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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproduction Further reproduction prohibited without prohibited permission. without permission. Order Number 1349430
The National Museum of the American Indian Smithsonian Institution: The establishment of a national museum
Mitchell, Jean, M.A.
The American University, 1992
Copyright ©1992 by Mitchell, Jean. All rights reserved.
300 N. Zeeb Rd. Ann Arbor, MI 48106
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproduction Further reproduction prohibited without prohibited permission. without permission. THE NATIONAL MUSEUM OF THE AMERICAN INDIAN
SMITHSONIAN INSTITUTION:
THE ESTABLISHMENT OF A NATIONAL MUSEUM
by
Jean Mitchell
submitted to the
Faculty of the College of Arts and Sciences
of The American University
in Partial Fulfillment of
the Requirements for the Degree of
Master of Arts
in
Arts Management
Signatures of the Committee:
Chair: ______
( O '- r : L a ug./yu
Jean of the College %-/ Date
1992
The American University 1333 Washington, D.C. 20016
?HS AMEBICM UII7ERSITY LIBRARY
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. © COPYRIGHT
by
JEAN MITCHELL
1992
ALL RIGHTS RESERVED
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. To Grandpa
(Carl E. Miller)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE NATIONAL MUSEUM OF THE AMERICAN INDIAN:
THE ESTABLISHMENT OF A NATIONAL MUSEUM
BY
Jean Mitchell
ABSTRACT
Changes have been taking place within the museum
community in response to a new focus toward public
programming and "client-centered" museums. The National
Museum of the American Indian (NMAI) can be considered a
model of this new focus with a mandate to form a collabora
tion with the Native American community in planning the new
museum. Such a collaboration has rarely worked before.
Methods used for gathering information for this study
included conducting interviews with key staff members of
NMAI, attending consultation planning meetings, and using
information obtained from museum documents. The findings of
the study show that the museum is creating a venue for
different perspectives of Native American cultures, and
attempting to re-educate the general public. The
development of NMAI will change the way museums are
structured, the planning process for programs, the way
museums view their collections, and will re-evaluate
constituencies and audiences.
ii
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS
I have gained so much from this project, and must not
let the opportunity go by to thank the many individuals who
shared their insights, philosophies, and experiences with me
so that I could compile this thesis. I will be forever in
debt to Fred Nahwooksy, a dear friend who first suggested the
topic of NMAI as a full thesis. He has gone out of his way to
refer me to contacts within the museum, as well as provide
documents and information that alone, I would never have been
able to obtain. He has been a source of guidance and
stability at a very stressful and difficult time in my life.
I would like to thank James Volkert, Acting Assistant
Director of Public Programs at NMAI, for allowing me to attend
several consultation meetings in the Washington area, as well
as the xice of NMAI documents to assist in this project.
Last, but not least, I so appreciate the support and
encouragement from my sister, Martha, and my dear friend, Gay.
iii
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS
ABSTRACT ...... ii
ACKNOWLEDGEMENTS...... iii
Chapter
1. FROM HOBBY TO PUBLIC MUSEUM ...... 1
2. NEGOTIATIONS FOR A NATIONAL MUSEUM . . . 8
3. FOUNDING S T A F F ...... 21
4. THE CONSULTATION P R O CESS ...... 30
5. PROGRAMMING FOR A BROADER AUDIENCE . . . 42
6. "POINTS OF VIEW" - AN EXAMPLE OF INNOVATIVE PROGRAMMING ...... 54
7. EXHIBITIONS: GIVING DIRECTION FOR PRESENTATIONS ...... 62
8. MUSEUM FACILITIES: THE CHALLENGE OF SPACES ...... 71
9. A MUSEUM COLLECTION WHICH BELONGS TO ITS P E O P L E ...... 81
10. CONCLUSION...... 90
APPENDICES...... 95
BIBLIOGRAPHY ...... 172
iv
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FROM HOBBY TO PUBLIC MUSEUM
George Gustav Heye, a Wall Street banker, made a
fifty-four-year hobby of collecting Indian artifacts from
South, Central and North America from 1903 to his death in
1957. Heye drove from New York City across the country to
Indian reservations, buying virtually everything he could
from the tribes, including pots and pans and clothing.1 In
addition, he purchased many collections consisting of
predominantly archeological pieces.2
Heye had been the heir to a multi-million dollar
inheritance from his father, an executive of Standard Oil.
He had the money to hire the preeminent anthropologists of
the time, and sent them on fieldwork expeditions to excavate
at various archaeological digs around the United States,
Canada, the Caribbean, Central and South America. Heye's
earliest attempts at collecting were purely for his own
personal interest, and he originally had no intention of
!Kevin Wallace, "A Reporter at Large, Slim-Shin's Monument," (New York, N.Y.: The New Yorker, 1960).
2A listing of collections are listed in appendix I.
1
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. sharing his collection with outside scholars, or the
public.3
However, in the years spent working with "his"
anthropologists, he learned a great deal about Indian
material culture. Very detail-oriented, he was the only
person allowed to register each object acquired with
catalogue numbers. At one point, he was the only person who
knew exactly what was in the collection.4
After acquiring nearly 400,000 artifacts, and having
nowhere to safely store his growing collections, a new
building was proposed and later built on 155th Street and
Broadway in New York City (Audubon Terrace) with funds from
future Trustees, and friends.5 Archer M. Huntington, who
later became one of the outstanding contributors to the
Museum of the American Indian (MAI), donated the tract of
land for the new facility. Realizing that this permanent
location for the collections would be useful for science and
education, Heye created the Museum of the American Indian,
Heye Foundation.
Heye endowed the new organization and transferred his
3Kevin Wallace, "A Reporter at Large, Slim-Shin's Monument," (New York, N.Y.: The New Yorker, 1960).
4Ibid.
5Anonymous, The History of the Museum of the American Indian. 1956, 1.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. holdings to its Board of Directors in 1916.6 The Museum was
structured as a tax exempt non-profit and received financial
support for its costs of maintenance and activities from
personal contributions, grants-in-aid for special projects,
and its endowment fund.7 The museum opened to the public in
1922 "devoted solely to the collection and preservation of
cultural material relating to the aborigines of the Western
Hemisphere."8
Even before the new facility opened, there was not
enough storage and display space for the ever-growing
collections.9 To assist in providing additional space for
research and collections overflow, another tract of land, on
Bruckner Boulevard in the Bronx, was donated to the
Foundation in 1925. This land also belonged to Dr. Archer
Huntington, who, in turn, contributed funds for the erection
of a new building and the maintenance of the fireproof annex
facility (the Research Branch) .10
Only 10% of the collection could be displayed at any
6George H. Pepper, "The Museum of the American Indian, Heye Foundation,11 (New York, N.Y. : The Geographical Review. December 1916), Vol. II, No. 6, 417.
7Anonymous, The History of the Museum of the American Indian. 1956, 2.
8Kevin Wallace, "A Reporter at Large - Slim-Shin's Monument," (New York, N.Y.: The New Yorker, 1961.)
9Anonymous, The History of the Museum of the American Indian. 1956, 1.
I0Ibid.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. one time, leaving other objects at the annex facility
available to students by appointment.11 The artifacts were
stored in vaults, lockers and drawers over the years, which
prevented the infestation of worms, moths and mildew.
During the time the museum was built, conditions for museum
storage at MAI were considered "state-of-the-art.1112
By 1930, the Foundation Library had also become too
large for the Audubon Terrace space. It was relocated and
combined with the Huntington Free Library and Reading Room ■
at Westchester Square, the Bronx. Dr. Huntington
contributed funds for this building as well, and created an
endowment for maintenance and acquisitions.13
Even after the museum was built, Heye continued to
finance excavations all over the Western Hemisphere. The
colonization and development of the "New World" had helped
destroy Native cemeteries, mounds and other burial places.
Fieldworkers for Heye noted that these burial sites
attracted "ruthless treasure seekers" that added to the
elimination of objects which students needed for
"Ibid., 2.
12R. Fred Nahwooksy, Jr., NMAI Exhibition Coordinator, Presentation to The American University Museum Studies Class, April 1992.
"Anonymous, The History of the Museum of the American Indian. 1956, 2.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. reconstructing the life histories of earlier cultures.14
Because the collection was the most complete and
comprehensive in the world, many doctoral candidates came to
MAI to fulfill their fieldwork studies.15 Artifacts
representing the cultures of such tribes as the Comanche,
Iroquois, Zuni, Hopi, Navajo, Blackfeet, and Porno and
Coastal Algonquin were available to scholars. Collections
included impressive numbers of objects such as over eighty
buffalo robes; 250 snowshoes; and 1500 kachina dolls; all
obtained for study and preservation at the museum.16
The Museum fell on hard times due to the stock market
crash of 1929, as Mr. Heye lost the bulk of his fortune at
that time. A majority of the staff and anthropologists were
let go, although excavation projects and acquisitions to the
collections still continued. Heye found the money to
continue collecting, but these expenditures were a drain on
the Museum. Many times, personal funds of the Museum's
Financial Officer were used to meet payrolls or to advance
14George H. Pepper, "The Museum of the American Indian, Heye Foundation, (New York, N.Y.: The Geographical Review. 1916), Vol. II, No. 6, 405.
lsKevin Wallace, "A Reporter at Large - Slim-Shin's Monument," The New Yorker. 1961.
16Ibid.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. payments to obtain freight shipments of artifacts off wharfs
or freight cars.17
George Heye, upon his death in 1957, left a sizeable
amount of money to the MAI, Heye Foundation, which
alleviated its financial troubles for a number of years.18
starting with the 1970's, however, the Trustees of the Heye
Museum began looking into solutions for the organization's
recurring financial troubles, and the continued crowded
conditions of the collection. Many options were considered,
including an offer by billionaire H. Ross Perot to move the
collection to a well-funded, new facility in Dallas, Texas.
However, Heye had made a stipulation in his will that
the museum remain in New York City. The New York State and
City governments would not allow a reversal of the location
provision in Heye's trust, nor were they willing to lose the
collection and its potential as a cultural resource and
tourist attraction.19
Another alternative that was considered was to
affiliate with the American Museum of Natural History (AMNK)
in New York City. AMNH proposed to build a new wing to
17E.K. Burnett, Taped Notes of Early History of MAI. (Washington, D.C.: National Museum of the American Indian, Smithsonian Institution), 11.
,8Ibid., 12.
19Master Facilities Programming, Phase 1 Report, "The Way of the People," National Museum of the American Indian, (Washington, D.C.: Office of Design and Construction, Smithsonian Institution, 1991), 26.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. house the collection, but Native American leaders objected
to the collection being grouped with exhibits of natural
history, dinosaurs, and insects. Also, the Heye Museum
board felt that the new wing would not afford enough space
for the collection.20 This was a time of considerable
controversy for the Museum of the American Indian, Heye
Foundation, especially surrounding any move of the
collection.
20Ibid., 26.
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NEGOTIATIONS FOR A NATIONAL MUSEUM
Since 1980, there were discussions of a possible
affiliation between the Heye Museum and the Smithsonian
Institution (SI), including keeping the museum an indepen
dent part of the Heye Foundation while collaborating on
scholarly and educational programs.1 On May 4, 1987, a
resolution was adopted by the Board of Trustees of the Heye
Foundation establishing an affiliation between its museum
and SI, calling for the relocation of its collections to a
new facility on the National Mall in Washington, D.C.2
A motion was approved by the SI Board of Regents on
May 11, 1987, for the Secretary to "continue discussions
with representatives of the Museum of the American Indian,
Heye Foundation, about the prospect of a formal institu
tional relationship between the museum and the Smithson
ian."3 The Secretary of SI was prompted "to explore the
concept of a national museum of Native American history and
]The National Museum of the American Indian - History of Events." Washington, D.C.: Office of Public Affairs, Smithsonian Institution, 1989.
2Ibid.
3Ibid.
8
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. culture with members of Congress, representatives of the
Executive Branch, tribal leaders and other interested
parties, including responsible authorities in New York."4
Following discussions between the Heye Foundation's
Board of Trustees and SI, Senator Daniel Inouye introduced,
on September 25, 1987, S.1722, a bill to "establish a
National Museum of the American Indian within the
Smithsonian Institution on the National Mall in Washington,
D.C."5 Robert McCormick Adams, Secretary of SI, testified
on the measure on November 12, 1987.6 During 1988,
negotiations took place, in Washington, D.C. and in New
York, to work out the language of the legislation and the
affiliation agreement between the Heye Foundation and SI.7
Congress adjourned at the end of 1988 without taking final
action on the bill.
On January 30, 1989, the board of regents of SI
approved an agreement in principle to transfer the contents
of the Heye Museum to SI. Julie Johnson Kidd, the Heye
Foundation's Board Chairman signed the agreement on March 16
of that year. A memorandum of understanding between the two
institutions was signed on May 8, 1989.8
4Ibid.
sIbid.
6Ibid.
7Ibid.
8Ibid.
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Bill #S.978 was then introduced in the Senate by
Senator Inouye on May 11, 1989, and companion legislation
H.R.2668 was introduced in the House of Representatives by
Representative Ben Nighthorse Campbell on June 15.9 The
Senate approved S.978 on October 3, and the House passed
H.R.2668 with amended language on November 13. The Senate
accepted the amendments on November 14, which cleared the
measure for presidential action. President George Bush
signed Public Law 101-185 on November 28, 1989, establishing
the National Museum of the American Indian as part of the
Smithsonian Institution.10
Public Law 101-185, which is structured in seventeen
sections, established NMAI as an institution and became a
guide for planning and developing the organization.11 The
language was not mandatory, but provided basic concepts to
strive for or take direction from. The figures for budgets
for certain activities were only approximations, as NMAI
must go through the government budgeting and appropriations
process like any other government agency or SI bureau.12
The Act described the origination of the title and the
reasons for the establishment of the Museum, which are
9Ibid.
I0Ibid.
“Public Law 101-185 is listed in its entirety in appendix A.
12Pablita Abeyta, NMAI Government Affairs Specialist, interview by author, September 1991.
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listed as "findings." Congress found that there was a need
for a national museum devoted solely to Native American
cultures, including their histories and art.13 SI currently
offers several programs covering Native American cultures,
however, no facility which is devoted exclusively to Native
Americans and their cultures. Since the Heye Museum in New
York City has one of the largest Native American collections
in the world, and is in need of larger facilities for
exhibition, storage and scholarly research, the merging of
the Heye collection and SI would create an opportunity for a
national institution with an unrivaled collection and
capability for both exhibition and research.14
The new museum would give the public, both Native and
non-Native, the opportunity to learn and understand the past
and contemporary cultures, as well as the history, of Native
Americans. The proposed facilities would provide for
presenting performing arts, scholarly research and meeting
places which would create curatorial and educational oppor
tunities for Indians, as well as allow for collaboration on
traveling exhibitions around the country.15
The last finding was that the final vacant site "on
the National Mall in the District of Columbia (U.S. Govern
13Public Law 101-185, 101st Congress, United States. Washington, D.C.: Government Printing Office, 1989.
14Ibid.
15Ibid.
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ment Reservation No. 6) is reserved for the use of SI and is
available for the construction of NMAI."16 The site is
located next to the National Air and Space Museum, on the
side nearest to the U.S. Capitol.
Section three of Public Law 101-185 described the
establishment of NMAI. The museum will be a living memorial
to Native Americans and their traditions by advancing the
study of Native Americans in such areas as language,
literature, history, art, anthropology and life. NMAI will
collect, preserve and exhibit Native American objects and
artifacts; provide for research and study programs; and
provide the means to carry out all of the above in the
District of Columbia, the State of New York, and various
other locations deemed appropriate.17
Congress gave official permission to the SI Board of
Regents to enter into the agreement of transfer of the Heye
collection to SI, as documented in Section 4 of the Act. It
was stipulated that "the agreement shall be governed by, and
construed in accordance with, the law of the State of New
York."18 Since the Heye Foundation and its collection
16Ibid.
17Ibid.
18Ibid. , 1337.
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originated in New York City, Congress and SI must defer to
the laws of the state.19
The next section dealt with the governance of NMAI by
a Board of Trustees which would assume such duties as
recommending annual operating budgets for NMAI, and
reporting on the acquisition and display of the collection's
objects to Si's Board of Regents. The Board of Trustees
would work in cooperation with the Board of Regents by
advising them on matters such as administration, operation,
maintenance, and preservation of the Museum, as well as
issues and concerns regarding repatriation.20 The Trustees
were allocated the general responsibilities of adopting
bylaws and selecting a chairman and officers from among the
board's members.
Congress assigned to the Board of Trustees the sole
authority to "lend, exchange, sell, or otherwise dispose of
any part of the NMAI collections.1,21 Suggestions for the
proceeds from these transactions included using them for
additions to the collections or applying them towards a
proposed endowment for NMAI.22 The Trustees were also
,9Pablita Abeyta, NMAI Government Affairs Specialist, interview by author, September 1991.
20Ibid.
21Public Law 101-185, 101st Congress, United States. (Washington, D.C.: Government Printing Office, 1989), STAT 1338.
^Further discussion of an endowment appears in Chapter 3: National Campaign/development section.
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mandated to establish criteria and a policy for the nse(s)
of the collections such as "research, evaluation, education
and method of display."23
Public Law 101-185 suggested the membership of the
initial, or founding, Board of Trustees of NMAI as
consisting of
(A) the Secretary of the SI, Robert McCormick Adams; (B) Tom Freudenheim, Assistant Secretary of SI, appointed by the Board of Regents; (C) eight individuals appointed by the Board of Regents; and D) fifteen individuals, each a member of the Board of Trustees of the Heye Museum, appointed by the Board of Regents from a list of nominees recommended by the Board of Trustees of the Heye Museum.24
Also stipulated was that at least seven of the twenty-three
appointed members be Indians. The Law suggested three-year
terms for all newly appointed members, to start when the
Heye Foundation collection would be transferred to SI.
Policies and rules for NMAI's Board of Trustees were left to
the actual board, established in its by-laws, and approved
by Si's Board of Regents.25
Section Six of the Law outlined in very general
language, requirements for the Director and staff of the
National Museum. Currently, NMAI has a core staff in
Washington, D.C., and has kept the staff at the Research
“Public Lav.1 101-185, 101st Congress, United States, (Washington, D.C.: Government Printing Office, 1989), STAT 1338.
24Ibid.
“The Bylaws of the Board of Directors of NMAI are listed in their entirety in appendix B.
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Branch in New York, who were previously Heye Foundation
employees before the transfer of assets.
The Law stated that "the Secretary of SI shall appoint
1) a Director who, subject to the policies of the Board of
Trustees, shall manage NMAI; and 2) other employees of NMAI,
to serve under the Director."26 Employees of the Heye
Foundation in New York City were also offered employment
with SI before the date of transfer of the Heye Foundation
assets.
