Euraseaa14 Volume II: Material Culture and Heritage
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Collection Policy
COLLECTION POLICY Collecting is at the heart of the Witte Museum’s mission and must be done with clear purpose and well-articulated guidelines. The museum’s Collection Plan provides the guidelines for what the museum will collect. The Collection Policy sets forth the professional standards and responsibilities for the care and management of collections as required of an accredited museum. The Collections Department Procedures Manual covers procedures for implementing this policy. This policy should be reviewed every five years or as necessary to reflect changes in staff, strategic plan, Collection Plan, or museum practices at large. I. MISSION Statement The Witte Museum promotes lifelong learning through innovative exhibitions, programs, and collections in natural history, science, and South Texas heritage II. VISION STATEMENT Through innovative programs in history, science, and culture the Witte Museum enriches lives, promotes a quality of life for all South Texas people and generates a legacy of knowledge. III. VALUES Learning organization Collection Stewardship Quality programs and exhibitions Fiscal stability Environmental stewardship Professional ethic Welcoming environment Approved 09/20/2017 1 IV. TYPES OF COLLECTIONS The Witte Museum possesses five types of collections: Accessioned, Library, Research, Living, and Educational. The Witte shall designate at the time of acquisition the collection category to which material is assigned. The assigned category may change as the priorities and collections of the Witte evolve. Accessioned Collections Items in the Accessioned Collections shall relate directly to the Mission Statement of the Witte and shall be used solely for exhibitions, research, publications, exhibition loans, education, and Witte branding and merchandising. The documentation, care and disposition of accessioned items are governed by this policy and museum best practices. -
SAA Guidelines for Preparing Legacy Archaeology Collections
GUIDELINES FOR PREPARING LEGACY ARCHAEOLOGICAL COLLECTIONS FOR CURATION Michelle K. Knoll and Bruce B. Huckell ACKNOWLEDGMENTS We are grateful to a number of colleagues for their advice and assistance in compiling and reviewing previous drafts of this document. Our first thanks go to volunteers nearing retirement who completed a preliminary survey about what kinds of collections, samples, and materials they had in their possession that needed to be curated. They helped us assess what topics might best be covered in this guide. Once we started the process of compiling sections and full drafts, we had the good fortune to receive editorial comments, suggestions, and thoughtful reactions from our colleagues on the SAA Committee on Museums, Collections, and Curation. In particular, we are most grateful to committee chair Danielle Benden, Terry Childs, Jenna Domeischel, Susan Gilliland, and Marybeth Tomka. Bill Lipe, Professor Emeritus, Washington State University, long concerned with the proper curation of legacy collections, provided us with much food for thought on both an initial and a revised draft of this guide. We thank Richard Talbot, Brigham Young University, and Janaki Krishna, Natural History Museum of Utah, who also reviewed drafts, and Andrea Knoll for assistance with designing the cover. Our thanks as well to our colleagues at the University of Utah and the University of New Mexico for important conversations about aspects of curation that came up as we worked on the guide. Finally, we are grateful to the SAA Board of Directors for their invitation to prepare the guide and for their review and final approval of it. -
Cultural Collections
