as well as some other race or ethnic group. This Spotlight uses the numbers for foreign-born respondents who identified as 'Hmong alone and in any combination. For a comparison of the "Hmong alone* and the "Hmong alone and in combination' numbers, please dick here. For more information on how the 2000 Census collected data pertaining to race, dick here Since 1975, more than 200,000 Hmong have fled Laos as refugees. Thailand has been the staging arena for the resettlement or repatriation of most Hmong refugees, hi May 1975, when communist takeover of Laos seemed imminent, the U.S. arranged to airlift between 1,000 and 3,000 Hmong into Thailand. By December 1975, when the Lao People's Democratic Republic was formed, an estimated 44,000 Hmong had fled to Thailand as refugees. The earliest Hmong refugees who fled the country consisted mainly of soldiers in the U.S.-led army and their families. Later waves have fled because of a variety of post-war hardships, including declining economic conditions, crop failure due to ineffective communist farm collectivization schemes and drought, and repression of past and on-going resistance activities. 113 Because of their role in the U.S.-led war in Laos, approximately 90 percent of Hmong refugees have been resettled to the United States. The first flow to the United States included approximately 3,500 Hmong by December 1975. The 2000 Census counted 102,773 foreign bora who self-identified as Hmong. The largest wave of Hmong immigrants arrived in the United States during the 1980s. While 15 percent of Hmong immigrants arrived in the latter half of the 1970s, the 1980s saw a larger wave of entrants, representing 46 percent of Hmong foreign born currently in the U.S.. The flow of arrivals in the 1990s decreased, accounting for 39 percent of current Hmong immigrants. For more information on the U.S. refugee resettlement program, click here. The Hmong have also been resettled in France, Canada, and Australia. Many Hmong, however, have opted to stay in Thailand, waiting either for a return to Laos without fear of political reprisal, or until relatives can join them for settlement in a third country. Some have spent up to 10 years in Thai camps. Back to the top All official refugee camps in Thailand serving the Hmong were closed in the mid-1990s. Because the Thai government has never officially allowed Hmong resettlement within its borders, Hmong remaining in camps at the time of their closure were sent to transit camps to await repatriation to Laos. Several thousand, however, fled to rural areas of Thailand or to Wat Tham Krabok, a Buddhist monastery where a local religious leader organized shelter and services. 114 The Hmong community at Wat Tham Krabok monastery, though not officially recognized as a refugee camp, was tolerated by Thai officials until a decision to close the complex in 2003. This led to the latest resettlement program for Hmong refugees to the U.S.. Due to the Laotian government s refusal to accept the repatriation of the Hmong because of their past resistance activities, the U.S. agreed to resettle those Hmong registered at the temple by September 2003. More than 15,000 Hmong have been approved. At present, approximately 7,800 have arrived in the U.S., with the remaining expected to arrive by late spring 2005. The majority are being resettled in Minnesota, Wisconsin, and California, where many have relatives who arrived earlier. A Statistical Overview of Hmong Immigrants in the U.S.: Back to the top There are approximately 103,000 foreign-born Hmong in the United States. According to the 2000 Census, there were 102,773 foreign born in the United States who reported their race as either Hmong or Hmong in combination with some other racial category. (For an explanation of Census terms concerning ethnic and racial groupings, see sidebar.) Back to the top The states with the largest number of Hmong immigrants are California, Minnesota, and Wisconsin. According to Census 2000,84 percent of Hmong immigrants are concentrated in three states: 41,133 (or 40 percent) live in California, 26,234 (or 26 percent) in Minnesota, and 19,349 (or 19 percent) in Wisconsin. The states with the next largest Hmong immigrant populations, North Carolina and Michigan, have significantly lower numbers (3,923 and 3,785, respectively). Only 15 states are listed in the 2000 Census as destinations of Hmong immigrants. While the foreign bom Hmong make up less than one-half of one percent of the foreign-born population in the United States, they account for approximately 10 percent of immigrants in Minnesota and Wisconsin. Of the 31.1 million foreign born in the United States, only 0.304 percent identified themselves as Hmong in 2000, according to the U.S. Census Bureau. In contrast, the Hmong represent approximately 10 percent of immigrants in Mimiesota and Wisconsin. However, in the state with the largest Hmong immigrant population, California, they made up only 0.46 percent of the foreign-born population. Back to the top The metropolitan areas with the most Hmong immigrants are the Minneapolis-St Paul, Minnesota-Wisconsin, area, and the Fresno, California, area. For the 2000 Census, 25,300 of the foreign born in the Minneapolis-St. Paul area of Minnesota and Wisconsin identified themselves as Hmong, as did 13,182 in the Fresno, California, area. The other top five destinations included Sacramento-Yolo, California (10,941), Milwaukee-Racine, Wisconsin (4,917), and Merced, California (4,182). 115 Appendix 13: Kansas Historical Society 2018. This is not to say, however, that they remained aloof from outside influences. Hmong women in America produce paj ntaub primarily for sale. Money brought in from this source is a major supplement to the incomes of many Hmong families, for this reason Hmong women have not been immune to the comments and buying habits of the American public. Refugee workers also have given their opinions concerning the most desirable colors and designs. Another effect of immigration has been the blurring of traditional boundaries as Hmong from different backgrounds have come to live in close proximity to each other. For example, most of the Hmong in Kansas City are Blue Hmong and did not produce the reverse applique most commonly found in commercial paj ntaub. The Hmong noticed that Americans were only buying reverse applique. They assumed that this was because the public only wanted this style. In truth, the buying public had never been exposed to Hmong batik. Whatever the reason, the Blue Hmong in Kansas City learned how to make applique from their White Hmong neighbors. Of course, one result of this emphasis on applique is that the batik designs have had relatively little influence from the outside. While needlework is now often produced for outsiders and is rarely worn except at festivals, it is still an important symbol of Hmong identity. The demise of traditional paj ntaub would eliminate one of the most important tools for the continuation of the Hmong as a definite ethnic group. 