Museum facilities were covered in Section Seven of the
Act, which described the National Mall Facility (the actual
National Museum building); the Old United States Custom
House at One Bowling Green, New York, New York; the Museum
Support (storage/housing) Center facility in Suitland,
Maryland; and the Audubon Terrace space (the current loca
tion of the Heye Foundation). The National Mall Facility
will be located "on the area bounded by Third Street,
Maryland Avenue, Independence Avenue, Fourth Street, and
Jefferson Dr., Southwest, in the District of Columbia."27
Si's Board of Regents will not pay more than two-thirds of
Federal funds for the total cost of planning, designing, and
constructing the facility. Non-Federal sources will be
26Public Law 101-185, 101st Congress, United States, (Washington, D.C.: Government Printing Office, 1989), 1338.
^Ibid., 1340.
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raised to pay for the remainder of the costs.28
The Old United States Custom House at One Bowling
Green, New York, New York (to be called the "George Gustav
Heye Center of NMAI"), will be leased to SI by the Admini
strator of General Services (GSA), (since Federal property
is administered by GSA).
The term of the lease shall not be less than 99 years. GSA may reimburse the Federal Buildings Fund established by section 210(f) of the Federal Property and Admini strative Services Act of 1949 (40 U.S.C. 490(f)) for the difference between the amount charged to SI for leasing the space and the commercial charge under section 210(j) of such Act which otherwise would apply to leasing the space.29
Included in the construction and renovation of the
U.S. Custom House will be an auditorium and loading dock to
be shared among the occupants of the building. (Besides the
National Museum space, offices will also be leased to other
tenants.) After the initial renovation and construction,
all other repairs and alterations will be the responsibility
of Si's Board of Regents. SI must also reimburse GSA for
its share of costs for utilities, maintenance, cleaning,
etc. incurred at the New York Custom House.30
From funds appropriated to SI, NMAI will be respon
sible for one-third of the planning, design and construction
costs, with the balance coming from non-Federal sources.
28Ibid.
29Ibid.
30Pablita Abeyta, NMAI Government Affairs Specialist, interview by author, September 1991.
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Those non-Federal sources will include New York City and
State, who each agreed to pay one-third of the construction
costs of the Custom House.31 The availability of the
appropriated funds are contingent upon the payment of all
non-Federal monies to Si's Board of Regents.
This provision has delayed the scheduled inaugural
exhibitions by one year, due to unforeseen delays within the
New York State and City legislative processes.32 The
exhibitions are now set for early 1994, with a smaller
preview show in the Fall of 1992.
Section Ten of the Law provided for priority to be
given to the following: Indian organizations regarding the
lending of artifacts and objects from any of Si's collec
tions; sponsorship and planning of traveling exhibitions;
and training and technical assistance. The Law states that
Indian organizations will include "Indian tribes, museums,
cultural centers, educational institutions, libraries, and
archives."33 In providing loans or services, it urges SI to
furnish them at little or no cost to those organizations.
Outreach programs which will serve Indian tribes and
communities outside of the Washington, D.C. area are
suggested in Section Ten. These programs are to be planned
31Ibid.
32Ibid.
33Public Law 101-185, 101st Congress, United States, (Washington, D.C.: Government Printing Office, 1989), 1342.
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in conjunction with educational institutions such as
"tribally controlled community colleges (as defined in
Section Two of the Tribally Controlled Community College
Assistance Act of 1978)."34
Section Eleven mandated that an inventory be done of
all Indian human remains and funerary objects in the
possession of SI, in any of its collection. (At this
writing, an inventory is still being done.) Indian tribes
and Native communities will be contacted regarding the
process of identification and repatriation once the
inventory is completed. Section Twelve outlined the
repatriation process by suggesting that a committee be
established to review the inventory, identification, and
return of Indian human remains and funerary objects.
Section Thirteen outlined the same principles and
procedures described in Sections Eleven and Twelve for
Native Hawaiian human remains and funerary objects. SI is
to enter into a similar agreement as with Indian tribes,
including Native Hawaiian organizations such as the Office
of Hawaiian Affairs and the Malama I Na Kupuna 0 Hawai'i Nei
(meaning "the nonprofit, Native Hawaiian organization) which
was incorporated under Hawaiian State Law in 198S for the
purpose of providing expertise in decisions regarding
cultural issues, including burial issues.35
^Ibid., 1343.
35Ibid., 1345.
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Though not applicable at this writing, Sections
Fourteen and Fifteen described granting programs to be
created by the Secretary of the Interior in respect to
repatriation and museum facilities renovations for Indian
organizations. In addition, there was outlined the
establishment of a Tribal Museum Endowment Fund.36 Section
Sixteen listed definitions of terms used throughout the Act,
and Section Seventeen spelled out the initial authorization
of appropriations.37
From the above analysis, Public Law 101-185, which
created NMAI, was clearly thought out to address issues
concerning Native American individuals and communities, as
well as the museum world. The legislation was a creative
solution to the dilemma of what was to become of the highly
sought-after Heye Museum collection. The Act firmly
established the Smithsonian Institution as having the most
comprehensive collection of Indian objects in the world.
The Law provided the groundwork for a museum that
would serve and reach out to Native American communities, as
well as educate the general public. NMAI has been mandated
36Ibid. , 1346.
37$10,000,000 for Fiscal Year 1990; and such sums as may be necessary for each succeeding fiscal year . . . and will be available without fiscal year limitation for any period prior to the availability of the facilities to be constructed.
Public Law 101-185, 101st Congress, United States, 1989, 1347.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. from its inception to grow away from the more traditional
museum structure of internal exhibition development and
collection storage/access. The Law acts as a guide for its
foundation and structure.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER THREE
FOUNDING STAFF
The organizational structure of NMAI is still in its
formative stages. The museum is made up of a Board of
Trustees, a core staff in Washington, D.C., a staff at the
current Audubon Terrace location in New York City; and at
the research branch in the Bronx, New York.
Twenty-five trustees were appointed to the new Board
of Trustees of NMAI on January 29, 1990.1 The initial
members of the board include eight appointees of Si's Board
of Regents and fifteen appointees of the Heye Foundation
Board of Trustees.2
The Board will guide the development and implementa
tion of policies and planning for the museum in such areas
as research, education, collections, administration and
budget. The Bylaws of the NMAI Board of Trustees were
approved on October 1, 1990. The Bylaws will assist in
structuring the Board's function within the organization.
Currently, there is a staff of approximately seventy-
lHBoard Appointed for New Museum," Smithsonian Runner. (Washington, D.C.: Office of Public Affairs, Smithsonian Institution, 1990), No. 90-2, 1 and 4.
2The Bylaws of the Board of Directors of NMAI are listed in their entirety in appendix B.
21
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. five, who serve under the leadership of the founding
Director, W. Richard West, Jr., who was appointed to NMAI on
May 21, 1990.3 NMAI's staff will grow and evolve as the
Museum itself develops. By the year 2000, the staff will
grow to 350 people, with fifty located in New York.4
The Washington offices are located in the SI Arts and
Industries Building and at L'Enfant Plaza. A National
Campaign Office is located in Arlington, Virginia and
handles all aspects of development and fundraising for NMAI.
NMAI's Government Affairs Specialist, Pablita Abeyta,
works in Si's Office of Government Relations in the SI
"Castle." Her responsibilities include monitoring the
appropriations process, on the Federal level and also in New
York State and New York City (each committed $8 million
toward construction and renovations costs of the U.S. Custom
House).5 She also works with the NMAI Board of Trustees and
its committees. The Office of Government Relations keeps
abreast of current issues, legislative issues, is respon
sible for congressional correspondence, and keeps Congress
up to date with the management and policies of the Museum,
3"Smithsonian Institution Announces Appointment of W. Richard West Jr., Albuquerque Attorney Active in American Issues, as Director of the National Museum of the American Indian," Smithsonian Institution News, (Washington, D.C.: Office of Public Affairs, 1990).
4R. Fred Nahwooksy, Jr., NMAI Exhibition Coordinator, interview by author, November, 1991.
5Pablita Abeyta, NMAI Government Affairs Specialist, interview by author, September 1991.
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including the repatriation process and the Museum's
collections. Ms. Abeyta assists in getting legislation
through sub-committees such as the Interior, House Admini
stration and Public Works committees. (An example is the
1992 Interior Appropriations Bill HR-2686 and Public Law
102-154— November 13, 1991.)
Planning and design of the Custom House facility will
cost approximately $1.2 million. Due to the slowdown of New
York State and New York City appropriations, Congress
allowed for only $600,000 to be used toward the Custom House
renovations in 1992. The delay in New York City funding is
due to the process for release of city funds which takes
thirty days at the City Comptroller; two to three weeks for
the release of funds; an issuance of a request for payment;
advertising bids; and issuing a notice to proceed. The
project is expected to take 550 calendar days to complete.6
NMAI's National Campaign Office is planning to begin
its campaign for major gifts in the Fall of 1992. Its
primary goal is to raise the $60-100 million in matching
funds for the construction of the Museum facility on the
National Mall. In addition, it is planning to raise $25-30
million for an education endowment fund, and has received
6Ibid.
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its first Endowment gift from Consolidated Edison Company of
New York, Inc.7
The Campaign Office is currently using for its
campaign, materials such as Si's news articles about the
Museum, a letter of support by President Bush and the
legislation, Public Law 101-185, which established NMAI. A
campaign newsletter will be published in four issues
starting in 1992. The newsletter will be sent to friends
and supporters of NMAI around the country.
A general brochure will soon be available which gives
an overview of NMAI, and will be distributed to potential
donors, members, and volunteer committees. A "ways-of-
giving" brochure will be available to prospective donors by
fall 1992, which will outline various ways of making gifts
to NMAI, and describe the tax and estate consequences of
giving. A case statement will soon be implemented in the
Campaign's major fundraising brochure which will state the
Campaign mission and focus on significant giving
opportunities.8
The Campaign Office has distributed a flyer describing
its Charter Membership Program. By becoming a Charter
Member of NMAI, individuals receive a year's subscription to
Native Peoples, a quarterly magazine dedicated to the art
7John Colonghi, NMAI National Campaign Director, interview by author, September 1991.
8Ibid.
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and lifeways of American Indians. Other benefits of
membership include free admission to smaller exhibits of the
Heye Collection in New York (before the Custom House
opening), and to the Cooper-Hewitt Museum, also in New York
City.
In addition, Charter members receive a 10% discount on
purchases through SI Museum Shops and its mail order
catalog; are eligible for SI study tours around the world;
and receive advance invitations to Museum outreach programs.
Members contributing $35 or more receive the Smithsonian
Runner — the newsletter covering all of Si's Native
American projects and exhibitions. The office anticipates
that it will attract over 100,000 members in two years.9
The NMAI National Campaign Office has also created an
Honorary Committee, which is a list of highly visible
individuals who have given permission to lend their names in
support of the Museum,10 and an International Founders
Council, a group of "hemispheric leaders who will provide
the principal leadership for the Campaign's marketing,
public relations, and fundraising activities.1,11 National
Campaign Director, John Colonghi, stated that NMAI's
9Ibid.
10A list of the Honorary Committee appears in Appendix B.
"National Museum of the American Indian Campaign News, (Washington, D.C.: Smithsonian Institution, Winter 1992), Vol. 1, No. 2, 1 and 5.
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Campaign Office had raised over $1 million by the fall of
1991.12
Several special events have been held in the last
year. A widely publicized event was the world premiere of
the Academy Award-winning film "Dances with Wolves,"
attended by actor/director Kevin Costner.13 The benefit
screening raised $30,000 for NMAI and Si's Resident
Associate Program. Other benefits have also been held such
as "Celebration for the Native American," a weekend-long
event in Aspen, Colorado, which raised over $20,000 for
NMAI.
In September 1991, a blessing ceremony was held at the
Old Custom House in New York City. Chief Jake Swamp of the
Mohawk Nation performed the ceremony, as NMAI staff from
Washington, D.C. and New York observed. Chief Swamp used
smoldering sweet grass to purify the building "to rid the
old spirits and purify the work we will be involved in the
future."14
A speech and fundraising event was held in Anchorage,
Alaska at the Alaska Federation of Natives. In addition, a
speech and fundraising event was held in Oklahoma City for
12John Colonghi, NMAI National Campaign Director, interview by author, September 20, 1991.
13Ibid.
14Nadine Brozan, "A Rite of Passage at the Custom House," Chronicle, (New York: New York Times National, September 27, 1991.
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the annual meeting of Allied Arts, a coalition of Oklahoma
City arts organizations. An art auction and sale is planned
for June 1992 by Washington Art Works, a group of
Congressional wives, whose husbands (members of Congress)
will match their fundraising goal. Proceeds from the sale
will be donated to NMAI.15
According to John Colonghi the fundraising campaign
does not receive assistance from SI and its Office of
Membership and Development. NMAI's campaign is breaking
ground for SI, similar to a "start-up company," and will
have regional offices in place in one year (Fall 1992).
Fundraising is the strongest bridge between communities and
NMAI, putting a "new face" on the museum by 1) making sure
it is built; 2) establishing a "footprint" in philanthropic
giving for Indians; and 3) expanding interest in SI.16
Attracting an even broader audience will be the role
of the relatively new public programming area. The Acting
Assistant Director for Public Programs, James Volkert, is
responsible for overseeing the construction and renovation
of the New York facilities, and for the consultation
meetings, which are held around the country to allow for
input from all Native communities and experts in the field.
Mr. Volkert also oversees exhibition planning and
,5NMAI Campaign Newsletter, 6.
16John Colonghi, NMAI National Campaign Director, interview by author, September 1991.
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future education, training and outreach programming for
Native American communities outside the D.C. area. Mr.
Volkert has stated that he is the clients' representative in
the New York renovations process, overseeing the architect
to be hired, deciding on the signage and the design.17
Currently, the Exhibitions Office is well underway in
planning its first exhibitions.
The Exhibitions staff is responsible for the planning
and coordination of upcoming exhibitions including display
methods, presentations of artists, and exhibit publications/
materials. Consultation meetings are organized by the
Exhibitions office, however, there are also plans to create
a Field Hearing Coordinator position specifically for
handling all aspects of consultation planning. This position
will fall under the purview of an Outreach Coordinator who
will oversee areas such as educational programs,
international programs, traveling exhibitions, training
programs and field hearings.18
Every aspect of the museum — administrative staff,
government relations, fundraising, exhibition planning,
consultations, and the NMAI Board of Trustees — must
include participants from the diverse Native American
communities. Opportunities in training for Native Americans
17James Volkert, NMAI Acting Assistant Director for Public Programs, interview by author, August 1991.
!8Ibid.
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will become available through fellowships, internships, and
museological training in areas such as curating, cultural
preservation and administration/management, as well as
recognition of contemporary Indian artists.
The start-up staff and Board of Directors of NMAI have
the important task of molding the new museum, by creating it
from "scratch" — not patterning itself from any other
museum structures. Each department, from the Campaign
Office to the Exhibitions Office, is establishing the unique
concept of the National Museum with its constituency: Native
American communities; and its audience: the general public.
Positions such as the Government Relations Specialist enable
the planning and development of the museum to go forward.
The Campaign Office has extreme importance in the
future of the museum, as it is responsible for obtaining
one-third private matching funds for the construction of the
museum facilities. The campaign staff also represents the
new museum to the general public.
Public programming has begun through the implementa
tion of consultation meetings around the country. From
these planning meetings the facility designs will be drawn,
as well as further ideas for programming. In addition, the
exhibitions staff has established a direction for the museum
in the planning and development process of inaugural
programs.
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THE CONSULTATION PROCESS
...Native communities will determine what NMAI will become. NMAI Technology Consultation Meeting, September 1991
A concept which makes NMAI's practices different from
those of many museums is the Field Hearing Program.
Regional consultation meetings, or field hearings, are a
unique aspect of the planning process for the new museum and
are also part of NMAI's public programming and outreach
services. The planning process has started by going to
NMAI's constituents — the communities it serves and can
learn from — Native communities who have the most at stake
in this effort.1
Consultation meetings bring together the planning
staff from NMAI and Native communities to obtain an under
standing of the different needs and wishes of the respective
communities, i.e. reservation, rural, and urban. The field
hearings also include museum professionals with expertise in
museum administration, education, and research and
collections, as well as artists.
The first phase of the planning process in 1991
]Master Facilities Phase 1 Report, NMAI, 5.
30
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involved a dozen consultations "focusing on goals and
recommendations for activities, architectural design,
operations and policies...to initiate the programming of
spaces for each facility to be built."2
Phase Two will continue the regional consultation
process and refine technical investigations and analysis of
all aspects of the sites and facilities. A third phase may
include further testing of the program in preparation of the
design process.3
The focus of the meetings has been on gaining input
from Native Americans, who have comprised the majority of
invited participants from outside SI.4 The invitees were
determined by NMAI's staff and Director. The staff produced
and distributed background materials, such as the Notebook
for Consultations, which allows participants to express
their opinions and share ideas regarding program matters.5
The consultation meetings were moderated by NMAI staff
and were assisted by three Native American "transcending"
co-facilitators, who participated in each meeting, as well
as the planning and evaluation of consultations.6 Si's
2Ibid., 58.
3Ibid.
4Ibid.
5Notebook for Consultations, (Washington, D.C.: NMAI, 1991), 1-2.
faster Facilities Phase 1 Report, NMAI, 58.
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Office of Design and Construction, along with the architec
tural firm, Venturi, Scott Brown and Associates (VSBA),
assisted in the consultations by facilitating discussion on
architectural issues, and recording and analyzing the
discussions for consolidation into the Master Facilities
Programming Reports.7 Documents produced from those
meetings were reviewed by participants, NMAI Board, and SI
and NMAI staff and their consultants.8 NMAI staff designed
the participation formats for consultations, including the
selection of experts for panels and facilitators who also
attended pre-planning sessions.
One of the initial consultation meetings was held on
May 2, 1991 with museum directors, administrators and
designers from around the U.S. and Canada. Twenty-five
participants attended, in addition to NMAI staff members, SI
representatives, and architects from the programming firm
VSBA.9 The group was encouraged to consider how NMAI might
be structured differently from traditional museums in terms
of outreach and public programming.10 Participants were
asked for their insights based on their experience; ways of
7Ibid.
8Ibid.
Meeting Notes-Museum Directors, Administrators and Designers Consultation: National Museum of the American Indian, (Washington, D.C.: Smithsonian Institution, May 2, 1991), 1.
10Ibid., 2.
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collaborating with their institutions and communities; ways
of using technology for information delivery.11
The areas discussed were exhibition approaches; museum
examples to use as potential models; entrances and lobbies;
museum cafe and shop(s); fires and ceremonies; collections;
the Mall and Suitland relationship; the relationship with
Indian communities; and building and design/image.12
Some of the concerns and comments from a May 3, 1991
Contemporary Artists Consultation included sharing and
collaborating on the one million item collection of NMAI,
and the two million item collection of NMNH. Relations
between the two museums remain good, making the sharing of a
data base for access to the collections feasible. The two
collections will not be commingled, but will be available to
outside parties and loaned to each other temporarily.13
Concerns were voiced regarding the lack of contemporary art
in the Heye Collection, which stopped collecting in the
1940s.
A Researchers Consultation, held May 30, 1991,
discussed three areas of the NMAI Board's Research Policy:
Encouraging Indian People to document and use NMAI's collections to study and preserve their cultures;
"Ibid.
12Ibid., 2-12.