Policy and Minimum Requirements for Management of Cultural Collections Cultural Collections Committee April 2006 [updated October 2009] CONTENTS Policy for management of Cultural Collections 1 Introduction 2 Definition 3 Ownership 4 Responsibility 5 Establishment 6 Acquisition Minimum requirements for management of Cultural Collections Part A: General requirements Part B: Acquisition policy: minimum requirements Part C: Deaccession and disposal policy and procedure: minimum requirements Part D: List of Cultural Collections University of Melbourne Policy for management of Cultural Collections1 1 Introduction2 The University of Melbourne owns 32 identified cultural collections, of which 30 are managed by the University.3 It also owns a number of individual heritage objects which are not part of a collection. This policy and the minimum requirements are intended to apply to all faculties, schools, institutes, centres and departments of the University, and to all Cultural Collections owned and managed by the University now and in the future. 2 Definition Each of the Cultural Collections owned by the University of Melbourne is an assemblage of physical (not digital or virtual) objects,4 which have historic, aesthetic, scientific, research, technical, social or spiritual significance. This significance goes beyond the collection’s role as an intellectual resource or carrier of information or evidence. The objects in a Cultural Collection may be naturally occurring or created by humans and can include living organisms. Although each individual object might not be rare or unique, each collection as a totality is unique and irreplaceable; if lost or destroyed, the collection may not be able to be re-created, regardless of available funding. -
Madweng Pottery Tradition in Santa Maria, Isabela Raquel R
IRCHE 2017 4th International Research Conference on Higher Education Volume 2018 Conference Paper Madweng Pottery Tradition in Santa Maria, Isabela Raquel R. Geronimo Philippine Normal University North Luzon Abstract This study investigates the unique indigenous pottery traditions of the Madweng in an Ibanag community in Santa, Maria, Isabela, located in the interior northwestern part of the province of Isabela, Philippines which boasts its huge non -metallic deposit of clay. The Madweng are the Ibanag potters who make, produce such earthenwares. Ethnography as a research design and strategy is utilized to understand indigenous concepts, technology and pottery traditions in manufacturing the dweng. Ethnographic methods like interviews, fieldwork, recording of field notes, direct observation, and Corresponding Author: smartphones were used for photographs, audio recording and analyzing data. Utilizing Raquel R. Geronimo mga katutubong metodo sa Sikolohiyang Pilipino (methods in Filipino Psychology) [email protected] the indigenous method of pakikipagkuwentuhan” (sharing stories), and pagtatanong- Received: 23 April 2018 tanong (asking around), the Ibanag language was employed to draw information Accepted: 8 May 2018 Published: 4 June 2018 in the indigenous idea of pagpapakuwento” (someone is telling the story). Results showed that Ibanag pottery tradition was introduced by the Kalingas, kept and Publishing services provided by Knowledge E used as a significant part of an Ibanag heritage from their ancestors. Manu-mano or hand modelling, maffulang or painting, magabba or firing, were some parts of Raquel R. Geronimo. This article is distributed under the indigenizing methods by the Madweng. Since 1954, no major changes in the method terms of the Creative Commons of manufacture from the teachings of the Kalingas except for a minimal technological Attribution License, which permits unrestricted use and advancement in manufacturing pots using the hurmaan, or molder. -
Curatorial Care of Easel Paintings
Appendix L: Curatorial Care of Easel Paintings Page A. Overview................................................................................................................................... L:1 What information will I find in this appendix?.............................................................................. L:1 Why is it important to practice preventive conservation with paintings?...................................... L:1 How do I learn about preventive conservation? .......................................................................... L:1 Where can I find the latest information on care of these types of materials? .............................. L:1 B. The Nature of Canvas and Panel Paintings............................................................................ L:2 What are the structural layers of a painting? .............................................................................. L:2 What are the differences between canvas and panel paintings?................................................. L:3 What are the parts of a painting's image layer?.......................................................................... L:4 C. Factors that Contribute to a Painting's Deterioration............................................................ L:5 What agents of deterioration affect paintings?............................................................................ L:5 How do paint films change over time?........................................................................................ L:5 Which agents -