116 Appendix 14: Minnesota Historical Society 2018a. MNHS History. Long before the place we call Minnesota had a motto a capitol building or a voting member of Congress, the Minnesota Historical Society (MNHS) was helping people understand the region s past From the start our mission was to collect and preserve Minnesota s stories in all their forms As its fifth official act Minnesota Territory s legislature established the Minnesota Historical Society in 1849 No other U S territory or state created a historical organization so rapidly Charles K Smith Minnesota s first territorial secretary with a reputation as a political rascal, drew up the legislative act wrote the founding charter and attached the names of eighteen distinguished supporters (several of whom had not given their permission) MNHS held its first annual meeting for fewer than 100 members on New Year s Day 1850 Statehood followed eight years later In its earliest decades. MNHS hosted discussions of historical topics established a library and collection of manuscripts and artifacts began building an endowment, and published reminiscences and scholarly works — including a groundbreaking Dakota dictionary It operated from a series of temporary quarters The Minnesota Historical Society survived devastating fires in 1857 and 1881 guided the creation of Itasca State Park in 1890 and entered the 20th century with 300 members 100 000 volumes in its library and a dozen people on staff To protect its growing and scattered collections from another fire MNHS needed permanent quarters That home arrived with the completion in 1918 of a dedicated Minnesota Historical Society building in the capitol complex. (The Roman Renaissance-style structure currently serves as the Minnesota Judicial Center.) With a secure base of operations MNHS could in the following years provide more public services — helping county and local histoncal societies organize welcoming tens of thousands of visitors a year and beginning radio broadcasts and other kinds of public outreach — while vastly increasing the size of the library and manuscnpt collections MNHS acquired its first historic site in 1958 eventually telling Minnesota s stories through a network of sites across the state As MNHS continued to grow in size and ambitions — launching educational programs granting funds to local history organizations and becoming a force in such fields as archaeology and historic preservation — the space and technological limitations of its old headquarters became clear The Minnesota History Center — with marvelous facilities for exhibits programs library and collections — opened in 1992 Today the Minnesota Historical Society welcomes more than 1 086 000 guests each year along with another 5 million website visits 208 000 social media followers and 24 000 members 117 Appendix 15: Minnesota Historical Society 2018b. MNHS Mission and About Us. Our Mission Using the Power of History to Transform Lives Preserving - Sharing - Connecting Our Mission Delivery The Minnesota Historical Society is a dynamic and widely recognized educational organization that is a trusted resource for history It is highly valued for its historical resources educational impact, service advocacy and leadership: • As a service-oriented and accessible repository of state archival documentary photographic archaeological and museum collections and a center for research • As an effective leader of and partner m educational initiatives and learning opportunities for all Minnesotans • As the state s premier presenter of history exhibitions and programs • As the preserver and presenter of a compelling network of historic sites that make history meaningful for visitors and are supported by their local communities • As a leading publisher of content about Minnesota and its history in traditional and digital media for a variety of audiences . As a partner m expanding historic preservation and in providing professional field services increasing the capacity of history and hentage organizations statewide Our Vision The vision of MNHS is to maximize the power of personal and community stories and shared history to enrich and transform lives MNHS is • A home for collections programs, staff and leaders that reflect and serve the diversity of people who are today s and tomorrow s Minnesotans • A partner m helping young people make connections between history and today s world • An advocate for and steward of historical resources and facilitator of compelling substantive and enjoyable teaming experiences • A workplace that attracts retains and develops talented people and enables them to do excellent work • A broad network of supporters public officials members donors volunteers trustees and others who work to extend our impact and strengthen our future 118 Our Values Stewardship & Service • We responsibly care for the resources that have been entrusted to us today and for future generations • Public service is inherent in what we do We challenge ourselves to focus on meeting our audiences changing needs and to provide unparalleled customer service. Innovation & Resourcefulness . We continually seek fresh ways to meet our mission of connecting people to history and sharing compelling stones • Creativity and effectiveness are critical to our success and are recognized supported honored, and rewarded • We are entrepreneunal in our search for diversified financial and other resources but always mindful that they support our vision and strategies rather than create them Integrity • We communicate with honesty openness, and transparency • Our tradition of excellence and leadership across professions is upheld and supported especially through staff recognition compensationand development Inclusion & Collaboration • Collections programs staffing and governance reflect the diversity of the state • We conduct our work with cooperation and mutual respect working collaboratively to create teams thattake advantage of the diversity of skills and activities throughout the organization and the greater community Our Culture MNHS staff and volunteers are dedicated to using the power of history to transform lives We stnve to create a workplace where everyone can succeed Our culture is lived through four elements of our values Respect We appreciate one another s knowledge expenence and expertise and build relationships upon trust Collaboration We achieve the best results when our diverse perspectives and skill sets come together Innovation We are open to new ideas and continuously seek to improve One MNHS We are a community with a shared purpose fulfilling MNHS s mission and vision Strategic Priorities Educational Relevance ProvKJtng context ana connecting the present with the past MNHS inspires Minnesota learners to examine engage and understand their world through a histoncal lens Minnesota’s Historical Resources Shanng access to meaningful places programs, resources events senses ana exhibits MNHS works with Minnesota s communities to showcase our state s diversity history and role in today s world Our network of coordinated sites museums programs events exhibits, and publishing engages people of all ages backgrounds and interests. 