13Meeting Minutes - Contemporary Artists Consultation, National Museum of the American Indian, (Washington, D.C.: Smithsonian Institution, May 3, 1991), 3.
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Providing technical assistance;
Honoring tribal policies on care and access to sacred materials while acknowledging potential conflicts with academic freedom-of-information issues.14
Other areas of research addressed were: existing NMAI
resources, expanding resource needs, NMAI relationship with
other research groups, technology and research methods,
priorities, facilities, current use of the Mall site,
addressing non-Indians, and addressing urban Indians.15
Participants at the June 27, 1991 Educators
Consultation expressed the need to document and locate other
federal agencies with which NMAI could collaborate. The
Museum is seen as a facilitator in education and training
for Native Americans and Native communities, thus the
importance of training facilities and resource areas for the
distribution of educational materials.16 Areas for
discussion in the Educators Consultation were concepts of
Indian education, the "Fourth Museum" — Outreach, schools'
needs, cultural resource needs, technology, museum learning,
NMNH and SI relationships, staffing, and buildings.17
The Consultation for Libraries/Archives/Collections on
July 8-9, 1991 discussed the areas of existing collections,
14Ibid.
15Ibid., 3-13.
16Ibid., 7.
17Meeting Minutes - Educators Consultation, NMAI, June 27, 1991, 2-8.
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information needs for collections, physical facilities for
collections storage and care, technological issues,
exhibitions and public presentations, communications to non-
Indians, NMAI relationships with tribal museums, training,
staffing, museum image and symbols, and amenities.18
Further discussion addressed the need for a
media/publication center offering on-line visual and text
data on collections, electronic data connections to other
collections and tribal museums, a photography studio, space
for fellows and non-traditional scholars for collection
interpretation, tape and video recording, and a legal and
archival records library.19
The Southwest Regional Consultation was held in Santa
Fe from July 15-16, 1991 for input from representatives of
southwest tribes. At the consultation, NMAI Director Rick
West emphasized that "NMAI must reach out into Indian
country," and that "the consultations are a bottom-up
planning process to do that."20 The group divided into sub
groups to develop a description of a vision of what the
Museum might be.
Areas of discussion for Southwest Regional represen
tatives consisted of views on what NMAI's role would be in
18Meeting Minutes - Libraries/Archives/Collections Consultation, NMAI, July 8-9, 1991, 3-12.
19Ibid., 3-5.
20Meeting Minutes - Southwest Regional Consultation, NMAI July 15-16, 1991, 2.
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ethical and philosophical terms: NMAI as a sacred place,
symbolism, NMAI relationships with nature, collections, NMAI
control — within the federal process — as well as NMAI
Board power, and the Museum's public message.21
The July 23-24, 1991 Washington, D.C. Urban Consulta
tion brought Native Americans together from the Capital area
to discuss such topics as facility building schedules, site
plans, the program process, and project decision processes.
Other areas addressed were project funding, staffing, museum
viewpoint — i.e. the Native American perspective —
repatriation, sharing materials, Museum atmosphere and
design, collections, sales, the Mall Museum entrance. In
addition, outdoor features, sacred places, performance
spaces, local Washington Indian traditions, and the Fourth
Museum were areas of discussion.22
The NMAI Technology Consultation met at SI in the Fall
of 1991 to discuss technology assumptions such as using the
power of technology to enhance cross-cultural understanding
and for the reciprocal flow of information from schools,
organizations, and communities. The Technology group
divided into three "break-out" sections to develop technolo
gical criteria and structure for meeting the "twenty needs"
21Ibid., 4-14.
^Washington, D.C. Urban Consultation, NMAI, July 23-24, 1991, 3-10.
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of NMAI.23 An overview of the section discussions found
that NMAI needs to survey the communities regarding what
type of technology is currently available — what already
exists in communities — as well as creating a two-way
information base and disseminating consultation outcomes.24
The Technology participants suggested that NMAI look
into high-tech and low-tech needs, and develop pilot
programs that could be used as models/catalysts.25 Tech
nology can control the environment and provide accessibility
to information and items, however, it was stated many times
that content should determine the type of technology used.26
Other important comments included the need for flexibility
which allows for technology to grow and change with needs.
From the Technology hearing, it was determined that
communications between Indian communities and with NMAI will
be possible by implementing technological means such as
computer networks, the Educational Native American Network
(ENAN), radio, television, video, and an electronic bulletin
board system already in place in reservation schools. In
addition, NMAI will consider in-house video/film and audio
production studios as well as facilities for satellite
^The Twenty Needs of NMAI appear in Appendix C.
24NMAI Technology Consultation, September 9-10, 1991.
“ ibid.
26Ibid,
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uplink and other capabilities for communicating with remote
areas.27
The comments and suggestions made at each of the
consultation sessions were recorded and analyzed by VSBA,
the architectural firm responsible for creating the planning
program for facilities. In September 1991, representatives
of VSBA, NMAI and ODC met to begin the "program synthesis"
of Phase One, and to identify issues and challenges to be
explored in Phase Two of the planning process.28 The
preliminary findings and requirements from the consultations
were summarized into a Master Facilities Programming Report,
Phase One.29
Further consultations resulting in Phase Two will
assist in refining design and programming requirements.30
NMAI Exhibition Coordinator Fred Nahwooksy has explained
that the first consultations held in 1991 were primarily to
assist in developing the architectural program plan. The
1992 meetings will begin to address outreach with such
topics as traditional collections care requirements;
planning approaches for Latin America, in preparation for
developing NMAI's mission regarding Central and South
^Master Facilities Phase 1 Report, NMAI, 82-83.
28Meeting Minutes - Programming Work Session, September 16, 1991, 1.
29Master Facilities Phase 1 Report, NMAI.
30Ibia., 5-6.
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America; and a regional meeting with community leaders in
Michigan.31 The 1993 consultations will focus on
exhibitions, their development and subjects.
At the beginning of 1992, the NMAI staff and consult
ants met to discuss and review the Museum's Consultation
Program. The review concluded that the emphasis is now
shifting from discussion of architectural-related matters to
a variety of programmatic concerns, including outreach and
program development; that further evaluation methods need to
be developed; and that Indian organizations need more
involvement in tlie pirocess — involvement 11 nepnesentincj
various viewpoints, geographical distribution, age levels,
professional and cultural authorities, etc."32
The review session highlighted several benefits from
the consultations, the most important being
the opportunity for Indians to express their deeply held concerns about how their history and cultural artifacts have been treated and interpreted.33
In addition, the consultations accomplished the following:
established relationships and dialogues useful for future advice and programming;
provided public relations information and opportunities;
identified sources of potential employees, interns, and contractors;
3iR. Fred Nahwooksy, Jr., NMAI Exhibition Coordinator, interview by author, March 1992.
32NMAI Consultation Program Status Report & Projected Schedule, (Washington, D.C.: NMAI, SI, 1992), 1 & 5.
33Ibid., 2.
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identified and created networks for disseminating future products and services;
identified collaborative opportunities.34
Reviewers also encouraged the implementation of formats to
reach informational sources such as tribes, elders, centers,
groups and individuals.35 Finally, the reviewers noted the
importance of the initial consultations to lay the
groundwork for tribal endorsements of NMAI programs.36
Some suggestions were made from the Phase 1 Start-up
Meeting including the concept of the Museum providing a
forum for discussions of AIDS, alcoholism, and suicide.37
The Technology Consultation suggested that there should be
exhibitions which address genocide directly, and the
Researchers Consultation suggested such areas of research
and archives as:
Treaty rights, government relations, and legal issues; Individual family histories; Local oral history documentation Tribal histories; Languages; Local land use; Programs and curriculum materials for schools that pertain to each tribe and region (not generic Indian) .38
From the earliest days of planning, NMAI has sought
"Ibid.
3SIbid., 4.
36Ibid., 5.
37Meeting Minutes-Start-up Meeting, NMAI, March 28, 1991, 5.
38Meeting Minutes-Researcners Consultation, NMAI, May 30, 1991, 6.
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policy, goals and programmatic directions.39 Planners on
staff, and consultants from Native communities have also
outlined collaborative possibilities such as exhibitions and
public programs for both the Museum and local cultural
centers.40 According to the Notebook for Consultations,
ongoing consultations with Indian people must be built into
each program and a tradition of consultations to review the
overall policies and programs must continue as standard
practice of the museum.41
The consultation process allows for input from all
regions. In addition, while gleaning ideas and recommenda
tions from various experts from the museum and art
communities, those participants may return to their
organizations with further ideas for museum and art fields.
39Notebook for Consultations, (Washington, D.C.: National Museum of the American Indian, Smithsonian Institution, 1991) 4.
40Ibid., 5.
4IIbid.
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PROGRAMMING FOR BROADER INCLUSIVENESS
...While some are planning a celebration of when Christopher Columbus got lost in the ocean, you are planning this museum for Indians and non-Indians. Senator Daniel Inouye (D-Hawai'i)
...The museum will be a rebirth for us. Our people across the country know the importance of this. Representative Ben Nighthorse Campbell (D-Colorado)
There has never been a national museum which
exclusively represents Native Americans. In designing
programs for the new museum, the notion of one stereotypical
Indian perspective on culture, spirituality, art, etc. is a
misconception which NMAI must continually be aware of and
assist to dispel when educating the general public. With
the many Federally recognized and unrecognized Indian
nations, each is considered its own culture and they cannot
be grouped together. However, Indian communities must also
acknowledge the complex task NMAI has in representing and
presenting a broad view of those cultures.
NMAI will be representing two separately distinct
groups: its Native American constituencies and its audience
— the general public. Its programming is driven by the
following mission statement:
42
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The National Museum of the American Indian shall recognize and affirm to Native Communities and the non- Native public the historical and contemporary culture and cultural achievements of the Natives of the Western Hemisphere by advancing, in consultation, collaboration and cooperation with Natives, knowledge and understand ing of Native cultures, including art, history, and language, and by recognizing the Museum's special responsibility, through innovative public programming, research, and collections, to protect, support, and enhance the development, maintenance, and perpetuation of Native culture and community.1
The mission statement was adopted by the founding NMAI
Board of Trustees, which first convened in January, 1990.
NMAI not only has the task of transforming the mission of
the Heye Museum to that of NMAI, but also has the responsi
bility of presenting over 400 Indian nations in exhibitions,
performances and events. Dr. David Warren, former NMAI
Deputy Director, stated that NMAI will be a "hemispheric
institution," as it will encompass Native cultures from
North, Central and South America. He said that, in philoso
phical terms, the museum will be developed on a community-
based, or people-based, approach which will vary consider
ably from standard museum structure. An important factor in
planning the new Museum is the incorporation of public
programming, a relatively new and progressive concept in the
museum field, which has had very encouraging results for
other museums such as Chicago's Field Museum of Natural
History.
•Bylaws of the Board of Directors of the National Museum of the American Indian, (Washington, D.C.: Smithsonian Institution, 1990), 1.
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Public programming has changed museum management
structures to a "team approach" or "power sharing." NMAI
has incorporated its own form of the team approach in its
organizational structure by the formation of the position of
Assistant Director for Public Programs, as well as develop
ing the regional consultation process for planning input.
Since NMAI is not being created from any previous examples
or structure, the first programs will be the theoretical
models for the future.2
Elaine Heumann Gurian, former NMAI Director for Public
Programs, has stated that public programming "invents
structures that empower people who are not in management
positions...the attention is to the audience...it creates
responsive, client-centered museums."3 She mentioned that
excellent models for client-centered programs are children's
museums. The power sharing structure of the exhibition team
represents the content, the design, and the audience(s).4
In planning NMAI, the staff acts as the organizers and
facilitators in the programming process, in addition holding
consultation meetings, and looking to the Native American
2David Warren, (former) NMAI Deputy Director, interview with author, August 1991.
3Elaine Heumann Gurian, (former) NMAI Assistant Director for Public Programming, interview by author, August 1991.
4Elaine Heumann Gurian, "Let's Empower all Those Who Have a Stake in Exhibitions," Museum News. Vol. 69, No. 2, March/ April 1990, 90-93.
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community for direction and expertise. In the case of the
upcoming NMAI inaugural exhibitions, the design advocate
will be a contractor; the content advocate will be part of
the NMAI Exhibitions Office;5 and the audience advocate(s)
will be experts and artists from the Native American
community.
Acting Assistant Director for Public Programming,
James Volkert stated that exhibitions and programs will not
always be content/object-driven, and will take a non-tradi-
tional approach to planning.6 This will be accomplished by
looking outside of the standard curator-driven exhibition
process, to Native communities and artists. Mr. Volkert
explained that the notion of having consultants/'selectors
for exhibitions broadens the notion of "expertise" in
museums and promotes the idea that not only scholars can be
experts.7 Mr. Volkert added that the tradition of museums
has been to focus primarily on accountability. This,
however, started to change in the late 1960's with the
introduction of the issue of accessibility, which has now
sProject Manager, Exhibition Coordinator, and Heye Museum Curators and Educators.
6James Volkert, NMAI Acting Assistant Director for Public Programs, interview by author, August 1991.
7John Barrat, "Native Americans to Tell Their Own Stories," The Torch, (Washington, D.C.: Smithsonian Institution, No. 91-8), 3.
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developed into a new concept of public programming and
education.8
A model for comparison in public programming is the
Field Museum's Kellogg Foundation Project. The Project's
organizational plan outlines the museum community's growing
responsibilities to both collections and public education,
with the "team approach."9 The Field Museum's philosophy
provided for many outcomes including audience satisfaction,
the meeting of design objectives and requirements for
subject accuracy, and collections care.10
Although the concept of the team approach is not new,
the success of this approach is achieved through the process
— identifying shared goals, finding an appropriate balance
of responsibilities, and working together to achieve them.11
The mix of people on the team was of utmost importance, as
each represented a particular area of expertise, and point
of view. Through compromise, collaboration, and consensus
agreement, the team shared a common commitment to the
project.12
8James Volkert, NMAI Acting Assistant Director for Public Programs, Presentation to The American University Museum Studies Class, April 1992.
^ary Ellen Munley, Catalysts for Change. The Kellogg Projects in Museum Education, 1986.
10Ibid.
"Ibid., 31.
!2Ibid., 31-32.
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Another guide for public programming has been the Task
Force on Museum Education Report, sponsored by the American
Association of Museums. An important element in the Report
is the concept of "equity" which is described as the
inclusion of a broader spectrum of society, i.e. greater
inclusiveness.13 This concept is a guide to the creation of
partnerships. For NMAI, the concept will help create
partnerships between museums, within and outside of
communities, between organizations, and between cultures.
Public programming is part of NMAI's mission
statement. Public partnerships will be primarily with
Native American communities, both in consultations for
exhibitions in New York City and at the National Mall
Museum, and for the "Fourth Museum," the Outreach Program.
Partnerships are also being created with other museums such
as Arizona's Heard Museum, which produced the traveling
exhibition, "Shared Visions," a comprehensive survey of the
major artists, schools, traditions, and styles of twentieth
century Native American painting and sculpture.14 The
exhibition will tour the U.S., ending in 1994 at NMAI's U.S.
Custom House space in New York City for eleven weeks.
13"Excellence and Equity: Education and the Public Dimension of Museums" - A Report from the American Association of Museums Task Force on Education, (Washington, D.C.: American Association of Museums, 1991).
14Preliminary Exhibition Planning - U.S. Custom House (NYC). (Washington, D.C.: National Museum of the American Indian, Smithsonian Institution), 1990, 4.
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NMAI is currently working with other SI museums and
bureaus such as the Office of Folklife Programs (OFP). The
two bureaus co-sponsored the 1991 Festival of American
Folklife Quincentenary Program "Land in Native American
Cultures." The presentation focused on Native American
knowledge of the land, the relationships existing between
the land and the people, and the cultural traditions that
make up the link between Native peoples and the Earth.15
Another program co-sponsored by NMAI and OFP, "The
Changing Soundscape of Indian Country," will be a series of
performances showing the influences of other cultures on
Indian music. This program will be presented at both the
1992 Folklife Festival in Washington, D.C. and at the Custom
House in New York City in 1994. An additional program being
researched for the 1993 Folklife Festival is "U.S. Border
lands," which will explore the Native cultures bordering the
U.S. NMAI will jointly produce this portion of the 1993
Festival with OFP.16
NMAI is incorporating many concepts related to the
American Association of Museums' Task Force on Education
Report, including concepts of the meanings of objects,
heightened cultural sensitivity, and presenting and testing
15Festival of American Folklife, 1991 Volunteer Handbook. (Washington, D.C.: Office of Folklife Programs, Smithsonian Institution), 10.
16R. Fred Nahwooksy, Jr., NMAI Exhibition Coordinator, interview by author, May 1992.
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alternative ideas and addressing controversy. The way
museums communicate about objects is changing. Objects are
no longer viewed as existing by themselves, but as having
complex contexts and associated value-laden significance,
due to changing approaches to interpretation.17
An important topic in the AAM Task Force Report was
the need for "heightened cultural sensitivity in research
and interpretation, which is struggling to shed the limiting
cultural biases and ethnocentrism of the past...The return
of cultural patrimony is one of a number of issues that will
fundamentally alter the way museums interpret their
collections in the future."18 A related issue for NMAI was
to make information about collections more accessible to
non-traditional scholars, i.e. families and individuals,
museum professionals, and the public. The museum will
establish liberal access to the collections for Native
American elders, medicine people, scholars, students, and
lay people.19 In addition to planning programs to reach
visitors with varying levels of knowledge, other aspects
such as learning styles, language, and time to spend at the
museum will also be incorporated into the planning process.20
Excellence and Equity, Task Force on Museum Education, 5.
18Ibid., 13.
19R. Fred Nahwooksy, Jr., NMAI Exhibition Coordinator, interview by author, March 1992.
20Master Facilities Phase 1 Report, NMAI, 68.
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Along with contemporary art and historical themes,
exhibitions will include contemporary social issues in a
broad interpretation of culture.21 Programs at the new
museum will assist in presenting and testing alternative
ideas and addressing controversy. NMAI will communicate the
Native American experience, as well as address larger
universal, humanistic issues such as survival and social and
political flexibility in the face of change.22
Programming will attempt to "debunk” contradictory
stereotypes of Indians held by wide audiences.23 These
stereotypes may be rooted in how other cultures perceive
Native Americans.24 In an October 1991 interview on the Fox
Morning News, (WTTG Television) NMAI Director, Richard West,
spoke of the controversies over the Columbus quincentenary
"...the history that followed from the encounter that
occurred between Columbus and his voyages and what came
after is not a pretty picture. And I don't think anyone
will dispute that...we want to be sure that we, on the
occasion of the quincentenary, represent to everybody what
was here
2IIbid.
“ibid., 36.
“Ibid., 36.
24Ibid., 37.