Acquisition and Disposal of Collections
139 ACQUISITION AND DISPOSAL OF COLLECTIONS The goal of collections development is to shape collections whose composition supports a collecting unit’s mission and programs. The main tools of collections development are acquisitions and disposals. This chapter discusses these tools. acquisition and disposal 140 ollections are acquired through various methods, such as donation, field collection, transfer from another organization, and purchase. “Disposal” means termination of ownership and physical removal of accession C 1 collection items. In the United States, “deaccessioning” and “disposal” are often used interchangeably, but technically the former term refers only to the first step in disposal — the removal of an item from the catalogue of accession collections.2 The first section of this chapter addresses acquisitions, with particular emphasis on how collecting units have built their collections, the policy framework related to acquisitions, and how collecting units are responding to a changed collecting environment. It also examines how collecting units make acquisition decisions, and considers alternatives to traditional collection methods. The second section addresses deaccessioning and disposal. It discusses the reasons units dispose of items, and the obstacles to disposal. The role of organizational and professional culture in collections development is discussed. Also discussed briefly is the issue of duplication and overlap of collections at the Smithsonian. The chapter closes with conclusions. FINDINGS acquisitions Collecting appears to be an innate human propensity. Archaeological excavations indicate, for example, that 80,000 years ago Neanderthals assembled collections of small stones (Neal 1980, 24). Norman Rosenthal, exhibitions secretary at the Royal 1 Collecting units also dispose of non-accessioned items, but that is not the focus here. -
Visors Mbers
Non-Proft Organization U.S. Postage PAID American Heritage Center Pioneer Printing Dept. 3924, 1000 E. University Ave. Laramie, WY 82071 307-766-4114 Change Service Requested BOARD OF ADVISORS MEMBERS Pictured Left to Right: Ann Noble (Chair), Patty Myers (Vice Chair), C.J. Box Katie Curtiss, William Dubois, Lucille Dumbrill, Chuck Engebretson Dave Foreman, Dan Furphy, Anna Marie Hales, Pete Illoway Louise Jackson, Alan Johnson, Rose Macy, Susan Stewart, and Pete Simpson. Ex-Ofcio Members: Tamsen Hert (President, Wyoming State Historical Society), Tyler Spear (Development Ofcer, UW Foundation), Bridget Burke (Director, American Heritage Center). ABOUT THE COVER PHOTOS Row One: Alonzo Stepp was a rider for the Pony Express. He began cowboy life in Wyoming as a sheepherder, and he eventually owned his own land in Lincoln County near LaBarge, Wyoming, which stayed in his family until the 1960s. Stepp Family Photo File. Portrait of Caroline Lockhart. Caroline Lockhart was a Cody Wyoming resident, newspaper publisher, writer of Western novels and stories, journalist, rancher, and rodeo sponsor. Caroline Lockhart Papers. Row 2: Portrait of Louisa Ann Swain, the frst woman in the United states to vote in a general election. She cast her vote in Laramie, Wyoming on September 6, 1870. Louisa A Swain Photo File. Photograph taken following the Kemmerer mine disaster, 1923. Frank J. Meyers Papers. Photograph of Native American women drying meat at Crow Agency, MT. Crow Tribe Photo File. Grace Raymond Hebard at Devil’s Gate, Natrona County, Wyoming on the Oregon Trail. Grace R. Hebard was a noted western historian, University of Wyoming professor, librarian, and trustee. -
Cultural Collections Projects Program