119 Inclusion & Diversity Welcoming and serving all communities MNHS welcomes and serves ail people of Minnesota including displaced Indigenous communities We reflect the diversity of those we serve and ensure that inclusive practices are embedded in all aspects of our work Sustainability & Stewardship Ensuring valued service now and for future generations MNHS develops and manages its resources to ensure the sustainability of the services it provides to the people of Minnesota Long-term financial planning guides our decision- making When allocating the resources we provide for the public (financial human facilities collections! we balance short-term opportunities with long-term goals 120 Appendix 16: Minnesota Historical Society 2018c. List of 26 historic sites and museums under the care of MNHS. Visit all 26 historic sites and museums around Minnesota In + -Q In the metro In Greater Minnesota . fijr£hC ou lee Battjeftejd St. Paul Morion HiflQrig Fgrt S ellin g • Charjgf L indbergh House St Paul and,Myscyim Little Falls jimgl_J,.Hil.t Hoiif e Manne Mill St. Paul • Cflffili&£k HQyse Marine on St Croix Mill City Museum Moorhead Milje Lacs Indian Museum Minneapolis and Trading Post Taytors Falls Onamia • Forest History Center Snake River F»r PM Grand Rapids Pme City . Fort Ridoelv Fort Ridgely State Parte north of Two Harbors . Hgrkin Stgre Traverse des Sioux New Ulm St Peter Oliver Ketlev Farm Efc River • Hiftfing Fgrfiftyitle W. W. Mavo House libtgy H-MUgric Site Forestville/Mystery Cave Le Sueur Men dot a State Park . Jeffers Petro gyJehs Comfrey Odar Rapids IOWA o Go gl* i C23*fl Goojpt' **T*m 121 Appendix 17: Minnesota Historical Society 2018d. Hmong American Day media release. Release dated: April 19. 2017 Media contacts: Lauren Peck 651-259-3137 iauren peck@mnhs pro Jessica Kohen 651-259-3148 tesstca kohen® mnhs pro Hmong American Day at Minnesota History Center May 14 Annual event honors Hmong contnbutions. this year women trailblazers are featured Hmong Amencan Day honors the contnbutions of the Hmong people to Amenca and celebrates the history, culture and achievements they have made This event was created in 2013 to remember the day that General Vang Pao along with 2 500 Hmong soldiers and families, were evacuated from Laos and made the United States—and Minnesota— home This years program will be held at the Minnesota History Center on Sunday. May 14. 2017 from 2 to 5 p.m Activities include a welcome program, music dance games art activities a meet-and-greet with Hmong businesses and organizations and the "We Are Hmong Minnesota" pop-up exhibit This year Hmong American Day faHs on Mother s Day so the program will celebrate and honor Hmong women trailblazers This event is created in partnership with the Hmong Amencan Day 2017 planning committee and the Hmong Museum About the Minnesota History Center The Minnesota History Center holds the collections of the Minnesota Historical Society The History Center is home to an innovative museum engaging public programs a research library distinctive gift shops and Market House by DAmico restaurant The Minnesota Historical Society is a non-profit educational and cultural institution established in 1849 MNHS collects preserves and tells the story of Minnesota s past through museum exhibits libraries and collections historic sites educational programs and book publishing Using the power of history to transform lives MNHS preserves our past shares our state s stories and connects people with history Visit us at mnhs org The Minnesota Historical Society is supported in part by its Premier Partners Xcel Energy and Explore Minnesota Tourism 122 Appendix 18: Minnesota Historical Society 2018e. We Are Hmong Minnesota/Peb Yog Hmoob. We are Hmong Minnesota Home On view through Jan 3, 2016 November 2015 marks the 40th anniversary of Lub neej Hmoob tuaj nyob rau ntawm xeev Minnesota tom qab kob rog hauv the Hmong migration to Minnesota following the Xov Tshoj muaj 40 xyoo tim nkaus rau lub 11 Hlis Ntuj. Xyoo 2015 no Niaj war in Southeast Asia Today, the Twin Cities hnub no Hmoob nyob coob tshaj ti ntawm 66 000 leeg rau ntawm lub Nroog metro area is home to 66.000 Hmong the Ntxaib uas yog ib lub nroog muaj Hmoob nyob coob tshaj hauv teb chaws largest urban Hmong population in the United Asmesliskas no States Qhov uas nthuav tawm tau Hmoob tej dab neeg thiab qub txeeg qub teg zaum Developed in partnership with the Hmong no yuav ua tshwm sim tsis tau yog tsis muaj kev koom tes los ntawm ib zej community this exhibit will commemorate the tsoom Hmoob sawv daws Txoj kev nthuav tawm no yog tsim los teev tseg anniversary and celebrate the significant Hmoob lub neej tsiv teb tsaws chaw thiab nco txog tej Hmoob tau pab nthuav political social and economic contributions the tawm los txhawb rau lub xeev Minnesota no ntawm tseem fwv sab kev ua nom Hmong have made to Minnesota and the ua tswv. sab kev coj noj coj ua hauv noob neej thiab tej kev noj kev haus mus nation rau tej kev ua lag luam Field Trips Related Exhibit Included with a field trip to the Minnesota NOW ON VIEW History Center students can visit We are PAJ NTAUB: HMONG TEXTILES Hmong Minnesota to explore the stories of FRQM I HE PERMANENT Hmong Minnesotans and their journey from COLLECTION Laos to Minnesota Experience the profound James J Hill House impact the Hmong have had on their April 10, 2015 through Jan. 3, adopted homeland in the last 40 years 2016 View a selection of 50 Hmong textiles that showcase applique embroidery and batik work 123 Contributors The Minnesota Historical Society is grateful to the following Lub Minnesota Historical Society zoo siab heev uas muaj cov organizations and individuals for their contributions in koomhaum thiab cov neeg xws li ntawm no ua tau pab txhawb developing this exhibit and related programs: rau lub chaw nthuav tawm thiab cov txheej txheem no ORGANIZATIONS HMONG COMMUNITY ADVISERS / TXWJ LAUS NEEG NTAWM TSEV NEEG HMOOB Association for the Advancement of Hmong