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at the time this encounter actually occurred, as well as
what is here now.1'25
It was also suggested that, due to the "problematic"
relationship between the Indian community and U.S. govern
mental agencies, trust for NMAI must be earned, therefore,
continuity in programs should be assured so that the
communities can count on services once established.26 "The
successful establishment of the Museum's identity within the
Indian community will depend largely on the success of its
outreach programs.1127
The NMAI Outreach Program has already begun through
the consultation process and the development of its
inaugural exhibitions. The consultation process reinforced
that "the Fourth Museum is already in place — 400 units
A A n r* ^ VI
The "Fourth Museum" - Outreach Program will be one of
the most important aspects of NMAI and will be a resource
devoted to the service of Indian communities. It is
possible that a majority of the Museum's Native constituency
will not have the opportunity to visit the Museum facilities
in Washington, D.C. and New York. For this reason NMAI will
^Richard West, Jr., NMAI Director, Fox Morning News Interview Transcript, (Washington, D.C.: WTTG Television, 1991).
26"Preliminary Thoughts," Orientation Packet for Consultation Participants, NMAI, 9.
^Master Facilities Phase 1 Report, NMAI, 66.
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plan and provide hemisphere-wide outreach programs which
will allow for the sharing and exchange of the collections
and human and technical resources with both urban and
reservation-based Indians through traveling exhibitions,
educational materials and programs, and training and
collaborative projects such as loaning artifacts and
exhibits to Indian museums, cultural centers, and
educational institutions.28
NMAI will act as a facilitator as well as an umbrella/
advocate for Indian programs and events.29 The Outreach
Program will encourage a reciprocal flow of information from
Indian communities, schools, cultural centers and organiza
tions through technology, as well as the enhancement of
cross-cultural understanding.30 Organizing principles
listed in consultation participants packets stated the need
for "programs that foster cross-generational communication,
enrichment in the schools, reestablishment of traditions,
language, ceremonies and crafts production."31
The program will provide technical support rather than
funding, as well as initiate its own programs.32 "NMAI must
28Ibid., 3 & 28.
29Elaine Heumann Gurian, (former) Assistant Director for Public Programming, interview with author, August, 1991.
30Ibid.
31|,Preliminary Thoughts," Orientation Packet for Consul tation Participants, NMAI, 8.
32Ibid., 65.
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be the recipient of programs produced by the local community
as well as the producer of programs for community use."33
The establishment and programming of the new museum
will create a venue, on a national scale, to give much
deserved recognition and representation to the many cultures
of the Americas. In addition to its location in Washington,
D.C., the association with the Smithsonian Institution gives
the museum a presence and legitimacy.34
33Ibid., 8.
^NMAI Technology Consultation, September 9-10, 1991.
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"POINTS OF VIEW" - AN EXAMPLE
OF INNOVATIVE PROGRAMMING
A unique aspect of the new museum is the progressive
development concept of one of its inaugural exhibitions,
"Points of View" (POV), which will be presented at the U.S.
Custom House in New York in 1994. NMAI will not use the
standard museum structure of an in-house curator, who is
responsible for content; and in-house design; but will bring
in outside "selectors" for its exhibition development. This
exhibition development process could be a model for other
museums.
NMAI will provide a variety of perspectives and
interpretations in the development of POV, by having several
selectors comment on objects they have chosen from the
collection. There will be several selectors and
commentaries per object, which will present multiple
perspectives, creating a richer experience and the
realization that any object can be approached from many
different points of view.1
Selectors represent diverse disciplines, geographic
Preliminary Exhibition Planning - U.S. Custom House (NYC), (Washington, D.C.: NMAI), 1990, 2.
54
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regions, and points of view.2 Mr. Volkert said, in
selecting the participants, the exhibition staff looked at
the life experiences of the selectors — artistic, spiritual
— to tell the staff what is important in their cultures.
NMAI wants them to be able to express their ideas without
any mitigating, third-person labels from the museum.3 The
exhibition is being produced by the NMAI Exhibitions Office
in Washington, D.C., the curatorial, media production, and
collections management staff at the Bronx Research Branch,
and the Exhibition Design Firm, Krent/Paffett Associates.
As the centerpiece of the opening series of exhibits,
"Points of View" will communicate through interactive
display. The emotional experiences for the consultant/
selectors will be passed on and shared with museum visitors.
An example of the process for the selectors included a tour
of the Research Branch; examination of artifacts of
interest; comments on techniques, materials used, design,
types, distinguishing characteristics; selection of pieces
for "POV"; comments regarding the selectors' experiences,
stories, how the selector learned the craft, their opinion
about NMAI; a tour of the U.S. Custom House; and an informal
video-taped interview.
One of the selectors, Susan Billy, a Porno basket
weaver from Northern California, focused her selections and
2Ibid., 3.
3Ibid., 3.
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comments on the Porno basket collection. She inspected and
commented on weaving techniques used by the respective
weavers — the materials and fibers used, how they were
finished off — and how the baskets communicated traditional
values from within the culture.4 She commented that she saw
the baskets as living things since they are "a real
connection to the past."5
Ms. Billy also examined other artifacts such as a
Potawatomi choker and beaded vest to compare the techniques
of beadwork to basket weaving.6 When examining baskets from
the collections, her comments focused on the incorporation
of design motifs, weaving tools used and handed down to her,
the location of the Dau, or spirit door, and taboos.7
During her video-taped interview, Ms. Billy described the
meaning of the word Porno ("people") a name given to a group
of seventy Northern California tribes by anthropologists,
based on languages spoken and baskets made.8
The common element in the baskets was the Dau. a
place where a bad feeling has a way of getting out of the
basket, and where good spirits can enter and circulate
4George Arevalo and Nancy Rosoff, "Susan Billy: Summary Report," Selector's Log - "Points of View" Exhibit, (New York, N.Y.: NMAI, SI, 1991).
5Ibid.
6Ibid.
7Ibid., 2.
8Ibid., 6.
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within the basket.9 Sometimes it is an obvious change in
the pattern, or one not easily identified.10 Additional
comments during the interview described how a home is like a
basket, since summer homes were made from willow brush
lashed together; she also commented on how long it takes to
make a basket.11
Abe Conklin, a Ponca/Osage Indian, also toured the
research facility. Mr. Conklin, a dancer, storyteller and
traditionalist, was interested in Ponca and Osage items in
the collection from the turn of the century. While
examining many trays of leggings, beadwork, shirts, pipes
and dolls, he commented on how much his people had lost,
'•something that the generations before me don't realize."12
While Mr. Conklin identified designs on woven-fiber
bags, he told how oil royalties that the Osage began
receiving in 1906 played a part in the loss of the
distinctive woven designs in their clothing and bags.13
"After receiving royalties, the Osage got other people and
tribes to make their items for them...and in doing so, mixed
9Ibid., 16.
I0Ibid.
nIbid.
12John Barrat, "Native Americans Tell Their Stories," The Torch, (Washington, D.C.: SI, No. 91-8 August 1991), 3.
13Ibid., 3.
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in their own designs.. .Osage families lost their designs."14
Another factor which changed the way items were made was
money, since Osage craftspeople did not have to rely on the
materials they had on hand, they could buy what they
needed.15
Another selector, Linda Poolaw, a Delaware/Kiowa
playwright, studied the designs of beaded Kiowa bags. She
noted that the geometric designs were made "mostly from
their dreams and visions," and that "they were nomadic and
had to have many bags to carry their things."16 She also
added that the items were taken at the turn of the century,
"that it's been good to look back...My chest was hurting the
first night, because there is a sadness that you feel...some
of the objects are very religious, but I don't know enough
to talk about them. Perhaps there is no one left who knows
about them."17
After the participants made comments as to technique,
design, story, and/or history of the objects, their comments
were documented, and a second group of consultants/selectors
were invited to comment on those same objects. Second-round
selectors were a diverse group made up of museum curators,
anthropologists, academicians, spiritual leaders,
14Ibid., 3.
15Ibid., 3.
16Ibid., 3.
17Ibid., 3.
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folklorists, artists and art historians.18 From the second-
round comments, the exhibit design firm established three
theme areas: Preserving — cultural identity, spirituality,
gender roles; Focus — the selections, diversity/the
selectors; and Aesthetics — process and techniques,
meanings.19
Most of the original selectors and the objects they
chose will be represented within a particular area, as well
as cross-referenced to show inter-relationships throughout
the exhibit. 891 objects were identified by the twenty-
eight selectors.20 Of those, 30% of the originally selected
objects will be displayed, with the rest available for
viewing in other media such as video tapes and
photographs.21
This process builds layers around the object for
richer understanding, according to Mr. Volkert. It also
adds to the notion that experts do not have to be scholars.
18Pesiqn Development Procrram. "Points of View Exhibition,11 (Boston, MA: Krent/Paffett Associates, NMAI, SI, 1992), 2.
19Pesiqn Development Program. Phase II, "Points of View" Exhibition, (Boston, MA: Krent/Paffett Associates, NMAI, SI, 1992), 3.
Exhibition Diagrams are listed in Appendix E.
20Conceptual Development Program, Thematic Organiza tional Strategies, "Points of View" Exhibition, (New York, N.Y.: NMAI, SI, 1991), 1.
21Pesign Development Program. "Points of View" Exhibi tion, (Boston, MA: K/PA, NMAI, SI, 1992), 2.
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From the refining process during the second-round, many
spiritually sensitive objects were removed from the exhibit,
based on comments and new information made available from
the first-round selectors.22 From the comments gathered
through the selection process, the staff and design firm
have suggested that the exhibition''s title be changed from
the working title of "Points of View" to "All Roads Are
Good," to reflect selector Abe Conklin's phrase about the
many points of view on Native American cultures and
objects.23
Artifacts selected for the exhibit include a "mile of
moccasins." Selector Gerald McMaster commented that since
there were 5,280 moccasins in the collection, that would be
equivalent to a mile of moccasins.24 The concept will be
presented as its own sub-theme under the theme Aesthetics:
Process and Techniques.
An Apache bull roarer was chosen by two selectors.
Edgar Perry, a White Mountain Apache Leader/Elder, noted
that the bull roarer was used in the Devil dance and used by
the Clown to make the sound of the wind in all four
^Ibid., 6.
^Design Development Program. Phase II, "Points of View" Exhibition, (Boston, MA: K/PA, NMAI, SI, 1992), 2.
24R. Fred Nahwooksy, Jr., NMAI Exhibition Coordinator, Presentation to The American University Museum Studies Class, April 8, 1992.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 61
directions.25 Susan Billy commented that the wooden bull
roarers are similar to Hopi rainmakers.26
The production phases of POV will include the concep
tual design, content and design planning, fabrication and
production, and installation.27 The catalogue for the
Points of View exhibition will provide biographical informa
tion about each of the twenty-eight selectors, preserve
excerpts from their commentaries, and include five to ten
photo images of works they selected.28 "POV" will run for
an indefinite period of time.
^Design Development Program. Phase II, "Points of View Exhibition," (Boston, MA: K/PA, NMAI, SI, 1992), 32.
26Ibid., 32.
^Preliminary Exhibition Planning, U.S. Custom House, 10- 11.
28Ibid.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER SEVEN
EXHIBITIONS: GIVING DIRECTION FOR PRESENTATIONS
The inaugural exhibitions at the George Gustav Heye
Center in the U.S. Custom House will be the first generation
of programs for the Museum.29 NMAI exhibitions will feature
Indian interpreters, incorporate multisensory techniques, be
updated frequently, and focus on hemisphere-wide Native
cultures, their history and contemporary lives.30 The Heye
Collection may be mixed with objects and materials from
other collections, as well as with contemporary art.
Two programs are currently planned for as early as
r i T i PT*T XTrvrro,mI,>o>*** v » 1009 ^ • ll'Da4-V\T.7a^70 v* ujr ^ o>-P fPvy;*^ i f i H r>yovi w # ^«*
exhibition, and a dance program. NMAI will open the Rotunda
of the U.S. Custom House to preview the collection and
communicate the future of the new museum.
The "Pathways of Tradition" exhibit will focus on the
meaning of museums for living, diverse cultures. It will
convey what Native Americans expect, honor, fear, treasure,
29David Warren, (former) Deputy Director, NMAI, interview by author, 1991.
30Master Facilities Phase 1 Report, NMAI, 9.
62
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and hope for from NMAI.31 The preview exhibition will be
developed from research conducted for the "POV" exhibition,
and use approximately 100 objects chosen from POV.32
The two major themes of "Pathways of Tradition" are
"Cultural Symbolism" and "Indian World Views". "Cultural
Symbolism" will present the use of symbols in Indian art
which represent group/tribal identity through works made of
stone, bone, ceramic, wood, as well as paintings. Objects
will represent earliest forms of art with particular beliefs
in celestial, animal and spirit figures, as well as
contemporary works.
"Indian World Views" will show how the many diverse
cultural views affect the art of the respective peoples, and
how art serves as the background for beliefs.33 The world
view is made up of cultural values, spiritual beliefs and
social patterns of the community.34 Indians define their
world views through their clothing, the designs on the
objects they use, the style of their homes, and the ritual
objects they use.35
"Pathways of Traditions" will showcase Indian
31R. Fred Nahwooksy, Jr., NMAI Exhibition Coordinator, interview by author, 1992.
32Ibid.
33Pathwavs of Tradition. Design Development Program, 1992 Exhibition, (Boston, MA: K/PA, NMAI, SI, 1992).
^Ibid., 7.
35Ibid.
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diversity by representing traditions encompassing land, art,
family, and animals. Traditions related to animals
represent the belief that animals have spirits similar to
humans.36 These animal spirits can share spiritual and
medical power, as well as a common identity.37 Animal
totems as clan effigies are used by Native Americans, and
are meant as tools to assist in learning from the behavior
of animals.38
An example of objects used for the exhibit in
interpreting animal symbolism include a Crow thunderbird
shield and featherwork used by many diverse cultures. The
design of the thunderbird shield shows lightening flashing
from the thunderbird's eye, and a rainbow, representing
rainmaking or the power to prevent bad storms from
striking.39 In this way the shield represents the owner's
vision and the power of the animal spirit as a guardian.40
Shields were also used in a spiritual way to protect the
warrior.41
•'Feathers are used as a metaphor for the spiritual
power of birds, and the connection of the Indian to those
3SIbid.
37Ibid.
38Ibid.
39Ibid.
40Ibid.
41Ibid.
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powers."42 The exhibition will use objects to show the use
of feathers as a form of spiritual adornment and
empowerment.43
Other objects showing Indian diversity in using animal
symbolism include a Winnebago bag with the design of an
underwater panther; Northwest Coast hats; Seneca Headdress;
Kiowa shield and feather fan; Delaware bear costume; and a
Mimbres bowl.44 Other objects will be displayed in a
similar manner to show the diversity representing Indian
relationships with family, land and art. The exhibit will
run from November 1992 to January 1993.
In conjunction with "Pathways of Tradition," NMAI will
present contemporary living Native traditions through its
dance program.45 The program will highlight the vitality
and strength of Native cultures in contemporary societies.
Research and documentation is currently being developed with
consultants from selected communities to develop dance
presentations at New York City venues and possibly in
Washington, D.C.
NMAI will invite eight to ten groups of dancers to
present weekend programs, representing diverse geographic
42Ibid.
43Ibid.
“ Ibid.
45R. Fred Nahwooksy, Jr., NMAI Exhibition Coordinator, interview by author, 1992.
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and cultural areas such as: Southern Plains (Oklahoma),
Northwest Coast, Tewa (New Mexico), Aymara (Bolivia),
Seneca, Zapotec (Mexico), Northern Plains, White Mountain
Apache (Arizona), as well as contemporary dance. The
program will present contemporary traditional and modern
d a nce.
In traditional Indian dance, there are acceptable ways
of doing each dance.46 An example is the War Dance of the
Comanche Tribe. If the movements fall outside of an
acceptable style, it is considered modern dance.
Dance events will be presented as public programs to
support the 1992 Preview Exhibition at the George Gustav
Heye Center, NMAI.47 The Dance Program will take place at
various venues around the city, as well as offer opportuni
ties for community outreach by including local Native Ameri
cans from the New York City area in a pow-wow gathering.48
Ephemera (printed matter) published for 1992 programs
will consist of an exhibition brochure and poster for the
preview exhibition, Pathways of Tradition; a Native American
Dance poster and program announcement; and a brochure
describing the history of the U.S. Custom House.49
Currently in progress is a book providing an overview of the
46Ibid.
47Ibid.
48Ibid.
49Ibid.
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NMAI collections which serves as a visual documentation of
many of the most significant works in the collection
(working title: "Treasures of the NMAI").
A Native American Dance book will be published in
conjunction with the Dance Program, which will be presented
at the same time as the Pathways of Tradition opening in
1992. Articles will cover dances of the Tewa Pueblo,
Comanches/Kiowas, Northern Plains Indians, Native Alaskans,
Latin American, Iroquois, Northwest Coast Indians, and White
Mountain Apaches, as well as an essay on modern dance.50
Each article will also be accompanied by photo images.
In addition to the previously mentioned exhibit,
"Points of View," the second major inaugural exhibition,
"Celebrations", will speak directly to the continuity and
continuum of the Indian experience through contemporary
Native art and will be developed and produced by Indians.51
The project will explore both the past and the future,
resulting in the creation of new objects and celebrations in
response to tradition.52 Twenty-eight Native American
writers, painters, object makers, storytellers, performers,
and musicians have been invited for residencies in New York
City.
50Ibid.
51Preliminary Exhibition Planning, U.S. Custom House, NMAI, 4.
52Ibid.
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The participants will have free access to the NMAI
collection as a source to create songs, dance, writings, and
new objects in response to their experiences.53 As with
POV, the process will be documented and organized into an
exhibition by an Indian designer and presented at the U.S.
Custom House with a focus on sources of inspiration,
creation, renewal, and celebration.54 The participants7
experiences and creations will be refined into the
production of a new celebration at the new gallery at the
U.S. Custom House before the opening date. The exhibition
will run for approximately one year.55
"Shared Visions," the final major exhibition to be
presented in the 1994 inaugural presentation at the U.S.
Custom House, will appear as part of a touring exhibit
organized by the Heard Museum of Phoenix. It will be a
comprehensive survey of the major artists, schools,
traditions and styles of twentieth century Native American
painting and sculpture.56 150 objects will comprise two
components of the show focusing on "Encounter and Response;"
1) an overview of the history of twentieth century Indian
53Ibid.
“Ibid.
55Ibid., 15.
56Ibid., 5.
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art and 2) the reflection of the Quincentenary of Columbus'
voyages by contemporary artists.57
Native American artists from around the country were
commissioned to create new works for the show to reflect the
voyage of Columbus, the Quincentenary, and its meaning to
them. In addition, a comprehensive compilation of earlier
period works were loaned from public and private
collections.
"Shared Visions" originated at the Heard Museum in
Phoenix, Arizona in April 1991. The traveling exhibition
will appear at the following locations before its final
eleven-week showing at NMAI's George Gustav Heye Center:
Eiteljorg Museum of American Indian and Western Arts,
Indianapolis, September 1991; Gilcrease Museum, Tulsa,
January 1992; and Oregon Art Institute, Portland, June
1992.58
The fourth inaugural exhibition, "Orientation," will
go beyond simple identification of areas to interpret the
building facade, sculpture and location of the building.59
In addition, the exhibit will orient audiences to the
mission of NMAI, and interpret the Rotunda, as well as guide
the visitor, through a series of stages, to gallery
57Ibid.
58Native Peoples Magazine. The Arts and Lifeways, (Phoenix, AZ: Media Concepts Group, Spring 1991), 26.