The year in review At the start of the year, each new project listed on the Cultural Collections Projects Program website represents a unique learning opportunity waiting for the ‘right’ person to come along. Then, once a project is assigned it is interesting to see how this collaboration develops over the ensuing months. From the initial meeting with the collection manager, where timelines are mapped, expectations discussed and logistics considered, there is much energy and enthusiasm. Over the duration of the project I usually meet with the student while they are working in situ to find out how their project is progressing. I am often impressed as they expertly explain the processes involved, or outline their exciting research discoveries. A sense of pride and ownership in the project is apparent. Fast forward December 2015 December 2015 to the project end, when goals have been met - maybe exhibition labels have been written and installed in a gallery space; a collection has been rehoused to archival standards; collection items have been catalogued; or perhaps the research has evolved into an article for an upcoming edition of Collections magazine – all are very tangible and significant outcomes. And all of this before taking into account the benefits of the experience for the volunteer! This year interest in projects with the University’s collections continued to grow, with an increasing number of students and volunteers seeking the opportunity to work on a project through the Program. As a result, many well qualified and enthusiastic individuals have participated, their contribution demonstrating the cultural collections are a dynamic and central part of an enriched campus experience. -
Museums and Collections Projects Program 2020 University of Melbourne
Museums and Collections Projects Program 2020 University of Melbourne Tiegs Museum, School of Bio Sciences Student/Volunteer Position Guide Position Title: Collection Management – Catalogue Assistant Supervisor: Michiko Mirams, Manager Technical Teaching Support; Collection Manager, Tiegs Museum Dr David Young – Director, Tiegs Museum Helen Arnoldi, Museums and Collections Projects Program Coordinator Position Goal: The primary goal of this position will be to catalogue objects within the storage areas of the Tiegs Museum that have not been previously documented. This project will also involve reviewing, updating and cross-checking existing catalogue records of collection items in storage that have been partially documented previously. New and updated catalogue records will be added to a spreadsheet which will aid in the management, accessibility, long-term preservation and appreciation of the collection. Background: The Tiegs Museum of the University of Melbourne was established in the late 1880s and is Australia’s oldest university museum of zoology. The collection, accumulated over 120 years, has specimens contributed by the first Professor of the department, Sir Walter Baldwin Spencer. It has an extensive collection of specimens representing the whole animal kingdom, ranging from small invertebrates to prepared whole-mounts and skeletons of vertebrates including an African lion, and a moa (an extinct emu-like bird from New Zealand). A comprehensive range of Australian animals comprises the skulls of many marsupials and others of increasing significance as the species becomes endangered. The collection also includes eleven ‘type’ specimens of marine invertebrates; these are the original specimens used to describe new species. There is also an extensive collection of microscope slides, with contributions from Professor Spencer and other former researchers in the department, and a large number of reprints and other historical documents of cultural significance. -
EVIDENCE for the ORIGINS of the CHAMORRO PEOPLE of the MARIANA ISLANDS a Paper Presented to Dr. Douglas Oliver Dr. Donald Toppin
..;:, EVIDENCE FOR THE ORIGINS OF THE CHAMORRO PEOPLE OF THE MARIANA ISLANDS A Paper Presented to Dr. Douglas Oliver Dr. Donald Topping Dr. Timothy Macnaught In Partial Fulfillment Of the Requirements for the Degree M.A. in Pacific Island Studies by Robert Graham University of Hawaii November, 1977 '1'l1e Pacific Islands Program, Plan B, requires: "The student's demonstration of research capacity by the submission a major paper prepared for a 600 or 700 numbered research course." (1977-1979 Graduate Information Bulletin, University of Hawaii, ~anoa, p.B7) The submission of this paper to Drs. Oliver, Topping and Macnaught represents the fulfillemnt of that requirement. The paper was researched and written in the Gprin~ semester of 1977 for a course in the ESL department (ESL 660, Sociolinguistics). Since that time I have submitted this manuscript to a number of people to read and comment on. In rewriting this paper in Oct:>ber, 1977, I have made use of their comments and suggestions. Those who have commented on the paper include Dr. Richard Schmidt, to whom the paper was originally submitted, Dr. Donald Topping (SSLI and authority on Chamorro language), Dan Koch (Chamorro languaGe teacher) and Lolita Huxel (Chamorro language teacher). To them go my thanks for advice. Of course all responsibility remains my own. Robert Graham October, 1977 TABLE OF CONTENTS Table of Contents •...