Women in Minnesota • Noah Vang, independent researcher, co-curator for Peb Yog HmoobM'e Center for Hmong Studies Concordia Are Hmong Minnesota University. St Paul • W'ameng Moua. editor. Hmong Today. media advisor for Peb Yog CHAT Center for Hmong Arts and Talent HmoobM'e Are Hmong Minnesota Hmong 18 Council of Minnesota, Inc • Lee Pao Xiong Executive Director. Center for Hmong Studies. Concordia Hmong ABC Bookstore University. St Paul Hmong Archives Hmong American Partnership ADVISORY PANEL Hmong American Mutual Assistance Dr Timothy Dunnigan Mr Fres Thao Association Inc Mrs Mao Heu Thao Dr Chia Youyee Vang Hmong Cultural Center Dr Erika Lee Ms Mai Vang Hnub Tshtab Hmong Women Achieving Mr Victor V Lee Lt Col Toufu (Ernie) Vang Together Mrs Mai Neng Moua Mr Xai Nou Vang Lao Family Community of Minnesota. Inc. Dr Mark Pfeifer Mr Xang Vang SGU Veterans and Families of USA. Inc Col Ly Teng Ms MaiKou Xiong We Help War Victims Inc Ms Bo Thao-Urabe Mr Yuepheng Xiong Mr Dai Thao Mr Pao Choua Yang EXHIBIT FUNDERS • Nina M Archabal Fund for Museum Programs • George W Wells. Jr. and Mary Cobb Wells Exhibition Fund 124 Appendix 19: Minnesota Historical Society 2018f. We Are Hmong Minnesota/Peg Yog Hmoob. We Are Hmong Minnesota/Peb Yog Hmoob Minnesota is divided into three sections: HONORING First gallery A selection of artifacts from Hmong traditional life in Laos — basketry textiles, jewelry weapons and objects for spiritual rituals An entire wall of the gallery is taken up by a timeline of Hmong history from ancient days through the upheavals of war and displacement in the 20th century REMEMBERING Transitional space linking the two galleries The major element here is an art installation Let the Spirit Fly.' with thousands of brightly colored spirit papers of the type burned as offerings at Hmong funerals In the words of artist and exhibit designer Sieng Lee, it is "a remembrance of the countless lives memories and heartaches that have paved the way for Hmong Americans today who are still living in transition, looking to redefine a future UNDERSTANDING Second gallery Focuses on the Hmong journey from Thailand to Minnesota from 1975 to 2004. when the last refugees arrived Visitors can explore life in the refugee camps the first years of settling in the state the clan system, language religion and spirituality; work by Hmong artists exploring themes of culture and memory a timeline of Hmong women’s history in Minnesota: Hmong in politics: and an interactive farmers market 125 Appendix 20: Minnesota Historical Society 2018g. Hmong Oral History Project About. Hmong Oral History Project 9 INTERVIEWS DATE: 1991 -1 9 9 3 INTERVIEWERS: Charles Numrich and Linda Rossi The Hmong Oral History Project consists of nine interviews with Hmong men and women from the Twin Cities metropolitan area who have immigrated to Minnesota from Laos or Thailand The interviews are made up of personal stories that describe their experiences both before and after their immigration Nearly each interview concludes with a statement made by the narrator, a statement of hope or a piece of advice for future generations of Hmong people COMMENTS These interviews are the work of Charles Numrich. Linda Rossi and translator May Herr The interviews, transcription and editing were completed by this team of people Tapes and transcripts from this project were donated to the Minnesota Historical Society LENGTH OF INTERVIEWS: 8 hours 50 minutes TRANSCRIPTS: 75 pages 126 Appendix 21: Missoula Art Museum 2018a. Missoula Art Museum Mission and History. MISSOULA ART MUSEUM Admission is free every day, thanks to the generosity of MAM members and donors. Hours and Location. Visit our Calendar for a list of upcoming events and art classes. Discover current employment opportunities or learn how you can benefit MAM as a volunteer. Learn more about MAM's Collection or find out how to reserve MAM’s facility for a special event. MISSION: MAM serves the public by engaging audiences and artists in the exploration o f contemporary art relevant to the community, state and region. - MAM Board o f Directors, 2008 Founded in 1975 and accredited by the American Association of Museums since 1987, MAM is emerging as the leading contemporary art museum in the Intermountain West. MAM is a spectacular attraction in the heart of Missoula's historic downtown: a fully accessible, free, public museum that boasts eight exhibition spaces, a library, education center, and an inviting information lounge. HISTORY: 1903 Missoula Free Public library built with a $12,500 grant from Andrew Carnegie, designed by architect A.J. Gibson. 1912 Carnegie granted S9.000 for the construction of the second floor, designed by Gibson s assistant Ole Bakke. 1972 Festival of the Arts was held in Missoula with over 10.000 people attending. 1973 Missoula Festival of the Arts Committee petitions Missoula City Council to establish a civic center in the defunct library building. 1974 The Missoula City Council agreed to lease the building at $1 a year and allotted S25.000 for repairs to the building. Architect William Fox designed the remodel. The Missoula County Commissioners grant a permissive Mill Levy to fund the operation. 1975 Missoula Art Museum opened March 15, with the exhibition "Native Funk and Flash, ’ which reflected the hip, avant-garde culture of the 1970 s. 1987 Missoula Art Museum begins to collect art and is awarded accreditation by American Association of Museums. 1989 MAM endowment is established. MAM reformed from a County agency to a 501 (c)3. Interior remodel conducted. 1998 Architectural Assessment conducted by architect Jim McDonald: MAM Board decides to remodel and expand Carnegie Library building. 127 City of Missoula, Missoula County and Missoula Redevelopment Agency pledge support to MAM's remodel and expansion. 2003 MAM launches Renaissance Renovation and Renewal Campaign. Architect Warren Hampton, OZ Architects is selected. 2005 Construction commences for 21 months. $5.3 million capital campaign proceeds successfully. 2006 The successful new building design seamlessly fuses the 100-year-old Carnegie Library building with a contemporary addition, creating the ideal environment for exhibiting, celebrating, and preserving MAM s growing contemporary art collection. 