59Preliminary Exhibition Planning, U.S. Custom House, NMAI, 6.
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entrances.60 Topics addressed by the "Orientation"
exhibition will include the history of Native Americans in
Manhattan, Native American custom and commerce before and
after 1492, contrasting world views of Native Americans, and
non-Native Americans, and the history and architecture of
the Custom House building.61
The exhibitions development process has attempted to
incorporate varied themes and disciplines into inaugural
programs, such as artifacts, historical information,
contemporary art, dance, and the combination of those
concepts to encourage the creation of a new celebration.
Exhibitions and programs have been chosen for the best
representation of a particular discipline or collection.
The process depends on comprehensive information, as well as
the availability of consultants and experts.
60Ibid.
61R. Fred Nahwooksy, Jr., NMAI Exhibition Coordinator, interview by author, 1992.
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MUSEUM FACILITIES: THE CHALLENGE OF SPACES
NMAI will be an "institution within an institution,
as SI is made up of fifteen museums, as well as bureaus and
research centers around the country. NMAI will be made up
of several centers, which poses many challenges in design,
programming, staffing, and coordinating. NMAI's multi-site
structure varies from standard museums which house all
departments — exhibition, research/collections, education,
public affairs/media, and administration — under one roof.
Facilities will provide a gathering place for Native
Americans, and will be unusual in that the architecture wil
allow for Indian ceremonies and celebrations, i.e. pow-wows
pipe smoking, religious rituals; the safe use of fire; and
the presentations of aspects of living culture.
NMAI's architectural projects will start with an
overall planning "program" summarizing the requirements
gleaned from the consultation hearings.1 Once the spaces
and the design criteria of the individual sites and facili
ties have detailed descriptions, architects for the design
of each facility will be selected from recommendations by
!Master Facilities Phase 1 Report, NMAI, 5.
71
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Si's Office of Design and Construction (ODC), the NMAI Board
and the NMAI staff, and decided by the Secretary of SI.2
Venturi, Scott Brown and Associates (VSBA) has been
chosen as the architectural firm for the initial program
report. The firm will not be eligible to design for any of
the building projects but may assist as the liaison between
the Museum and the design architects, and in interpreting
program requirements to those firms.3
The George Gustav Heye Center will use two floors of
the restored Alexander Hamilton U.S. Custom House. The
"beaux arts" building was designed by Cass Gilbert and
completed in 1907. The Custom House has been empty since
1973, when the U.S. Customs Service moved to the World Trade
Center.4
TVto TT Q Pncf nw Um-ic?o 1 1 o-s-'.r t.’ T 1 1 V i f t C f f i i S T P — • — — —w... v — /------—
feet for exhibitions, performances and public programming.
The projects planned for the New York City space will evolve
from research programs, resources and exhibitions from the
Mall Museum and Suitland facility.5
Initial construction work by the General Services
Administration is expected to be completed in July 1992, in
2Ibid., 6.
3Ibid., 6.
4Background Fact Sheet - NMAI, (Washington, D.C.: Smithsonian Institution, Office of Public Affairs, 1991) 1-2 .
5Master Facilities Report, Phase 1, NMAI, 45.
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time for the preview exhibition installation opening in
October 1992. This construction work includes the historic
restoration of the frescoes in the Rotunda, the walls and
ceilings of the Great Hall and Collector's Reception Room,
and the statues at the front of the facility on Bowling
Green.
Programs planned for the Custom House will include
long-term exhibitions — primarily of objects from the Heye
Collection — shorter-term exhibits, and brief shows that
are part of a traveling exhibition and/or outreach program.6
The exhibition spaces will be flexible to allow curators and
Museum staff to change the galleries' configurations.7 The
Heye Center will also provide reference materials about
Native American topics, as well as technological access to
the collections located at the Suitland facility.8
The official opening of the Custom House will take
place in early 1994, approximately four years before the
completion of the Suitland facility. The exhibitions and
support activities for those transitional years will rely on
the existing storage and staff space at the 155th Street
Museum, "Audubon Terrace," and the Bronx Research Center.9
Once the Suitland storage/support facility is opened in
6Ibid., 45.
7Ibid., 45.
8Ibid.
9Ibid., 73.
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1997, the collections move will take place on a gradual
basis, and will continue for approximately ten years.10 The
Master Facilities Programming Report states that objects
will be moved by tribe to minimize periods of inaccessibil
ity and to coordinate with anticipated arrangement of
housing areas at the Suitland facility.11
The Heye Foundations's Library of the Museum of the
American Indian is currently sharing space with the
Huntington Free Library, and will be transferred to NMAI's
Suitland facility in 1997.12 The Suitland facility will be
considered a "home" for NMAI's objects, archival collections
and library, as well as the center for collaborative
projects with Native communities, exhibition and program
production, and education and outreach programs.13 All
research, curatorial and conservation activities will be
based in Suitland, including all staff and "back-of-house
facilities" which are not in daily contact with the public
or SI administration.14
NMAI's Suitland facility will function as a facilita
tor, clearinghouse and production center for traveling
projects, educational programs and materials consistent with
I0Ibid.
"Ibid., 43
I2Ibid., 40.
13Ibid., 7.
I4Ibid., 8.
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the Museum collections and programs and the needs and
resources of Native communities.15 Facilities will allow
for information processing/dissemination much like that of
"a library reference center, publisher, mail order catalog,
think tank and broadcast studio."16 The design for a
flexible space will be implemented due to such factors as a
growing staff, and the fluctuation in the size of the
collection due to repatriation, the addition of contemporary
art to the collection, and traveling exhibits.
Si's Museum Support Center is also located in Suitland
and will be the new storage space for the National Museum of
Natural History (NMNH) collection. It has been proposed
that NMAI's "housing" facility be constructed as an addition
to the Support Center, or adjacent to the Center, with a
connecting tunnel or bridge for access to NMNH's objects and
facilities.17 Access to NMAI and NMNH collections will be
made available to Native and non-Native visitors through
electronic databases and a reference staff.18
The design of spaces will reflect the needs of
artists, ceremonial users, groups and individuals.19 Spaces
will be designed for shipping and receiving, registration
15Ibid. , 7. CO
16Ibid., •
17Ibid., 7.
I8Ibid., 7.
19Ibid.
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and documentation, conservation labs, exhibit preparation
spaces, and research and curators offices.20 The library
and archival collections will be designed in close proximity
to the object viewing and reference areas. The proposed
square footage of the Suitland site is 200,000 gross square
feet. Due to the growing importance placed on this facility
by the consultation process, the square footage may
increase.21
Congress, in 1975, reserved the last vacant parcel of
land on the National Mall for SI use. Negotiations are
underway to add the small triangle of land southeast of the
site. The Museum on the National Mall will be "the Indian
community's outreach to the international public" — with
the connotations of an embassy.22 According to the
Programming Report, the single most important architectural
and operational challenge will be the "welcoming of visitors
and preparing them to learn about and respect Native
cultures."23 The design of the building will follow a
"spirit of connectedness with the land and an attitude of
respect for relationships between all life forms"...and
20Ibid., 80.
21Ibid., 8.
^James Volkert, NMAI Acting Assistant Director for Public Programs, Presentation to The American University Museum Studies Class, April 1992.
^Ibid.
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prepare visitors to enter a place "where Indian customs and
etiquette govern."24
The Programming Report suggests that there should be a
large gathering place near the entrance where social events
and performances can take place.25 Indian visitors will be
welcomed at a special lounge space where information will be
available about Native American events and the Washington
area.26 Computer terminals will also be made available for
access to resources regarding the collection and other
aspects of the Museum.
A sensory-based transition space for museum visitors
will assist when they first enter the building by blocking
out the city and its noise, while honoring the first inhabi
tants of the Washington area.27 From the transition area,
visitors will move to an orientation area, which will help
them become familiar with the layout of areas within the
museum.28 Galleries and presentation spaces will then be
the next step in exploring the museum. Performance and
demonstration space will occur throughout the Museum — in
24Master Facilities Phase 1 Report, NMAI, 8.
“ibid., 9.
“Ibid.
“James Volkert, NMAI Acting Assistant Director of Public Programs, Presentation to The American University Museum Studies Class, April 1992.
28Ibid.
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exhibition areas, outdoors, at the entrance.29 Theater/
auditorium space will present films, lectures, and
performances.
NMAI is discussing with SI the possibility of alterna
tive arrangements for retail activities and Museum shop
operations. These arrangements include "favorable distribu
tion of profits to individual artists and Indian communi
ties."30 Various shops would sell books, crafts, gifts and
contemporary Native American art.31 Vendor areas,
restaurant and self-service food facilities, featuring
Native foods, will also be available at the Mall facility.32
Electronic access to the collections will be available
at the Mall Museum in various locations around the building,
such as information desks, the Native hospitality lounge,
staff work areas, and exhibition areas.33 Staff facilities
in the Mall Museum will be limited to those in direct
contact with the public and SI administration, such as the
NMAI Director and his staff, the membership and development
office, and the public relations office. Conference space
will also be available at both the Mall and the Suitland
29Master Facilities Phase 1 Report, NMAI, 9.
30Ibid., 10.
31Ibid.
32Ibid.
33Ibid.
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facilities. In addition, there will be space available for
support staff who will work with exhibitions, delivery,
staging, repair and storage.34
Design challenges will include overcoming the
distances between all Museum facilities; restrictions posed
by regulatory agencies and strict limits to buildings
located on the National Mall, which insure that the
"architectural design of the Mall facility will meet the
original intent of the L'Enfant plan and its architectural
character.,|35
Other challenges for the design of the building are
locations of public access due to potentially large crowds
(the adjacent Air and Space Museum attracts over 10 million
people per year).36 The museum must provide food services,
life safety precautions, as well as ensure security and
environmental controls for protection of its collections.
Phase Two of the Program began in November, 1991 and
will continue as part of the consultation process. Informa
tion obtained from Phase Two consultations will also deter
mine budgets, fundraising targets, construction schedules
and what constraints will impact NMAI site goals.37
^Ibid., 10.
35Regulatory Agencies are Listed in Appendix G.
Master Facilities Phase 1 Report, NMAI, 15.
36Master Facilities Phase 1 Report, NMAI, 104.
37Ibid., 61.
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1992 and be completed by 1994. Construction is to be
completed by 1997.38 The selection of the architect for the
Mall building will be made in late 1992, with the design to
be completed in 1995 and construction and exhibit
installation by the end of the year 2000.39
38Ibid.
39Ihid.
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A MUSEUM COLLECTION WHICH BELONGS TO ITS PEOPLE
"Many Indians carry with them negative perceptions of
and experiences with museums, anthropologists and the
federal government.1,1 This is perhaps due to the tradi
tional viewpoint in most museums that objects are meant to
be viewed and not used. Most Indians regard items in the
collections as living objects which need to breath and be
cared for, in order play a part in their respective
cultures.2
The exhibition, care and housing of NMAI collections
will be in accordance with the customs and policies of the
Native American communities.3 Suggestions have included
separating and storing objects by tribe, allowing for tradi
tional care practices. Traditional care will address such
needs as limitation of access to certain elders; providing
areas for spiritual treatment of, and ceremonies with,
objects; and storing objects in particular materials.4
‘Ibid., 35.
2Ibid., 67.
3Ibid., 66.
4Ibid.
81
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Indian consultants will assist in determining specific
care requirements. Such needs will include the ceremonial
use of smoke and smudging to treat whole collections within
the storage areas.5 NMAI will also be involved in funda
mental policy setting in the redefinition of conservation.6
An example is in the care and use of objects in the collec
tion. Instead of conserving static items, the Museum will
allow objects such as pipes to be smoked for ceremonies, and
will structure its conservation activities accordingly.7
Planning for the storage of contemporary art — whether by
tribe or separately — has yet to be determined.
The collection contains approximately one million
artifacts, a photo archive of 86,000 images, 30,000 vintage
prints, and 9,000 transparencies, as well as 450 films and
videotapes, and includes such items as Chitimacha woven
mats; over eighty buffalo robes; 250 snowshoes, and 1500
kachina dolls.8 Approximately 68% of the collection comes
from 49 United States and the District of Columbia; 3.5%
comes from Canada; 10% is from Central America — half
5Ibid., 80.
6James Volkert, NMAI Acting Assistant Director for Public Programming, Presentation The American University Museum Studies Class, April, 1992.
7Ibid.
Collection Summary, National Museum of the American Indian, (Washington, D.C.: Smithsonian Institution, 1991.
Kevin Wallace, ”A Reporter at Large - Slim-Shin's Monument."
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comprised from the Mexican collection; 11% is from South
America; and 6% contains Caribbean items — nearly all
archaeological.9
The Library of the Museum of the American Indian
contains 40,000 volumes and audio-visual resources. It has
been located at the Huntington Free Library in the Bronx
since 1930. Suggestions for the acquisition of further
archival materials include "treaties and legal documents,
cylinder recordings, diaries of Spanish conquerors and
missionaries, and duplicates or photographs of items
pertaining to specific tribes from their collections."10
Apart from the newly acquired Heye Foundation
Collection, SI holds around 137 million artifacts and
specimens in its trust for the prescribed "diffusion of
knowledge."11 Of these, two million Native American items
are held by NMNH.12 Although the NMNH collection will be
stored at the Museum Support Center at Suitland (adjoining
NMAI's housing and research facility) and made available
along with NMAI's collection to Native communities and
scholars, the two museums' collections will remain separate.
Currently, 98% of the NMAI collection is stored at the
Bronx Research Branch, which is severely overcrowded. The
Collection Summary, NMAI, 2.
10Master Facilities Phase 1 Report, NMAI, 81.
"Ibid., 23.
12Ibid., 24.
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building provides "minimally acceptable environmental
conditions"..."Studies have shown that three to four times
the current amount of space is needed for safe storage of a
collection of this magnitude.1,13 Objects are stored on
steel shelving, wooden trays, and closed cabinets, and
conditions limit adequate care for the collection.14 Older,
antiquated display techniques have been detrimental and
hazardous to the artifacts on display.15 During the 1970s
and 1980s, the Heye Foundation addressed the need for
updated collections care by developing conservation rules, a
collections care program, and a report documenting the
existing conditions of artifacts — these activities were
all limited due to lack of funding.16
In addition to planning the move and making
suggestions regarding the needs at the new facilities, a
conservation department is being formed to assist with the
transition to new quarters. The move from the Bronx
Research Branch to the Suitland facility will take between
ten to twenty years.
Other areas that must be addressed by NMAI conserva
tors include move-related staff training, handling
procedures, packing methods, special conservation needs,
13Ibid., 25 & 41.
14Ibid., 25.
15Ibid., 42.
16Ibid.
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photography and condition records, inventory and location
data, stabilization, and emergency treatment.17 Move-
related policies include such elements as the move itself,
the formation and planning of the new museum, and the
continuation of normal Museum functions.18 Access is
another area of concern, especially for Custom House
inaugural exhibitions staff who will need immediate access
to artifacts.19
Packing and storage procedures will also be created
including tasks such as pre-establishing collections groups,
superficial cleaning of objects, photo-imaging, packing of
objects in crates or pallets, and loading onto trucks.20
Some objects may stay packed for long periods of time, and
some crates may remain in permanent storage, which must be
addressed in the designation of space at the new facility.21
In anticipation of additions to the collections, a
Curatorial Council has been created to recommend or deny
gift offers to NMAI, as well as to oversee purchases, loan
requests, and acquisition of non-Indian materials.22
17Ibid., 43.
18Ibid.
19Ibid., 44.
20Ibid.
21Ibid.
^R. Fred Nahwooksy, Jr., NMAI Exhibition Coordinator, interview by author, March 1992.
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Recommendations are presented to the Collections Committee
of the NMAI Board, and then approved or denied by the full
Board of Trustees. The Curatorial Council and Collections
Committee assist in drafting collections policy, including
such aspects of collections management as documentation,
acquisition, disposal, access, care and maintenance, risk
management, security, inventory, temporary custody, and
lending and borrowing of collections.23
The area encompassing collections and related matters
will rely on several policies for care, handling, repatria
tion, and access. It will take many years to implement
these policies, since a comprehensive inventory must be
completed. In addition, NMAI will collaborate with the
respective Indian communities on traditional care require
ments for storage and display and/or use.
By providing accessibility to a broader public and
creating new policies in collections care and handling, NMAI
will encourage other museums to review their policies
regarding their collections activities, as well as open
questions regarding the definition of museums.
Some items from the collection will return to their
communities through the implementation of the Museum's
Repatriation policy which was adopted by the NMAI Board of
“Ibid.
Smithsonian Institution Collections Management Policy, (Washington, D.C.: Smithsonian Institution, 1990), 4.
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Trustees on March 4, 1991. The policy builds on repatria
tion principles set forth in NMAI's establishing legisla
tion, Public Law 101-185, Section 11 "Inventory, Identifi
cation, and Return of Indian Human Remains and Indian
Funerary objects in the Possession of SI." The Museum's
policy will raise other repatriation issues, thus making
NMAI a model in this area.24
An important aspect of the fulfillment of NMAI's
mandate for repatriation is the requirement that
all Native American materials, including human remains, funerary objects, ceremonial and religious objects, and communally-owned property, together with all culturally- specific information, be treated as the sole property of the affected Native American culturally-affiliated group.25
This statement has sparked controversy in both the museum
world and archaeological and anthropological fields. A
spokesman for the American Archaeological Association noted
that the preceding statement sounded "as though the museum's
permanent collection doesn't belong to the public at large,
but to American Indians."26
Jonathon Haas of the Field Museum of Natural History
in Chicago has stated that museum officials must think of
24Madeleine Jacobs, "NMAI's New Repatriation Policy," Smithsonian Runner, (Washington, D.C.: Office of Public Affairs, Smithsonian Institution, May-June 1991), 1-6, No. 91-3.
“ ibid., 1-2.
26Eric Gibson, "Giving it Back to the Indians," The Washington Times. 15 May 1991, E2.
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themselves not as the owners but as "caretakers" of the
material culture of Native peoples.27 According to Leigh
Jenkins, Director of the Hopi Preservation Center, "the
outside, the public, particularly the art market, sees these
religious objects as objects of art...but to Hopi people
they are living, sacred beings...it is sacrilege to place
monetary value on them."28 The same could also be said of
the concept of "ownership" by anyone other than those whose
cultures produced the objects. Rick Hill, former Museum
Director at the Institute of American Indian Art, Santa Fe,
and newly appointed Assistant Director for Public Programs
for NMAI, has stated that, in many instances, Indian
communities and groups are content to allow museums to care
for ceremonial and religious items, as long as they can be
returned periodically to the tribe for ceremonial use — "a
right so often denied them in the past."29
The procedures for the repatriation process state that
all decisions regarding repatriation rest with the NMAI
Board of Trustees upon the advice of the Collections
Committee and describes the establishment of an inventory
policy to respond to repatriation requests.30 Through a
27Ibid.
28M.S. Mason, "Ceremonial Masks Return Home," The Christian Science Monitor. 12, June, 1991.
29Ibid.
30NMAI Policy Statement on Native American Human Remains and Cultural Materials, SI, 1991, 4.