•...•. · . .. • 1 The Setting .......•..... ...• ii Map of Oceania ..••. .. · .... ·. iii Map of Marianas ..•...••... · . .. i v Chapter I The Evidence Through Language Splitting ...• 1 Dyen's Work.. .•.•......• . 4 Conclusions .. •• ••••.•••• • 7 Chapter II Ethnographic Evidence for Early Origins • • 7 Conclusions . -
Celebrating 25 Years of Philippine Studies in Hawaii.Pdf
......··· UNIVERSITY OF HAWAI'I AT MANOA . School of Hawaiian, Asian and Pacific Studies Center for Philippine Studies To be published by Filipinas Magazine October 2000 Celebrating 25 Years of Philippine Studies in Hawaii By Jenny Duhaylonsod and Dean Alegado Among the things that come to mind whenpeopletfiink aboutH';l'Waii qre)Yaikiki's white beach~s and golden sunsets, the NorthShore'ssurfingcorttests·overS~foot·high waves, the swaying bodies of hu1a dancers, from . .gorgeousfl6werlei~,red-hotlavafloi,s . I . the Big Island's Kilauea volcano, Hawali 5-0, Magn~m PI, Benriy.. Agqa,y~i, a~d ~~1{ . .. .· ; . : ' :' . .\. .. .. .... ... --· ·. "~- .... ' Cayetano, the first Filipino-American governor.· in t~~ .U.S,,)10t~¢dsssaril;rin that()rder.>. ; .. ~; :.... Most people don't think about t11e pntyersityqf Hc1W;aiiahd its ijagship campgs pl1 •. •· •·· Manoa valley. Once in a while, they'll i-elll.ember1hai'p:Hh~s naiigl1hlly~ianked meh'sMd · ·.· .··.. · .;:::-. -~"·. ::-:,--:.:: . ._. '.• . ~- .::,:: :_:: ... ·... '• •., ·,:.:_: .. ... :-:-· women'S volleyball teams, as well as ate\ritclll~ecl fodib£il! teMb.'ilric16r ChaJ."iSmatic coa~ll C ···•··•·• ·' June Jones. "How can students study in paradis~, :so dios~ to W~ild~ ~11d tb~ h~~utifyl . beaches?" is a common comment especially fro~ ~l~lt~is~.T~bitiltuc~tiqn'i~~~tli~f·' UH is not viewed as a serious academic institution because there are too many distractions and students are unable to concentrate. The University of Hawaii at the Crossroads of Asia-Pacific The perception may be right on one level but it's mostly wrong. In fact UH is a serious research university which astounded the world a couple of years ago with the successful cloning of mice by a team of scientists headed by Prof. -
Looking Forward by Studying the Past in East and Southeast Asian Archaeology: the Next 50 Years
LOOKING FORWARD BY STUDYING THE PAST IN EAST AND SOUTHEAST ASIAN ARCHAEOLOGY: THE NEXT 50 YEARS Miriam Stark Department of Anthropology, University of Hawaii, [email protected] INTRODUCTION Southeast Asia’s context was no less dynamic in the Cold I am pleased to contribute this discussion to the collection War world: new countries (like Brunei and Singapore) of articles resulting from Nam Kim and Alison Carter’s emerged from their colonial beginnings; Ferdinand E. 2013 conference entitled, “Recent Advances in the Ar- Marcos was first inaugurated on Dec 30, 1965 and would chaeology of East and Southeast Asia.” Participants intro- steer the Philippines for the next two decades; and Major duced recent archaeological research from East and General Suharto led the Indonesian government’s three- Southeast Asia that addressed a wide range of issues from year pushback against a putatively communist coup that every time period and major artifact class under archaeo- would kill between 500,000 and one million communists, logical study. As the conference’s keynote speaker, I ethnic Chinese and alleged leftist Indonesian citizens. The sought overarching themes and offered a vision for East United States escalated its military involvement in Indo- and Southeast Asian archaeology’s next 50 years. Upon china and began plans to triple the number of American reflection, variability is the first most important theme of troops in Vietnam to 400,000. This engagement, which the Wisconsin conference papers: many participants of- continued for a decade, drew many Western countries into fered new approaches, and several challenged conven- the fray and plunged much of mainland Southeast Asia tional wisdom.