2007 In response to the Kresge Challenge, MAM completes its capital campaign on January 3! MAM celebrates its 40th anniversary. The museum expands its footprint outdoors with the dedication of the newly constructed Art Park. 128 Appendix 22: Missoula Art Museum 2018b. Art Park. ECONOMIC * ENVIRONMENTAL BENEFITS The Missoula Art Park epitomizes “Creative Placemaking,” which is becoming state-of-the-art nationally, where partners from public, private, nonprofit and community sectors strategically shape and establish the physical and social character of a neighborhood, town, city, or region around arts and cultural activities. Creative Placemaking energizes public and private spaces, rejuvenates structures and streetscapes, improves local business viability and public safety, and brings diverse people together. The scope of the Missoula Art Park project evinces a strong sense of place to unite the diverse offerings of our vibrant community and ensure and sustain its physical and economic health. Read a recent article about the importance of public art and creative placemaking in America. The economic benefits of the Park promote smart growth by providing an outstanding quality o f life downtown. It also catalyzes economic growth by helping businesses thrive, increases property values throughout downtown, extending visitors’ time downtown and enticing them to spend more on goods and services. ENVIRONMENTAL/PUBLIC HEALTH The Missoula Art Park provides additional environmental benefits with thoughtful and ecological landscaping in our urban core. Trees were chosen to improve air quality and filter airborne pollutants. The park improves water and soil quality with its healthy trees and foliage and features best practices in growing trees in the urban environment. The park helps to calm traffic and reduce noise for a more peaceful setting, encouraging and even celebrating biking and walking in the Park and beyond. Outdoor spaces with trees and public art discourage crime and violence, promote community-building and reduce stress, help businesses thrive, and increase property values. In addition, providing bike facilities and route networks are vital to local quality of life and prosperity. Trees were planted using new Silva Cell systems, which create space for roots below streets thus fostering strong and healthy trees. Downtown Art Park stakeholders expressed the need for a public bathroom for nearby Saturday market customers and people outdoors, so the Art Park includes a Portland Loo, a well-designed public restroom that answers cleanliness and security concerns. 129 Appendix 23: Missoula Art Museum 2018c. Hmong Voices in Montana Catalog. Shop : Catalogs - Hmong Voices in Montana SHOP > CATALOGS > DETAIL HMONG VOICES IN MONTANA ISBN: 972000305 Illustrations: 17 color, 44 b&w images Publisher: Missoula Art Museum Fndtn.,1993 Pages: soft cover: 72pp This early MAM exhibition presented the art language, and music of the Hmong, people originally from Laos, Thailand and China who migrated to Montana in the 1970s. Twenty-two interviews were conducted, transcribed, and translated, Hmong cultural events were video-recorded, and MAM commissioned an embroidered story cloth depicting the lives of the mong refugees since their arrival in Missoula. The publication features statements from Hmong artists and community members and is edited by Susan Lindbergh Miller, Bounthavy Kiatoukaysy, and Tou Yang. Hmong/English text. PRICE: $10.00 Quantity: MEMBERS: $9.00 1 * T T l 130 Appendix 24: Missoula Art Museum 2018d. Hmong Voices in Montana. Exhibitions: Hmong Voices in Montana CURRENT EXHIBIT > HMONG VOICES IN MONTANA GO BACK Hmong Voices in Montana DATES: Hmong voices in Montana 0ctober 30- 1992 ' FebruarV '*■ ' " 3 Peb Thov caw nej sawv dews txhua leej txhua tus tuaj nrog koom peb Hmoob Moos Tas Nas kev qhibqhov chaw tso peb Hmoob cov qub twj. Hmoob Moos Tas Nas Lub suab Lub 11 hlis, hnub tim 5 xyoo 1992 Thaum 6 teev txog 8 teev tsaus ntuj. Thov Caw! - We invite you to the public reception of the new exhibition Hmong Voices in Montana, Thursday, November 5, 6 to 8 pm. Please Come! Hmong Voices in Montana is an exhibition featuring over 250 artifacts and nearly 100 photographs documenting the Hmong way of life and their transition from their native Laos to Montana. Included is several short documents highlighting the history of the Hmong people: their involvement in the Vietnam War, the demographics of the remote mountain villages, agricultural traditions, marriage and children, superstitions and supernatural beliefs, traditional arts and crafts and the duality felt among young Hmong children growing up in the American educational system. Objects on display come from Thailand, Laos, Vietnam, Washington, Minnesota, Wisconsin and Montana. Featured items include embroidered story cloths, ceramics, jewelry, knives and axes, wedding jackets, aprons, sashes and other clothing items, musical instruments such as the Hmong mouth organ (Kheng) and the Hmong mouth harp (ncas), spirit dolls, fishing creel (tawb ntses) and traps (pob tawn cuab ntses). cross bow(hneev) and arrows (xib xub), many pieces of farming goods and kitchen equipment shamans alter items - rattles, gongs, drums. Also included are items for special events - New Year, wedding, funeral and baby blessings, games, clothing and rituals. October 30, 1992 - February 14,1993 131 Appendix 25: Missoula Art Museum 2018e. From Flower Cloth to Story Cloth. In 1979 and 1980, over 366 Hmong refugees resettled in Missoula after being persecuted in Laos because of their loyalty to the anti-communist U.S. government and CIA operations. In refugee camps, flower cloth techniques evolved, and artists began creating story cloths—embroidered picture-textiles that illustrate Hmong experiences of agriculture, war, exile, and immigration. Sales of flower cloths and story cloths, both in the camps and later more broadly, generated important income for families and introduced Hmong culture to the region. Over the years, Missoula and the Hmong community have grown and evolved together. Many Hmong. skillful farmers as well as artisans, established successful businesses and now almost half the vendors at the Missoula Farmers Market are of Hmong descent. A large portion of the weekly Missoula Food Bank donations comes from Hmong vegetable producers. In addition, Hmong culture In Missoula has been profiled internationally through press and award-winning publications. From Flower Cloth to Story Cloth marks the third time MAM has presented a significant exhibition of Hmong textiles. Previous exhibitions were organized in 1978 to help Montanans better understand and appreciate the complexities of their new neighbors, and a major Hmong textile exhibition for MAM was co-curated in 1993 by Vee Kiatoukaysy, Tou Yang, and Susan Lindbergh Miller. This exhibition consists of textiles donated by Missoulians who helped Hmong families navigate American culture, including Susan Lindbergh Miller, who donated her personal collection of 239 Hmong textiles in 2011. Miller built an impressive collection through purchases and commissions from Hmong elders, as well as gifts received through close personal friendships that continue to this day. More than 60 other gifts haw come into the collection from generous donors since then, making Hmong textiles a rich part of MAM's collection and a lasting contemporary expression of our Missoula community. 