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consultation process, NMAI will request input from Native
American peoples and disclose all relevant information
regarding the items identified in the inventory, as well as
provide access to the collections for viewing and
inspection.31 The inventory process of the collections is
currently underway, but the implementation of the repatria
tion policy will take many years.
Recommendations for repatriation must go through
several stages starting with the staff, the Curatorial
Council, the NMAI Director, the Collections Committee of the
Board, the NMAI Board, and in some cases, to the SI Board of
Regents.
A policy of mutual and shared access and use of mater
ials will be in effect when repatriation is not requested or
when an agreement has not been reached.32 The collections
management policy developed by the Collections Committee
will address the availability of materials for loan or
examination.33 Technical assistance will be available to
tribes and Native Hawaiian organizations for care,
preservation, use, and disposition of materials in cases of
repatriation.34
3IIbid., 5.
32Ibid.
33Ibid., 7.
^Ibid., 7.
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CONCLUSION
The National Museum of the American Indian will assist
in the continuance of the goals of the Museum of the
American Indian, Heye Foundation, including collecting and
preserving the cultural material relating to Native cultures
of the Western Hemisphere, and allowing the majority of the
collection to be available to scholars and students.
However, NMAI will attempt to go beyond those goals to allow
for larger access to the collections, by sharing objects
with tribes and cultures, by developing traveling exhibi
tions, by making items available to interested individuals
and families, tribal elders and spiritual leaders, and for
traditional use such as ceremonies.
Public Law 101-185 established through NMAI a means to
reach out to the Native American communities and create a
museum based on the input and wishes of Native Americans,
while also soliciting expertise from the museum field. A
collaboration such as this has rarely worked before. As a
result, NMAI could become a model for the museum community
by creating new ways of developing and presenting programs,
as well as focusing on public programming for a diverse
constituency, as well as a diverse audience.
90
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The development of programs for presentation at NMAI
will strive to give representation to many Native cultures,
as well as assist in breaking stereotypes and myths, by re
educating the general public about Native cultures and their
histories. NMAI will look outside of its own organization
for ideas from Indian and museum experts from different
backgrounds.
One of the unique aspects of the Museum's development
process has been the establishment of consultation meetings.
The continuance of these regional consultations as an on
going program long after the Museum is opened will be
necessary in order to assist in keeping both staff and
Native American communities informed of Museum activities
and operations, as well as of activities in the communities.
In addition to consultations, a "regional representative"
program could be considered to assist in channeling informa
tion from the communities to NMAI and vice-versa. (A
similar program is currently being used at the National
Endowment for the Arts.)
Due to the sensitivity of the relationship with Native
groups, the Museum must keep government bureaucracy at bay,
as well as minimize "institutional" behavior, keeping public
programming and outreach at the forefront of its functions
and sharing resources through other bureaus and museums
within SI.
An important aspect of maintaining a collaborative
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relationship with its constituencies, thus serving the
Indian community, will be by preferential, or priority,
hiring of Native Americans for all levels of positions
within the NMAI. Many opportunities for Native Americans
will be available through the Museum's training programs,
part of the Fourth Museum. As the current core staff takes
on more and more tasks, it will be important for NMAI to
continue to create positions. Former NMAI Deputy Director,
Dr. David Warren, has mentioned that the addition of staff
will also be necessary to keep accessibility to and from
Indian communities and the Museum on-going.
Since NMAI does not follow a model for museum
development, its planning and development will change and
evolve over the next decade. Since it has taken on a new
concept of the way museums set structures, plan programs,
exhibits and presentations, consult with constituencies, and
reach audiences, it must continually evaluate its activities
in order to develop and streamline its functions.
It is clearly understood how important it is to
sustain the networks and consultations with Native Americans
throughout and beyond the planning and construction phases.
An additional challenge will be the streamlining of
suggestions from the many cultures represented. Since many
different traditions and perspectives are involved, it may
be difficult to find agreement and consensus on many aspects
of the developing museum. A decision-making process must be
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put into place to overcome controversy and problems in
finding agreements, due to the magnitude of diverse cultures
being represented.
The Museum's programs will be presented much differ
ently than many of those at other U.S. museums. Native
American life is frequently presented as static and non
changing. Through public programming and the development of
such exhibitions as "Points of View," NMAI may accurately
relate the histories of Indian cultures, and presenting
contemporary Native American arts and lifeways with the
assistance of Native American consultants/selectors.
Another progressive and unusual aspect of NMAI, which
will set a new direction for the museum community, will be
its multi-facility structure, providing spaces for
ceremonies, including private rituals; some that the public
will not be allowed to observe. Objects in the collections
will be handled and used in the way they were intended by
their cultures. NMAI will also set a standard for imple
menting the new repatriation legislation, by creating its
own policy for the return of objects to their respective
cultures. The new museum will also need fill the void in
its collections of contemporary art (from 1940 to the
present).
The National Museum of the American Indian, Smith
sonian Institution, is born out of the formative vision of
the peoples it represents. Due to its unique place in the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. museum world, the challenges will be great in all areas:
organizational structure, policies, design, programming, and
future direction. The potential for its success will also
be great, and will benefit its constituency, its audience,
and the museum field. However, delays and changes in the
process of developing the new museum are to be expected in
establishing a museum of this scope.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPENDIX A
PUBLIC LAW
95
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103 STAT. 1336 PUBLIC LAW 101-185—NOV. 28,1989 Public Law 101-185 101st Congress An Act
Nov. 28. 1989 To establish the National Museum of the American Indian within the Smithsonian (S. 978] Institution, and for other purposes. Be it enacted by the Senate and House of Representatives of the National United States o f America in Congress assembled, Museum of the American SECTION I. SHOItT TITLE. Indian Act. Public buildings This Act may be cited as the “National Museum of the American and grounds. Indian Act”. Historic preservation. SEC 2. FINDINGS. District of Columbia. The Congress finds that— New York. (1) there is no national museum devoted exclusively to the 20 USC SOq note. history and art of cultures indigenous to the Americas; 20 USC 80q. (2) although the Smithsonian Institution sponsors extensive Native American programs, none of its 19 museums, galleries, and major research facilities is devoted exclusively to Native American history and art; (3) the Heye Museum in New York, New York, one of the largest Native American collections in the world, has more than 1,000,000 art objects and artifacts and a library of 40,000 vol umes relating to the archaeology, ethnology, and history of Native American peoples; (4) the Heye Museum is housed in facilities with a total area of 90,000 square feet, but requires a minimum of 400,000 square feet for exhibition, storage, and scholarly research; (5) the bringing together of the Heye Museum collection and the Native American collection of the Smithsonian Institution would— (A) create a national institution with unrivaled capability for exhibition and research; (S! give all Americans the opportunity to learn of the cultural legacy, historic grandeur, and contemporary cul ture of. Native Americans; (C) provide facilities for scholarly meetings and the performing arts; (D) make available curatorial and other learning opportunities for Indians; and (C) make possible traveling exhibitions to communities throughout the Nation; (6) by order of the Surgeon General of the Army, approxi mately 4,000 indian human remains from battlefields and burial sites were sent to the Army Medical Museum and were later t ransferred to the Smithsonian Institution; (7) through archaeological excavations, individual donations, and museum donations, the Smithsonian Institution has ac quired approximately 14,000 additional Indian human remains; (8) the human remains referred to in paragraphs (6) and (7) have long been a matter of concern for many Indian tribes.
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PUBLIC LAW 101-185—NOV. 28,1989 103 STAT. 1337
including Alaska Native Villages, and Native Hawaiian commu nities which are determined to provide an appropriate resting place for their ancestors; (9) identification of the origins of such human remains is essential to addressing that concern; and (10) an extraordinary site on the National Mall in the District of Columbia (U.S. Government Reservation No. 6) is reserved for the use of the Smithsonian Institution and is available for construction of the National Museum of the American Indian. S E C 3. NATIONAL MUSEUM O FTIIE AMERICAN INDIAN. 20 U SC80q-l. (a) Establishm ent. —There is established, within the Smithsonian Institution, a living memorial to Native Americans and their tradi tions which shall be known as the “National Museum of the Amer ican Indian". (b) P u r p o s e s .—The purposes of the National Museum are to— (1) advance the study of Native Americans, including the study of language, literature, history, art, anthropology, and life; (2) collect, preserve, and exhibit Native American objects of artistic, historical, literary, anthropological, ar.d scientific interest; . (3) provide for Native American research and study programs; and (4) provide for the means of carrying out paragraphs (1), (2), and (3) in the District of Columbia, the State of New York, and other appropriate locations. S R C 4. AUTHORITY OK THE BOARD OK KEOENTS TO ENTER INTO AN 20 USC 80q-2. AGREEMENT PROVIDING FOR TRANSFER OF HEYE FOUNDA TION ASSETS TO THE SMITHSONIAN INSTITUTION. The Board of Regents is authorized to enter into an agreement with the Heye Foundation, to provide for the transfer to the Smithsonian Institution of title to the Heye Foundation assets. The agreem ent shall— (1) require that the use of the assets be consistent with section 3(b); and (2) be governed by, and construed in accordance with, the law of the State of New York. The United States District Court for the Southern District of New Courts. U.S. York shall have original and exclusive jurisdiction over any cause of action arising under the agreement. SEC. S. HOARD OF TRUSTEES OF THE NATIONAL MUSEUM OF THE AMER- 20 USC 80q-3. ICAN INDIAN. (a) In G eneral.— The National Museum shall be under a Board of Trustees with the duties, powers, and authority specified in.this section. (b) G eneral Duties a n d P o w e r s . —The Board of Trustees shall— (1) recommend annual operating budgets for the National Museum to the Board of Regents; (2) advise and assist the Board of Regents on all matters relating to the administration, operation, maintenance, and preservation of the National Museum; (3) adopt bylaws for the Board of Trustees; (4) designate a chairman and other officers from among the members of the Board of trustees; and
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Reports. (5) report annually to the Board of Regents on the acquisition, disposition, and display of Native American objects and arti facts and on other appropriate matters. Cifts nnd (c) Soi.e A uthority. —Subject to the general policies of the Board projwrty. cf Regents, the Board of Trustees shall have the sole authority to— (1) lend, exchange, sell, or otherwise dispose of any part of the collections of the National Museum, with the proceeds of such transactions to be used for additions to the collections of the National Museum or additions to the endowment of the National Museum, as the case may be; (2) purchase, accept, borrow, or otherwise acquire artifacts and other objects for addition to the collections of the Natural M useum; and (3) specify criteria for use of the collection? of the National Museum for appropriate purposes, including research, evalua tion, education, and method of display. (d) A uthority.—Subject to the general policies of the Board of Regents, the Board of Trustees shall have authority to— (1) provide for restoration, preservation, and maintenance of the collections of the National Museum; (2) solicit funds for the National Museum and determine the purposes to which such funds shall be applied; and (3) approve expenditures from the endowment of the National Museum for any purpose of the Museum. (e) Initial Appointments to the Board of Trustees. — (1) Membership. —The initial membership of the Board of1 Trustees shall consist of— (A) the Secretary of the Smithsonian Institution; (B) an Assistant Secretary of the Smithsonian Institution appointed by the Board of Regents'; (C) 8 individuals appointed by the Board of Regents; and (D) 15 individuals, each of whom shall be a member of the board of trustees of the Heye Museum, appointed by the Board of Regents from a list of nominees recommended by the board of trustees of the Heye Museum. (2) Special rule.—At least 7 of the 23 members appointed under subparagraphs (C) and (D) of paragraph (1) shall be Indians. (3) T e r m s .—The trustee appointed under paragraph (1KB) shall serve at the pleasure of the Board of Regents. The terms of the trustees appointed under subparagraph (C) or (D) of para graph (1) shall be 3 years, beginning on the date of the transfer of the Heye Foundation assets to the Smithsonian Institution. (4) V a c a n c ie s . —Any vacancy shall be filled only for the remainder of the term involved. Any vacancy appointment under paragraph (1XD) shall not be subject to the source and recommendation requirements of that paragraph, but shall be subject to paragraph (2). (f) Subsequent Appointments to the Board o f T r u s t e e s— . . (1) Membership.— Upon the expiration of the terms under subsection (e), the Board of Trustees shall consist of— (A) the Secretary of the Smithsonian Institution; (B) an Assistant Secretary of the Smithsonian Institution appointed by the Board of Regents; and (C( 23 individuals appointed by the Board of Regents from a list of nominees recommended by the Board of Trustees.
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PUBLIC LAW 101-185—NOV. 28,1989 103 STAT. 1339
(2) S p e c ia l r u l e.—A least 12 of the 23 members appointed under paragraph (1XC) shall be Indians. (3) T e r m s .—T he trustee appointed under paragraph (1XB) shall serve at the pleasure of the Board of Regents. Except as otherwise provided in the next sentence, the terms of members appointed under paragraph (1X0 shall be 3 years. Of the mem bers first appointed under paragraph (1X0— (A) 7 members, 4 of whom shall be Indians, shall be appointed for a term of one year, as designated at the time of appointm ent; and (B) 8 members, 4 of whom shall be Indians, shall be appointed for a term of 2 years, as designated at the time of appointment. (4) V a c a n c ie s .—Any vacancy shall be filled only* for the remainder of the term involved. (g) Q u o r u m .—A majority of the members of the Board of Trustees then in office shall constitute a quorum. (h) E x p e n s e s .—Members of the Board shall be entitled (to the same extent as provided in section 5703 of title 5, United States Code, with respect to employees serving intermittently in the Government service) to per diem, travel, and transportation ex penses for each day (including travel time) during which they are engaged in the performance of their duties. SE C S. DIRECTOR AND STAFF OF THE NATIONAL MUSEUM. 20 USC 80q-4. (a) In G e n e r a l .—The Secretary of the Smithsonian Institution shall appoint— (1) a Director who, subject to the policies of the Board of Trustees, shall manage the National Museum; and (2) other employees of the National Museum, to serve under the Director. (b) Of f e r o f E m p l o y m e n t t o H e y e F o u n d a t io n E m p l o y e e s .— Each employee of the Heye Museum on the day'before the date of the transfer of the Heye Foundation assets to the Smithsonian Institution shall be offered employment with the Smithsonian Institution— (1) under the usual terms of such employment; and (2) at a rate of pay not less than the rate applicable to the employee on the day before the date of the transfer. (c) A pplicability o f C e r t a in C iv il S e r v ic e La w s.—The Secretary may— (1) appoint the Director, 2 employees under subsection (aX2), an'd the employees under subsection (b) without regard to the provisions of title 5, United States Code, governing appoint ments in the competitive service; (2) fix the pay of the Director and such 2 employees without regard to the provisions of chapter 51 and subchapter 'III of chapter 53 of such title, relating to classification and General Schedule pay rates; and (3) fix the pay of the employees under subsection (b) in accordance with the provisions of chapter 51 and subchaptcr III of chapter 53 of such title, relating to classification and General Schedule pay rates, subject to subsection (bX2). SEC. 7. MUSEUM FACILITIES. 20 USC 80q-.r.. (a) N a t io n a l M u s e u m M a l i. F a c il it y.—The Board o f Regents shall plan, design, and construct a facility on the area bounded by
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103 STAT. 1340 PUBLIC LAW 101-185—NOV. 28, 1989
Third Street, Maryland Avenue, Independence Avenue, Fourth Street, and Jefferson Drive, Southwest, in the District of Columbia to house the portion of the National Museum to be located in the District of Columbia. The Board of Regents shall pay not more than % of the total cost of planning, designing, and constructing the facility from funds appropriated to the Board of Regents. The remainder of the costs shall be paid from non-Fcderal sources, (b) N a tio n a l M u se u m H ey e C e n te r F acility.— (1) L ease o f spa c e fr c m c s a . — (A) T e r m s.—Notwithstanding section 210(j) of the Federal Property and Administrative Services Act of 1949 (40 U.S.C. 490(j)), the Administrator of General Services may lease, at a nominal charge, to the Smithsonian Institution space in the Old United States Custom House at One Bowiing Green, New York, New York, to house the portion of the National Museum to be located in the city of New York. The lease shall be subject to such terms as may be mutually agreed upon by the Administrator and the Secretary of the Smithsonian Institution. The term of the lease shall not be less than 99 years. (B) R eimbursement o f f e d e r a l b u ild in g s fu n d .—The - Administrator of General Services may reimburse the fund established by section 210(0 of the Federal Property and Administrative Services Act of 1949 (40 U.S.C. 490(f)) for the difference between the amount charged to the Smithsonian Institution for leasing space under this paragraph and the commercial charge under section 2l0(j) of such Act which, but for this paragraph, would apply to the leasing of such Appropriation space. There are authorized to be appropriated to the authorization. Administrator such sums as may be necessary to carry out this subparagraph for fiscal years beginning after Septem ber 30,1990. (2) Construction .— (A) M u se u m fa c il ity.—The Board of Regents shall plan, design, and construct a significant facility for the National Museum in the space leased under paragraph (1). (B) A u d it o r iu m a n d lo a d in c dock facility.—The Administrator of General Services shall plan, design, and construct an auditorium and loading dock in the Old United States Custom House at One Bowling Green, New York, New York, for the shared use of all the occupants of the buitding, including the National Museum. (C) S q u a r e foo ta ce .—The facilities to be constructed under this paraerarjh shall h?ve. ir. the aggregate, a total square footage of approximately 82,500 square feet. (3) Re pa ir s a n d alterations .—After construction of the facil ity under paragraph (2XA), repairs and alterations of the facility shall be the responsibility of the Board of Regents. (4) R eimbursement o f c sa.—The Board of Regents shall re imburse the Administrator for the Smithsonian Institution's pro rata share of the cost of utilities, maintenance, cleaning, and other services incurred with respect to the space leased under paragraph (1) and the full cost of any repairs or alter ations made by the General Services Administration at the rnpiiist of the Smithsonian Institution with res|iect to the space. Ifi) t'llST sharing .—
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PUBLIC LAW 101-185—NOV. 28.1989 103 STAT. 1341
(A) G e n e r a l r u l e s.—The Board of Regents shall pay Va of the costs of planning, designing, and constructing the facility under paragraph (2XA) from funds appropriated to the Board of Regents. The remainder of the costs shall be paid from non-Federal sources. (B) R esponsibilities o f n e w y o r k c it y a n d s t a t e.—Of the costs which are required to be paid from non-Federal sources under this paragraph, the city of New York, New York, and the State of New York have each agreed to pay $8,000,000 or an amount equal to Vi of the costs of planning, designing, and constructing the facility under paragraph (2XA), whichever is less. Such payments shall be made to the Board of Regents in accordance with a payment sched ule to be agreed upon by the city and State and the Board of Regents. (C) L im it a t io n o n obligations o f f e d e r a l f u n d s .—Fed eral funds may not be obligated for actual construction of a facility under- paragraph (2XA) in a fiscal year until non- Federal sources have paid to the Board of Regents the non- Federal share of such costs which the Board of Regents estimates will be incurred in such year. (6) D e s ig n a t io n .—The facility to be constructed under para graph (2XA) shall be known and designated as the “George Gustav Heye Center of the National Museum of the American Indian". (c) M u s e u m S u p p o r t C e n t e r F a c il it y.—The Beard of Regents shall plan, design, and construct a facility for the conservation and storage of the collections of the National Museum at the Museum Support Center of the Smithsonian Institution. (d) M in im u m S q u a r e F o o t a g e .—The facilities to be constructed under this section shall have, in the aggregate, a total square footage of at least 400,000 square feet. (e) A u t h o r it y To C o n t r a c t W i t h GSA.—The. Board of Regents and the Administrator of General Services may enter into such agreements as may be necessary for planning, designing, and con structing facilities under this section (other than subsection (bX2XB)). Under such agreem ents, the Board o f Regents shall transfer to the Administrator, from funds available for planning, designing, and constructing such facilities, such amounts as may be necessary for expenses of the General Services Administration with respect to planning, designing, and constructing such facilities. ( 0 L im it a t io n o n Ob u c a t i o n o f F e d e r a l F u n d s .— Notwithstand ing any»other provision of this Act, funds appropriated for carrying out this section may not be obligated for actual construction of any facility under this section until the 60th day after the date on which the Board of Regents transmits to Congress a written analysis of the totai estimated cost of the construction and a cost-sharing'.plan projecting the amount for Federal appropriations and for non- Federal contributions for the construction on a fiscal year basis. SEC. X. CUSTOM IIOtJSK OFFICE SPACE AND AUDITORIUM. 20 USC 80q-6. (a) Repairs and A l t e r a t io n s .—The Administrator of General Services shall make such repairs and alterations as may be nec essary in the |x>rtion of the Old United States Custom House at One Bowling Green, New York, New York, which is not leased to the Board of Regents under section 7(b) and which, as of the date of the enactment of this Act, lias not been altered.