132 Appendix 26: Missoula Art Museum 2018f. Montana Hmong. Montana Hmong By presenting some of the Hmong traditions, culture, and art forms, the Museum hopes to help Montanans better understand and appreciate the complexities of their new neighbors. DATES: June 03 June 30.1978 133 Appendix 27: Missoula Art Museum 2018g. Gallery Talk. October First Friday CALENDAR > OCTOBER FIRST FRIDAY GO BACK Meet your friends at MAM for First Friday and view exhibitions in eight galleries, sample delicious wine, beer, October 03, 2014 October First Friday and non-alcoholic beverages. Times: 5-8 PM Location: MAM Always free and from 5-8 PM. Susan Lindbergh Miller is a scholar of textiles from around the world, and close friend of Missoula's Hmong community. She lovingly collected Hmong textiles of all sizes and every color of the rainbow with gorgeous embroidery, applique, and other masterfully applied techniques. Join her for a gallery talk at 7 PM. Thanks to l l C l f i S'* en8a8in8 years ° * F,rst Fric,ays at MAM. Enjoy music from the talent pool at and new this Fall - local food carts outside MAM at First Fridays. You may encounter Masala, w.hbqt.or^ Covered Wagon Hotdogs or Burns St. Bistro when you come to the museum. 134 Appendix 28: Missoula Art Museum 2018h. Crossing the River: Hmong Story Cloths Crossing the River: Hmong Story Cloths Crossing the River: Hmong Story Cloths is an opportunity * ha.,, u ww u ,♦ « u u June24 -December 24.2014 for MAM to highlight the rich culture of the Hmong J people. MAM's permanent collection includes a wonderful variety of over 240 Hmong textiles including clothing, ceremonial garments, flower cloths, and, featured in this exhibit, wonderful Hmong story cloths. The story cloth form of Hmong embroidery is a recent development in the ancient Hmong culture, first produced in the Thai refugee camps in the mid-1970s as a means of earning a livelihood for thousands of refugee families. But these colorfully and delightfully rendered embroideries are also a fresh take on the Hmong's rich tradition of storytelling, and allow Hmong elders to communicate traditions, history, and folklore both with a wider international audience and with younger generations of Hmong raised in the United States. In 1961, Jerry Daniels, a Missoula smoke jumper turned CIA operative was appointed liaison officer between Hmong leader General Vang Pao and the CIA, coordinating the guerilla war between the Hmong and the Lao and Vietnamese communists, secretly financed by the American government. In 1975, the United States pulled out of Southeast Asia and the Laos government fell to the communists. To escape retribution, thousands of Hmong fled across the Mekong River to refugee camps in Thailand. Daniels was appointed Chief Ethnic Affairs Officer in charge of the Lao refugees, and helped his Hmong friends resettle in the United States. In 1976, hundreds of Hmong families were brought to the Bitterroot Valley and Missoula to escape the communist takeover of Laos. Though known as legendary jungle fighters, the Hmong were also an industrious and peaceful people who valued the land and made their living from agriculture, hunting, and trading. These embroideries share the Hmong people's rich histories, legends, and traditions in a skillfully rendered and enjoyable visual vocabulary accessible to all. Among the works included in the exhibit were the following: 135 Appendix 29: CSU Chico 2018a. Museum Studies About Us. Museum Hours MUSEUM STUDIES September 6-December 20, 2017 The Museum of Anthropology was established in 1970 in Trinity Hall at California State University, Chico, to support Tuesday-Saturday the Department of Anthropology's un»que and innovative museum training program. Today, the Vaiene L. Smith Museum of Anthropology continues to function as a multifaceted educational facility for students in the Museum 11 a.m.-3 p.m. Studies Program. The Museum Studies Program at CSU Chico s one of the few museology programs in the United States, where students conceive, research, design, and install exhibits as part of their formal training, as welt as Closed between exhibitions. gain hands-on courses in museum collections management and other areas of museoiogy. Students have two See exhibition schedule for options in pursing a degree Chico State's museum studies program has beer a leader in museums studies programs nationally for over 40 years. Thanks to the vision of the museum's founder, Keith Johnson, the program continues to prepar* students for work as museum professionals with unique hands-on training. Students actively participate in all stages and aspects Our Location of research, des;gn and installation of museum exhibitions. This approach equips o u r graduates with the tools they The museum is located in the will need in the professional world. The Certificate in Museum Studies is designed for undergraduate and graduate Meriam Library complex, students attending CSU Chico, wishing to augment the degree in their major a*«a of study. across from the main library entrance. The required coursework is listed -n the catalog. Co-Dsrectors Stacy S c h a e f e r and Georgia Fox teach the museum studies courses for CSUC. The certificate requires one internship in a museum. See our Google Mao Link to thu.Mmtvim Masters Degree in Anthropology, with an Option in Museum Studies Students pursuing their Master Degree n Anthropology have an option to concentrate *n museum studies in addition to their ^ u ire d four-field anthropology core curriculum, with two requ>red internships and a master's thesis. The requirements can be accessed through the catalog. Please see the department web paoe for applying to cur graduate program. Museum of Anthropology CSU, Chico 93929-0400 136 Appendix 30: CSU Chico 2018b. K-12 Tours. K-12 TOURS Museum Schedule Main Exhibition Second week of December - end of Hay Tours last from 45 minutes to one hour and are designed for all g^ade levels and attention spans. For younger grades we incorporate stories and hands-on activities, whereas in older elementary grades we build on the themes of the exhibit as they may rebate to grade level standards. Ai students go on a "scavenger hunt'’ through the exhibit to find answers to questions or match visuals to objects. Customize Your Visit With Us The museum recognizes that California standards loom large and that plans for museum visits become difficult to schedule. As educators, we want to work with classroom teachers to customize a visit and make «t a valuable experience. Of course, we a?so want to encourage specia? education programs such as English learners, bilingual classrooms, and any other groups with special needs to attend. Aga>n we will customize your visit, depending on the age cf the group or ‘earning abilities of a particular c ass. 137 Appendix 31: CSU Chico 2018c. Museum-In-A-Box. MUSEUM-IN-A-BOX Through a generous donation of SI,300 fay the Soroptimists of America, International the museum is able to offer a new outreach program called Museum-In-A-Bcx. This new program is a lending library of artifacts, curriculum, hands-on projects, and books for elementary schools that, for reasons of distance or budget restraints, cannot make it to the museum for a regular field trip. Teachers can check out these boxes for several weeks at a time to use as valuabla additions to ordinary class instruction. Box 1: B o x 2; Behind the Mask: Early Humans Looking into the Human Story This box includes 10 mask ^ep^cas from This box is designed to go along with the California standards for sixth around the world that students can touch grade education. The box includes hands-on curriculum tc delve into the and observe, teacher directed curriculum, real world of physical anthropologists. Students discover the tools and hands-on lessens, several books on native techniques for learning about early humans. Skuil replicas of peoples, and plays for classes to act out Australopithicines ("Lucy"), Homo erectus, Neanderthals, and modern from different cultures. humans are included for classroom use. 138 Appendix 32: CSU Chico 2018d. Summer Camp at the Museum. SUMMER CAMP AT THE MUSEUM Summtr Camp at the Valene L. Smith Museum of Anthropology encourages creative activities to learn about other people, places and time periods throughout the world. Using hands-on activities, like drama, science, music, cooking, and art, children will travel the world, learning about peopie and cultures. For Children Ages 5-11. Summer Camp Registration for Valene L. Smith Museum of Anthropology begins April 16, 2018! Come explore where history end fantasy connect with games, art, and science. See the world through the lens of Anthropology! Plus Whacky Wednesdays— Optional Theme-related dress up days1 Designed for ages 5-11. Camp Dates and Times: Ju ly 9 -A ug 2 2018 M-Th 8:30am-l2:30pm SI 10 per weekly session for Early Bird Registration (before June 14th) S120 per weekly session afte^June 14th Superheroes: July 9-12 Grab your cape and soar into a world of super fun activities. Create comic storyboards, test you r superpowers and discover some suDerhe^ces across cultures. History's Mysteries: July 16-19 It’s a race against tome to uncover the mysteries of the past. Prom escape room techniques to shipwreck archaeology try your hand at discovering the facts. Shark Week: July 23-26 In this camp we will marvel at the awesome power of sharks' We will learn about their role in the ocean and enjoy a little bit of pop culture shark lore with movie clips and more. Locked in the Library: July 30-Aug 2 Unlock the librarians secrets tc solve the mysteries found inside your favorite books. Live «nssde the experiences ripped from the pages of the adventures from beloved characters. Registration online begins April 16th or come to the museum tc pay Monday through Thursday 11-3 pm. R efunds will be issued for family emergencies. Cancellations can be made two weeks in advance. Credits will be issued for future camps beyond that point. Have questions7 Give us a caH or send a quick email! Phone: 530-898-5397 Em ail: anthrcmuseum:£csuch>co.edu 139 Appendix 33: CSU Chico 2018e. Night At the Museum. NIGHT AT THE MUSEUM Night at the Museum As the doors of the museum dost to the public, and the last rays of sunlight fade, the museum's night-time adventure begins. Night at the Museum is a 'are opportunity for 35 children, ages 5-11. to spend time after hours surrounded by museum exhibits and hands-on projects. Under the expert care of the museum curator and CSU. Chico student counselors, children will delve into new topics related to museum exhibitions. The admission price includes a dinner of pizza, fruit, veggies, juice, and treats. Spots fill up early; it is suggested you register by the first week in April. 140 Appendix 34: CSU Chico 2018f. Museum of Anthropology Mission Statement. MISSION STATEMENT The Mus«un of Anthropology train* university students in becoming museum professionals. The museum’s mission is to promote respect and appreciation for human diversity through our academic museum studies program within the Department of Anthropology. The museum is committed to the care of collections and to inspiring a diverse community through exhibitions and events. 141 Appendix 35: Center for Hmong Studies 2018. Established in 2004, the Center for Hmong Studies is a Concordia University, St. Paul-affiliated institution. The Center exists to promote the scholarly interest, the rich legacy and the complex heritage of the Hmong people The Hmong are in a unique position to articulate the ideas and practices of a shifting modern world Dispersed across the globe without the advantage of a written script for much of their history, the Hmong are a powerful byproduct of global interactions and international relations. Bonded by a foundation of the oral, a tradition embedded in legends and memory, the Hmong are an example of a global community that has survived despite the influences of dominant cultures and perspectives, the powers of market economies and the strident pulls of politics The Center for Hmong Studies is an academic resource center that is unique in its service and commitments The Center exists to track document, research develop and teach the long history, the current conditions and the future trajectory of an international community in the midst of transition Funded by both public and private dollars, the Center for Hmong Studies is excited to meet the needs of a diverse population in the pursuit of delivering the most accurate information on the Hmong The Center for Hmong Studies is here to advance a comprehensive and holistic understanding of the Hmong people and the important role they have played in the shaping of the modern world We are here to instigate the field of Hmong Study by unifying the ideas the experiences and the wisdom of the Hmong Since its founding over 15,000 students, scholars and community members have visited the Center 142 Appendix 36: Hmong ABC 2018. About Us. WELCOME About Us Nyob zoo and welcome to Hmong Arts Books & Crafts The First Hmong Bookstore (easily Nyob zoo and welcome to Hmong Arts. Books & Crafts The First Hmong Bookstore (easily known as Hmong ABC) At known as Hmong ABC) At