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103 STAT. 1342 PUBLIC LAW 101-185—NOV. 28,1989
(b) A uthorization o f A ppropriation .—There is authorized to b e appropriated to the Administrator of General Services $25,000,000 from the fund established pursuant to section 210(0 of the Federal Property and Administrative Services Act of 1949 (40 U.S.C. 490(0) to carry ou t this section and section 7(bX2XB). 20 USC 80q-7. SEC. 9. AUUUHON TERRACE. (a) In G enera:- —The Board of Regents sh all— (1) assure that, on the date on which a qualified successor to the Heye Foundation at Audubon Terrace first takes possession of Audubon Terrace, an area of at least 2,000 square feet at that facility is accessible to the public and physically suitable for exhibition of museum objects and for related exhibition activities; (2) upon written agreement between the Board and any quali fied successor, lend objects from the collections of the Smithso nian Institution to the successor for exhibition at Audubon Terrace; and (3) upon written agreement between the Board and any quali fied successor, provide training, scholarship, technical, and otheF assistance (other than operating funds) with respect to the area referred to in paragraph (1) for the purposes described in th at paragraph. (b) D etermination o f C h a r g e s .—Any charge by the Board of Regents for activities pursuant to agreements under paragraph (2) or (3) of subsection (a) shall be determined according to the ability of the successor to pay. (c) D e f in it io n .—As used in this section, the terms "qualified successor to the Heye Foundation at Audubon Terrace", “qualified successor", and, "successor" mean an organization described in section 501(cX5) of the internal Revenue Code of 1986, and exempt from tax under section 5Gl(a) of such Code, that, as determined by the Board of Regents— (1) is a successor occupant to the Heye Foundation at Audubon Terrace, 3753 Broadway, New York, New York; (2) is qualified to operate the area referred to in paragraph (1) for the purposes described in that paragraph; and (3) is committed to making a good faith effort to respond to community cultural interests in such operation. 20 USC 80q-8. SEC 10. HOARD OF REGENTS FUNCTIONS WITH RESPECT TO CERTAIN AGREEMENTS AND PROGRAMS.
* (a) P r io r it y T o B e G iv e n t o I n d ia n Organizations W it h R e s p e c t t o C e r t a in A g r e e m e n t s .—In entering into agreements with museums and other educational and cultural organizations to— (1) lend Native American artifacts and objects from any collection of the Smithsonian Institution; (2) sponsor or coordinate traveling exhibitions of artifacts and objects; or (3) provide training or technical assistance; the Board of Regents shall give priority to agreements with Indian organizations, including Indian tribes, museums, cultural centers, educational institutions, libraries, and archives. Such agreements may provide that-loans or services to such organizations may be furnished by the Smithsonian Institution at minimal or no cost. (b) I n d ia n P r o g r a m s .—T he Board of Regents may establish—
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PUBLIC LAW 101-185—NOV. 28, 1989 103 STAT. 1343
(1) programs to serve Indian tribes and communities; and (2) in cooperation with educational institutions, including Schools and tribally controlled community colleges (as defined in section 2 of col,e8e»- the Tribally Controlled Community College Assistance Act of 1978), programs to enhance the opportunities for Indians in the areas of museum studies, management, and research. (c) I n d ia n M u sk u m M a n a g e m e n t F e l l o w s h ip s .—The Board of Regents shall establish an Indian Museum Management Fellowship program to provide stipend support to Indians for training in museum development and management. (d) A uthorization o f A ppropriations .—There is authorized to be appropriated $2,000,000 for each fiscal year, beginning with fiscal year 1991, to carry out subsections (b) and (c). S E C II. INVENTORY. IDENTIFICATION. AND RETURN O F INDIAfy HUMAN 20 USC80q-9. REMAINS AND INDIAN FUNERARY OBJECTS IN THE POSSES SION OFTHRSMITHSONIAN INSTITUTION.
(a) I n v e n t o r y a n d I dentification .—The Secretary of the Smithsonian Institution, in consultation and cooperation with tradi tional Indian religious leaders and government officials of Indian tribes, shall— (1) inventory the’Indian human remains and Indian funerary objects in .the possession or control of the Smithsonian Institu tion; and (2) using the best available scientific and historical docu mentation. identify the origins of such remains and objects. (b) N o t ic e in C a s e o f I dentification o f T r ib a l Or ig in .—If the tribal origin of any Indian human remains or Indian funerary object is identified by a preponderance of the evidence, the Secretary shall so notify any affected Indian tribe at the earliest opportunity. (c) R e t u r n o f I n d ia n H u m a n R e m a in s a n d A s s o c ia t e d I n d ia n F u n e r a r y Ob je c t s .—If any Indian human remains are identified by a preponderance of the evidence as those of a particular individual or as those of an individual culturally affiliated' with a particular Indian tribe, the Secretary, upon the request of the descendants of such individual or of the Indian tribe shall expeditiously return such remains (together with any associated funerary objects) to the descendants or tribe, as the case may be. (d) R e t u r n o f I n d ia n F u n e r a r y Ob je c t s N o t A sso c ia t e d W it h I n d ia n H u m a n R e m a in s .—If any Indian funerary object not associ ated with Indian human remains is identified by a preponderance of the evidence as having been removed from a specific burial site of an individual culturally affiliated with a particular Indian tribe, the Secretary, upon the request of the Indian tribe, shall expeditiously return such object to the tribe. (e) Interpretation. —Nothing in this section shall be interpreted as— 111 limiting the authority of the Smithsonian Institution to return or repatriate Indian human remains or Indian funerary objects to Indian tribes or individuals; or (2) delaying actions on pending repatriation requests, denying or olherwi.se affecting access to the courts, or limiting any procedural or substantive rights which may otherwise be secured to Indian tribes or individuals. (f) A uthorization of Appropriations.—There is authorized to be appropriated $ 1.01)0.000 for fiscal year 1991 and such sum s as may Ik? necessary for succeeding fiscal years to carry out this section.
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103 STAT. 1344 PUBLIC LAW 101-185—NOV. 28, 1989
20 USC 80q-10. SEC. IZ. SPECIAI. COMMITTEE TO REVIEW THE INVENTORY. IDENTIFICA TION. ANI) RETURN OF INDIAN HUMAN IIKMAINS AND INDIAN funkuaicy oiiJKurs. (a) E stablishment ; D u t ie s.—Not later than 120 days after the date of the enactment of this Act, the Secretary of the Smithsonian Institution shall appoint a special committee to monitor and review the inventory, identification, and return of Indian human remains and Indian funerary objects under section 11. In carrying out its duties, the com m ittee sh all— (1) with rcsj>ect to the inventory and identification, ensure fair and objective consideration and assessment of all relevant evidence: (2) u|>on the request of any affected party or otherwise, review any finding relating to the origin or the return of such remains or objects: (3) facilitate the resolution of any dispute that may arise between Indian tribes with respect to the return of such remains or objects: and (4J perform such other related functions as the Secretary may assign. (bJ M e m b e r s h ip .—T he comm ittee shall consist of five members, of w h o m — (1} three members shall be appointed from among nomina tions submitted by Indian tribes and organizations: and ( (2) the Secretary shall designate one member as chairman. The Secretary may not appoint to the committee any individual who is an officer or employee of the Government (including the Smithso nian Institution) or any individual who is otherwise affiliated with f ^rv\a 1c At vtiitbitdV IU O M tiiOVIIpUblV/iU (c! A c c e s s .—The Secretary shall ensure that the members of the committee have full and free access to the Indian human remains and Indian funerary objects subject to section 11 and to any related evidence, including scientific and historical documents. (d) P ay a n d E x p e n s e s or M e m b e r s .—Members of the committee s h a l l — (1) be paid the daily equivalent of the annual rate of basic pay payable for grade GS-18 of the General schedule under section 5332 of title 5, United States Code; and (2) be entitled (to the same extent as provided in section 5703 of such title, with respect to employees serving intermittently in the Government service) to per diem, travel, and transportation expenses; for each day (including travel time) during which they arc engaged in the performance of their duties. Regulations. (c) Rui.es AND Adm inistrative Sui’PORT.—The Secretary shall prescribe regulations and provide administrative sup|H>rt for the c o m m itte e . (fi Report and Term ination. —At the conclusion of the work of the committee, the Secretary shall be so certify by report to the Congress. The committee shall cease to exist 120 days after (lie submission of the report. (g) Nonappi.icaiiii.ity ok tiie Federal Advisory Committee Am'.—The Federal Advisory Committee Act (5 U.S.C. App.) shall not apply lo I lie committee.
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(h) Authorization ofA ppropriations.— There is authorized to be appropriated $250,000 for fiscal year 1991 and such sums as may be necessary for succeeding fiscal years to carry out this section. SEC. 13. INVENTORY. IDENTIFICATION. AND RETURN OF NATIVE IIAWAI- 20 USC 80q-ll. IAN HUMAN REMANS AND NATIVE HAWAIIAN FUNERARY OIJ- JF.CTS INTIIE POSSESSION OFTHESMITHSONIAN INSTITUTION.
(a) I n G e n e r a l .—The Secretary of the Smithsonian Institution sh a ll— (1) in conjunction with the inventory and identification under section 11, inventory and identify the Native Hawaiian human remains and Native Hawaiian funerary objects in the posses sion of the Smithsonian Institution; (2) enter into an agreement with appropriate Native flawai- Contracts, ian organizations with expertise in Native Hawaiian affairs (which may include the Office of Hawaiian Affairs and the Malama I Na Kupuna O Hawai’i Nei) to provide for the return of such human remains nd funerary objects; and (3) to the greatest extent practicable, apply, with respect to such human remains and funerary objects, the principles and procedures set forth in sections 11 and 12 with respect to the Indian human remains and Indian funerary objects in the possession of the Smithsonian Institution. (b) D efinitions. —As used in this section— (1) the term "Malama I Na Kupuna O Hawai’i Nei” means the nonprofit, Native Hawaiian organization, incorporated under the laws of the State of Hawaii by that name on April 17, 19S9, the purpose of which is to provide guidance and expertise in decisions dealing with Native Hawaiian cultural issues, particularly burial issues; and (2) the term "Office of Hawaiian Affairs" means the Office of Hawaiian Affairs established by the Constitution of the State of Hawaii. S E C 14. CRANTS BY THE SECRETARY OF THE INTERIOR TO ASSIST 20 USC 80q-12. INDIAN TRIBES WITH RESPECT TO AGREEMENTS FOR THE RETURN OK INDIAN HUMAN REMAINS AND INDIAN FUNERARY OBJECTS. (a) I n G e n e r a l .—The Secretary of the Interior may make grants to Indian tribes to assist such tribes in reaching and carrying out agreements with— (1) the Board of Regents for the return of Indian human renrains and Indian funerary objects under section 11; and (2) other Federal and non-Federal entities for additional re turns of Indian human remains and Indian funerary objects. (b) A uthorization o f A ppropriations .—There is authorized to be appropriated $1,000,000 for fiscal year 1SS1 and such surps as may be necessary for succeeding fiscal years for grants under sub section (a). SEC. 15. GRANTS BY THE SECRETARY OF THE INTERIOR TO ASSIST 20USC80q-13. INDIAN ORGANIZATIONS WITH RESPECT TO RENOVATION AND REPAIR OF MUSEUM FACILITIES AND EXHIBIT FACILITIES. (:i) G r a n t s . —The Secretary of the Interior may make grants to Indian organizations, including Indian tribes, museums, cultural centers, educational institutions, libraries, and archives, for renova tion anti repair of museum facilities and exhibit facilities to enable
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103 STAT. 1346 PUBLIC LAW 101-185—NOV. 28, 1989
such organizations to exhibit objects and artifacts on loan from the collections of the Smithsonian Institution or from other sources. Such grants may be made only from the Tribal Museum Endowment Fund. (b) Indian Organization Contribution. —In making grants under subsection (a), the Secretary may require the organization receiving the grant to contribute, in cash or in kind, not more than" 50 percent of the cost of the renovation or repair involved. Such contribution may be derived from any source other than the Tribal Museum Endowment Fund. (c) T ribal Museum Endowment Fund.— (1) Establishm ent. —There is established in the Treasury a fund, to be known as the "Tribal Museum Endowment Fund” (hereinafter in this subsection referred to as the "Fund”) for the purpose of making grants under subsection (a). The Fund shall consist of (A) amounts deposited and credited under paragraph (2), (B) obligations obtained under paragraph (3), and (C) amounts appropriated pursuant to authorization under para graph (5). G ifts and (2) Deposits and credits. —The Secretary of the Interior is property. authorized to accept contributions to the Fund from non- Federal sources and shall deposit such contributions in the Fund. The Secretary of the Treasury shall credit to the Fund the interest on, and the proceeds from sale and redemption of, obligations held in the Fund. (3) Investm ents. —The Secretary of the Treasury may invest any portion of the Fund in interest-bearing obligations of the United States. Such obligations may be acquired on original issue or in the open market and may be held to maturity or sold in the open market. In making investments for the Fund, the Secretary of the Treasury shaii consult the Secretary of the Interior with respect to maturities, purchases, and sales, taking into consideration the balance necessary to meet current grant requirements. (4) Expenditures and capital preservation.—Subject to appropriation, amounts derived from interest shall be available for expenditure from the Fund. The capital of the Fund shall not be available for expenditure. (5) A uthorization of appropriations. —There is authorized to be appropriated to the Fund $2,000,000 for each fiscal year beginning with fiscal year 1992. (d) A nnual Report.—Not later than January 31 of each year, the Secretary of the Interior, in consultation with the Secretary of the Treasury, shall submit to the Congress a leport of activities under this section, including a statement of— (1) the financial condition of the Fund as of the end of the preceding fiscal year, with an analysis of the Fund transactions during that fiscal year; and (2) the projected financial condition of the Fund, with an analysis of expected Fund transactions for the six fiscal years after that fiscal year. 20 USC 80q-M. SKC. 1C. IIKKINITIONS. As used in this Act— (1) the term “Board of Regents” means the Board of Regents of 1 lie Smithsonian Institution;
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PUBLIC LAW 101-185—NOV. 28, 1989 103 STAT. 1347
(2) the term “Board of Trustees” means the Board of Trustees of the National Museum of the American Indian; (3) the term “burial site” means a natural or prepared phys ical location, whether below, on, or above the surface of the earth, into which, as a part of a death rite or ceremony of a culture, individual human remains are deposited; (4) the term “funerary object" means an object that, as part of a death rite or ceremony of a culture, is intentionally placed with individual human remains, either at the time of burial or later; (5) the term “Heye Foundation assets” means the collections, endowment, and all other property of the Heye Foundation (other than the interest of the Heye Foundation in Audubon Terrace) described in the Memorandum of Understanding between the Smithsonian Institution and the Heye Foundation, dated May 8. 1989, and the schedules attached to such memo randum; (6) the term “Heye Museum” means the Museum of the American Indian, Heye Foundation; (7) the term “Indian" means a member of an Indian tribe; (8) the term "Indian tribe” has the meaning given that term in section 4 of the Indian Self-Determination and Education Assistance Act; (9) the term "National Museum" means the National Museum of the American Indian established by section 3; (10) the term “Native American” means an individual of a tribe, people, or culture that is indigenous to the Americas and such term includes a Native Hawaiian; and (11) the term “Native Hawaiian” means a member or descendant of the aboriginal people who, before 1778, occupied and exercised sovereignty in the area that now comprises the S tate o f H awaii. SEC. 17. AUTHORIZATION OF APPROPRIATIONS. 20 USC 80q-15.
(a) Fundinc .—There is authorized to be appropriated to the Board of Regents to carry out this Act (other than as provided in sections 7(bXlXB). 8, 10. 11. 12. 14. and 15(cX5))— (1) $10,000,000 for fiscal year 1990; and (2) such sums as may be necessary for each succeeding fiscal year. (b) P e r io d o k A vailability .—Funds appropriated under subsec tion (alshall remain available without fiscal year limitation for any period prior to the availability of the facilities to be constructed under section 7 for administrative and planning expenses and for ll.L cr.rc and custody of the collections of the Notional Museum. Approved N ovem ber 28, 1989.