Hmong ABC. we are dedicated to preserving and promoting the Hmong people through our large collections of Hmong Hmong ABC, we are dedicated to arts books and crafts We're pleased to have the honor of serving you online through our secure website Whether you're preserving and promoting the Hmong people through our large a returning customer or new to Hmong ABC we want to say "thank you" or "ua tsaug" We hope you enjoy visiting, and collections of Hmong arts, books browsing through, our website Our most recent and hottest title is the Enaiish-HmonQ/Hmono-Enolish Dictionary If you and crafts We re pleased to have live in or visit the Twin Cities area we like to invite you to visit our bookstore We have more products in the store than the honor of serving you online what are currently listed online If you can t find a specific product online here, please do not hesitate to contact us via through our secure website email or phone at (651) 293-0019 Please ask for Yuepheng Xiong or Shoua V Xiong If you're new to Hmong ABC or to online shopping, it is easy and fun To the left of the screen, you would see a listing of PRODUCT CATEGORIES categories Click on "books" for example there are subcategories under books which bring you directly to the subject or title you are looking for. You can also search by title author ISBN, or key words. Arte and Crafts While you are clicking your way around and shopping in. Hmong ABC, we want to assure you that our website is secure Best Sellers and that your order will be processed through Authorize net. a highly secure and respected credit cards processing Boote/Ntewy company You also have the option of paying for your order through PayPal Have fun and thank you for visiting and supporting Hmong ABC Clothino/Tsoos Tsho HMONG ABC is the first and the only Hmong bookstore in the world It was started by Yuepheng L Xiong and his wife Embroiderv/Pai Ntaub Shoua V Xiong in 1995 HMONG ABC has the best collections of Hmong books It also carries many other Hmong Featured Products products such as Paj Ntaub, hand-made clothings and jackets, arts and artifacts Greeting Cards After 16 years on University Avenue, HMONG ABC had moved into the Hmong Town Market at 217 Como Avenue. Suite 108 Herb-Tshuai Ntsuab We would like to invite you to visit or re-visit us We want to thank you, our valued customers for your support throughout Khawm Plgufr Hgg the years and hope that you wifl continue to support Hmong ABC in the years ahead 143 Appendix 37: PBS 2018. Many Hmong families have enthusiastically continued artistic traditions that have been passed down from generation to generation Their practice of Hmong folklore, sewing and music continues to thrive in the United States today. Folklore Until the end of the 19th century the Hmong had no written language A high value was and still is placed on the oral tradition Hmong folktales are used not only to instruct and entertain, but to convey the values and beliefs of the community, as well as to explain the world's mysteries, such as "The Ongin of the Shaman" and “Why Animals Cannot Talk.“ Two of the Thao children in READ A HMONG FOLKTALE traditional Hmong dress Sewing Hmong also tell stories through story cloths, or Paj ntaub (which means "flower cloth *) Their textiles are intricately sewn designs composed of applique, cross-stitches, batik and embroidery Traditionally, when Hmong families bury their dead, they dress them in hand-sewn clothing In refugee camps, picture cloths grew out of an effort to teach written language to the Hmong The women transferred their drawings to cloth Paj ntaubs were later made as pillow covers or hung on walls as tapestries Storycloths often incorporate Hmong family history, village life, death, the disturbance of war, emigration and life in a new land Paj Flower Cloth of the Hmong, ntaub reflects how the medium of an old Denver, CO: Denver Museum of tradition continues to be used to tell a modem Natural History, 1985, and Joan story of Hmong history and culture Randall, ed. 144 Appendix 38: AAM 2018. Collections Stewardship Standards Stewardship is the careful, sound and responsible management of that which is entrusted to a museum's care. Possession of collections incurs legal, social and ethical obligations to provide proper physical storage, management and care for the collections and associated documentation, as well as proper intellectual control. Collections are held in trust for the public and made accessible for the public s benefit. Effective collections stewardship ensures that the objects the museum owns, borrows, holds in its custody and/or uses are available and accessible to present and future generations. A museum's collections are an important means of advancing its mission and serving the public Core Standards: Collections Stewardship • The museum owns, exhibits or uses collections that are appropriate to its mission. • The museum legally, ethically and effectively manages, documents, cares for and uses the collections. • The museum conducts collections-related research according to appropriate scholarly standards. • The museum strategically plans for the use and development of its collections. • Guided by its mission, the museum provides public access to its collections while ensuring their preservation. • See also the Core Standards for Facilities fit Risk Management 145 Appendix 39: Gerdner 2010. Proverbs In Laos elders were generally viewed with respect as reflected In the following two proverbs 1 Cov laus lawv noj ntau diav mov lawv yeej paub dau • English translation: Elders have eaten more spoonfuls of nee and therefore know more • Meaning: The meaning of this proverb is that wisdom is the product of a long life 2 Rab riam ntaus tau zoo nkauj los txiav thiab hlais tsis tau nqaij. Yuav tsum muab hov ntawm lub zeb ho • English translation: The knife made by the blacksmith, is very beautiful, but will not cut meat unless the blade is tempered and sharpened) • Meaning: This proverb conveys that the beauty of youth may be pleasing to the eye, but utility, like wisdom or knowledge, lies in unseen values and must be learned (Gerdner. Xiong: & Cha, 2006; p 26) Effect of U.S. Immigration Traditionally, elder Hmong have provided stability and have been the "bearers and gatekeepers of culture and tradition’’ (Frye 1995. p 273) They provided wisdom and experience that was necessary for the survival of the family However immigration to the U S brought the need for knowledge and skills different than that required of an agrarian ethnic group living in the remote highlands of Laos Consequently, the knowledge held by Hmong elders in the U S is viewed by some as obsolete, resulting in a deterioration of their status within the community