LEGISLATIVE HISTORY—S. 078 (H.R. 2GC8): HOUSE RETORTS: No. 101-340, Pt. 1 (Comm, on Public Work and Transportation) and Pt. 2 (Comm, on House Administration). SENA Th RETORTS: No. 101-14.1 (Select Comm, on Indian Affairs and Comm, on Rules and Administration). CONGRESSIONAL RECORD. Vol. 135 (1080): Oct. 3. considered and p:isscd Senate. Nov. !.!. U.K. 2(X»K considered and passed House; proceedings vacated and S. 078, amended. p:issed in lieu. Nov. 14. Senate concurred in House amendments WEEKLY COMPILATION OK PRESIDENTIAL DOCUMENTS. Vol. 25 (10.30): Nov. 28. Presidential statement. o
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MEMBERS OF THE BOARD OF TRUSTEES
BYLAWS OF THE BOARD OF TRUSTEES
WASHINGTON STAFF LIST
NATIONAL CAMPAIGN OFFICE STAFF LIST
NEW YORK CITY STAFF LIST
NEW YORK CITY DEPARTMENT LIST
HONORARY COMMITTEE
108
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The initial members of the board include eight
appointees of Si's Board of Regents:
SI Secretary, Robert McCormick Adams Assistant Secretary, Tom Freudenheim Dr. Frederick Hoxie, Chicago Dr. Jennie Joe, (Navajo) Tucson, Arizona Dr. Alfonzo Ortiz, (San Juan Pueblo) Albuquerque, New Mexico Janine Pease Windy-Boy, (Crow) Crow Agency, Montana Dr. Helen Sheirbeck, (Lumbee) Pembroke, North Carolina Dr. David Hurst Thomas, New York City Dr. Arturo Warman, Mexico City Rosita Worl, (Tlingit) Juneau, Alaska
Fifteen appointees, each a member of the Heye
Foundation Board of Trustees are:
Dr. Ernest Leroy Boyer, Princeton, New Jersey Dr. Roger Buffalohead, (Ponca) Minneapolis, Minnesota Barber B. Conable, Jr., Washington, D.C. Dr. Vine Deloria, (Sioux) Tucson, Arizona Suzan Shown Harjo, (Cheyenne/Creek) Washington, D.C. Dr. Norbert Hill, (Oneida) Boulder, Colorado Senator Daniel K. Inouye of Hawai'i Alvin M. Josephy, Jr., Greenwich, Connecticut Julie Johnson Kidd, New York City Dr. Clara Sue Kiaweil, (Creek/Choctaw) Berkeley, California Dr. Navarre Scott Momaday, (Kiowa) Santa Fe, New Mexico Curt Muser, New York City Waldemar Nielsen, New York City David Rockefeller, New York City Thomas R. White, (Pima/Maricopa) Sacaton, Arizona1
lnBoard Appointed for New Museum," Smithsonian Runner, (Washington, D.C.: Office of Public Affairs, Smithsonian Institution, 1990), No. 90-2, 1 and 4.
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BYLAWS OF THE BOARD OF TRUSTEES OF THE NATIONAL MUSEUM OF THE AMERICAN INDIAN
PREAMBLE The National Museum of the American Indian, as established by Congress in 1989, shall be devoted exclusively to the indigenous peoples of the Americas. All of its activities shall support, protect and enhance the cultural legacy of Native Americans, past, present and future. The basic missions of.the Museum are:
To promote awareness of cultures, traditions and contemporary expressions of Native American peoples. To ensure that Indian spiritual beliefs and traditional religious rights are respected and protected. To advance knowledge and scholarship in Indian arts, cultures, histories and languages. To facilitate and broaden the exchange of knowledge and information among American Indians and between Native communities and the general public. ' To promote the involvement and participation of indigenous peop.les in all activities through dialogue and collaboration, both nationally and internationally.
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To provide opportunities for American Indian people in the field of museum administration and research through programs of training and Indian preference in employment. To promote the cooperative development of and affiliations with tribal museums and other cultural institutions. To enlist the cooperation of all appropriate tribal, federal and international entities in carrying out the mission of the Museum. To conserve and protect the Museum's collection and develop and promote policies and standards for culturally sensitive conservation, exhibition, interpretation and treatment of the Native American materials.
This Museum embodies the unique relationship between the United States and American Indian peoples which has evolved through a long history of treaties and an ongoing fiduciary responsibility.
This Museum exists to serve the needs of Indian peoples and for the edification of the world community of peoples with respect to the Native American continuum.
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ARTICLE I.
Establishment By an Act of Congress of the United States, entitled "An Act
to establish the National Museum of the American Indian within
the Smithsonian Institution, and for other purposes," approved
November 28, 1989, it is established that "The National Museum
shall be under a Board of Trustees."
ARTICLE II.
Functions, Powers and Duties
Section 1'. The general duties and powers of the Board of
Trustees shall be as set forth in Section S(b) of the Act. The
Board of Trustees shall (1) recommend annual operating'budgets *
for the National Museum to the. Board of Regents; (2) advise and
assist the Board of Regents on all matters relating to the
administration, operation, maintenance, and preservation of the
National Museum; (3) adopt bylaws for the Board of Trustees; (4)
designate a chairman and other officers from among the members of
the Board of Trustees; and (5) report annually to the Board of
Regents on the acquisition, disposition and display of Native
American objects and 'artifacts and on other appropriate matters.
Section 2. Subject to the general policies of the Board of
Regents, and the Statement of Policy of the Museum of the
American Indian, the Boapd of Trustees shall have the sole
authority, as provided by Section 5(c) of the Act, to (1) lend,
exchange, sell or otherwise dispose of any part of the
collections of the Museum, with the proceeds of such transactions
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to be used for additions to the collections of the Museum or
additions to the endowment of the Museum, as the case may be; (2)
purchase, accept, borrow or otherwise acquire artifacts and other
objects for addition to the collections of the Museum; (3)
specify criteria for use of the collections of the Museum for
appropriate purposes, including research, evaluation, education
and method of display. The Board may, by resolution, delegate
these powers, in whole or in part, to the Director of the
Museum.
Section 3. Subj ect to the general policies of the Board of
Regents, and the Statement of Policy of the National Museum of
the American Indian, the Board of Trustees shall have authority,
subject to Section 5(d) of the Act, to (1) provide for
restoration, preservation and maintenance of the collections of
the Museum; (2) solicit funds for the Museum and determine the
purposes to which such funds shall be applied; and (3) approve
expenditures from the endowment of the Museum for any purpose of the Museum.
Section 4. The Board of Trustees shall consult with and
advise the Director of the Museum on annual operating budgets to
be recommended to the'Board of Regents and to Congress, and^
otherwise consult with, advise .and support the Director in the
operation of the Museum. The Director shall be responsible for
the management of the Museum subject to the policies of the
Board, in accordance with Section 6(a)(1) of the Act. The Board
may, by resolution of a majority of the Trustees, delegate its
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powers under Sections 2 and 3 of this Article III, in whole or in
part, to the Director of the Museum, but any such delegation
shall be revocable by a majority of the Board of Trustees.
ARTICLE III. Membership on the Initial Board of Trustees
■ Section l. The initial membership of the Board of Trustees
shall consist of the Secretary of the Smithsonian Institution, an
Assistant Secretary of the Smithsonian Institution appointed by
the Board of Regents, eight (8) individuals appointed by the
Board of Regents, and fifteen (15) individuals, each of whom
shall be a member of the board of trustees of the Heye
Foundation, appointed by the Board of Regents from a list of nominees recommended by the board of trustees of the Heye Foundation. At least seven (7) of the twenty-three (23) members
appointed under this Section 1 shall be Indian people. Indian
people, for purposes of the these Bylaws and in accordance with
the Act, shall mean citizen of an Indian tribe.
Section 2. The terms of the initial Board of Trustees shall
be three (3) years, beginning on the date of the transfer of the
Heye Foundation assets to the Smithsonian Institution.
Section 3. The 'Assistant Secretary of the Smithsonian
Institution appointed to the initial Board by the Board of
Regents shall serve at the pleasure of the Board of Regents. Any
member of the initial Board, other than the Secretary of the
Smithsonian Institution and such Assistant Secretary, may be
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recommended for removal from the Board by vote of a majority of the Trustees, but only the Board of Regents has the power to remove any Trustee of the Board. Section 4. When vacancies occur on the initial Board, the Board of Trustees shall submit nominations to the Board of Regents for consideration. The Board of Regents shall appoint Trustees to fill such vacancies, but only for the remainder of the term involved. An appointment to fill a position vacated by one of the fifteen (IS) Heye Foundation trustees referenced above In. Section 1 shall be subject to the requirement that a total of at least seven (7) of the Trustees shall be Indian people. All members of the initial Board shall serve until their respective successors are duly appointed. t
ARTICLE IV. Membership on the Board of Trustees Section 1. Upon expiration of the terms of the initial Board of Trustees set forth in Article IV, the Board of Trustees shall-consist of the Secretary of the Smithsonian Institution, an Assistant Secretary of the Smithsonian Institution appointed by the Board of Regents and twenty-three '(23) individuals appointed by the Board of Regents from a list of nominees recommended by the Board of Trustees. At least twelve (12) of the twenty-three (23) Trustees appointed under this Section shall be Indian people. /•
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Section 2. The terms of the Trustees appointed under
Section 1 shall be three (3) years, except that of the twenty-
three (23) Trustees, seven Trustees, four (4) of whom shall be
Indian people, shall be appointed for a term of one (1) year, as
designated at the time of appointment;' and eight (8) Trustees,
four of whom shall be Indian people, shall be appointed for terms
of two (2) years, as designated at the time of appointment.
Section 3. The Assistant secretary of the Smithsonian
Institution appointed to the Board by the Board of Regents shall
serve at the pleasure of the Board of Regents. Any Trustee may
be recommended for removal from the Board by vote of a majority
of the Trustees of the Board, but only the Board of Regents has the power to remove any Trustee from the Board. t
Section 4. When vacancies occur among Trustees, the Board
of Trustees shall submit nominations to the Board of Regents for
consideration. The Board of Regents shall appoint Trustees to
fill such vacancies. If a vacancy occurs before the expiration of a term, any appointment to fill that vacancy shall be only for
the remainder of the term involved. All Trustees shall serve
until their respective successors are duly appointed. After any
of the twenty-three (23) Trustees serves any two consecutive full
terms, that Trustee must be off the Board for one year before
being eligible for reappointment to the Board.
Section 5. No Trustee shall receive any compensation for
that Trustee's services /as a Trustee or as a Member of any
Committee, but Trustees of the Board shall be entitled to per
diem, travel and transportation expenses for each day (including
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travel time) during which they are engaged in the performance of
their duties. Non-Trustee Members of Committees of the Board may - be entitled to reimbursement of such expenses, as Board policy
and available resources may provide. Section 6. A Trustee shall disclose in writing to the Board
any transaction or dealing with the Museum or with the
Smithsonian Institution in which such Trustee has a direct
interest or involvement, and such Trustee shall not vote in any
matters in which that Trustee has a conflict of interest.
ARTICLE V .
Officers of the Board
Section 1. The Officers of the Board shall be a Chairman, a
vice Chairman and a Secretary who shall be elected annually by the Trustees from the membership of the Board.
Section 2. The Chairman of the Board shall preside at all
meetings and shall have the usual powers of a presiding officer.
Section 3. The Chairman of the Board shall serve as an ex
officio Member of all Committees of the Board, and shall have the
right to vote.
Section 4. The vice Chairman of the Board, in the absence
or disability of the Chairman, shall perform the Chairman's
duties. In the absence of the Chairman and vice Chairman, the
Chairman of the Board shall designate an Acting Chairman.
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Section 5. The Secretary of the Board shall perform the
duties of recording secretary by maintaining the official minutes, records and proceedings of the Board. The Secretary
also shall be responsible for authorizing and disseminating
information among the Trustees.
Section 6. Officers of the Board shall be elected at the
first meeting of the calendar year and their terms shall run for
one year or until the next election.
ARTICLE VI.
Meetings of the Board
Section l. The Board shall hold no fewer than two regular Meetings each year. Notice of regular Meetings of the Board shall be given in writing to each Trustee at least twenty (20)
days prior to such Meetings, although the Board will endeavor to
establish a meeting schedule one year in advance. The Board also
may hold Special Meetings as shall be called in accordance with the following procedure:
a. By the Chairman or vice Chairman by notice served
personally upon or mailed to the usual address of each
Trustee not less than twenty (20) days prior to ttie Meeting.
b. By the Chairman, in the same manner, upon the written
request of three or more Trustees of the Board.
c. By the Secretary of the Smithsonian Institution, in the same manner.
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Section 2. A majority of the Trustees of the Board then in
office shall constitute a quorum, and the act of a majority of
the Trustees present at any Meeting at which there is a quorum
shall be the act of the Board. Meetings shall be conducted in
accordance with Robert's Rules of Order. Section 3. Any action required or permitted to be taken at
any Meeting of the Board may be taken without a Meeting if prior
to such action notice of the proposed action is mailed,
telegraphed, telephoned or telefaxed to all Trustees and a written consent thereto is signed by two-thirds of the Trustees
and such written consent is filed with the Minutes of the
proceedings of the Board.
Section 4. Following each Board Meeting, proposed Minutes,
shall be circulated to Trustees, with the request that corrections or approval of the Minutes, be submitted in time for
submission at the next Meeting of the Board. Copies of Minutes
as approved will be presented to the Board at the next Meeting.
ARTICLE VII.
Committees
Section l. The" Standing Committees of the Board are:
Administration and Budget Committee
Collections Committee
Development Committee
Executive Committee
Information and Communications Committee Nominations Committee.
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Program Planning Committee Research Committee
Section 2. Committee Appointments: a. The Executive Committee shall consist of the chairman of the Board, the vice Chairman of the Board, the Secretary of the Board, the Secretary of the Smithsonian Institution, and the Chairmen of all of the other Standing Committees. The Chairman of the Board shall serve as the Chairman of the Executive Committee. Six (6) Members of the Executive Committee shall constitute a quorum for meetings. b. The Chairmen and Members of the Committees shall be elected annually at the first meeting of the calendar year and their terms shall run for one year or until the next election. The Board shall elect the Committee Chairmen upon presentation of nominees by the Chairman of the Executive Committee and the Director of the
- . Museum. c. Except for the Executive and Nominations Committees, which shall be comprised only of Trustees of the Board, membership on all other Committees need not be limited to Trustees, but the Chairmen of these Committees shall be Trustees of tie Board. If a Committee Member is unable to attend a Meeting of that Committee, that Member may name a designee to attend as an observer
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only. Committee Members who are not Trustees of the Board may participate in and vote only with respect to Committee business, d. The Director of the Museum ot his designee shall attend Meetings of the Committees and shall otherwise assist the Committees in the conduct of their affairs. Section 3. Committee Responsibilities a. Executive Committee- 1. The Chairman of the Board shall be Chairman of the Executive Committee. 2. With respect to any matter as to which the Members of the Committee find that action should not be deferred, the Executive Committee may exercise • during the intervals between meetings of the Board of Trustees all of the powers of the Board of Trustees, except that it shall have no power to nominate candidates to fill vacancies on the Board of Trustees or to amend or repeal the Bylaws. 3. Meetings of the Executive Committee shall be called by the Chairman and held at such times'and places as may be fixed by the Chairman. The Chairman shall call a Meeting upon request of two or more Members of the Executive Committee. Notice of such Meetings shall be communicated by mail, telegram, telephone or telefax /to all Trustees of the Board at least three days in advance of the Meeting. A waiver of notice of meeting, signed or confirmed by the person
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entitled thereto, whether before or after the time
stated therein, shall be deemed equivalent, thereto.
The Committee shall keep regular Minutes of its
proceedings which shall be sent by the Director to
all Trustees of the Board after the Meeting is
adjourned.
4. The Executive Committee shall have the power to
adopt rules for the conduct of its business with
respect .to all matters not provided for in the
Bylaws or by rules adopted by the Board of Trustees.
Such rules shall be subject to approval by a majority of the Board of Trustees.
b. Administration and Budget Committee. •
The Administration and Budget Committee shall oversee
and consider and recommend policy to the Board regarding the Museum’s finances and facilities. It shall consult
with and advise the Director with respect to annual
operating budgets to be recommended to the Board of
. . Regents and to Congress. Its duties also shall include
such audit functions as the Trustees may determine.
c. Collections Committee. ' ^
In accordance with the spiritual and religious rights of
indigenous peoples, and the Institution's policies and
procedures on collections management and such other
policies as from time to time may be adopted by the
Board, the Collections Committee shall consider and
recommend to the Board policy regarding conservation
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the deaccession and disposition of items by sale, gift,
exchange or otherwise and make recommendations thereon
to the Board.
d. Development Committee.
The Development Committee shall consider and recommend
to the Board policy with respect to fundraising and
public relations activities and provide assistance to
the Director in carrying out these functions.
e. Information and Communications Committee.
The information and Communications Committee shall
consider and recommend policy to the Board regarding all
dimensions of Museum programming to assure that ,
efficient, effective and culturally sensitive uses of
technology prevail. The Committee shall review Museum
programs and plans, to the greatest extent feasible, to
encourage the interdisciplinary organization of programs and publications through the use of traditional and
- - technical means. The Committee also shall consult with
and advise the Director on matters related to
development of broad bandwidth communication with^Indian
peoples and cultural institutions through expanded
operation of existing .networks and other communications methods.
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Nominations Committee. 1. The Nominations Committee shall recommend to the Chairman of the Executive Committee and the Director of the Museum persons to serve as Chairmen of each Standing Committee other than the Executive Committee and the Nominations committee. The Committee shall nominate persons to fill vacancies on the Board, to serve as Officers of the Board and to serve as Members of each Standing Committee other than the Executive Committee and the Nominations Committee. 2. The Nominations Committee shall consist of not less than five (S) Trustees, including the Secretary of the Smithsonian Institution. Four (4) of the Members of the Nominations Committee, other than the Secretary of the Smithsonian, shall be elected by the Board. The Board Secretary, on behalf of the Trustees, shall solicit nominations and volunteers for these four (4) Members to be submitted in writing to the Secretary of the Board at least one month prior to the meeting at which they will%be elected. The Secretary of the Board will then inform the Trustees by mail of the names which have come forward- and four (4) out of that group must then be elected by a plurality vote through written ballot prior to the meeting at which they would be elected. Following tabulation of the mail ballots
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by the Secretary of the Board, and in the event
there is no plurality vote by the mail ballot, an
election will occur, by as many ballots as
necessary, at the next Board Meeting.
3. In formulating its nominees or slate of nominees for
Trustees, Officers and Committee memberships, other
than the Nominations Committee and the Executive
Committee, the .Nominations Committee will solicit
indications of interest and nominations, in writing,
from the full Board. It will present its nominees
to the full Board, but will also entertain
nominations from the floor. In the event that
additional nominations are made from the floor, ,
voting will be by secret ballot.
g. Program Planning Committee.
The Program Planning Committee shall consider and
recommend to the Board policy regarding the public
educational and scholarly programs of the Museum, as set
- ■ forth in the enabling Act, concerning both programs for
the general public and those specifically designated as
Indian programs and concerning the facilities of the
Museum. These will include, but are not limited to. the
display of collections, educational outreach programs,
cooperative programs with Indian peoples and cultural
institutions, the Museum Library and Archives and training programs.
h. Research Committee.
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The Research committee shall consider and recommend policy to the Board regarding research standards and practices which Incorporate the basic policies and missions of the Museum. These policies will cover, but are not limited to, research on the collections, including the Museum Library and Archives, and cooperative programs with Indian peoples and cultural
institutions.
ARTICLE VIII. Amendments Section 1. Proposals for the amendment of these Bylaws shall be made by the Chairman of the Board upon the recommendation of an Ad Hoc Committee, whose Members the Chairman may appoint, and shall be filed with the Secretary of the Board. Section 2. These Bylaws may then be amended at any Meeting of the Board by an affirmative vote of at least two-thirds of the Trustees of the Board present, provided notice of intention to amend shall have been contained in the notice of the Meeting and such notice shall have been mailed to each Trustee of the Bpard not later than twenty (20) days prior to such meeting.
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ARTICLE IX. Indemnification Members of the Board of Trustees may be indemnified for any and all liabilities and reasonable expenses incurred in connection with any claim, action, suit, or proceeding, arising from present or past service for the National Museum of the American Indian, in accordance with the Revised Indemnification Resolution of the Board of Regents.
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The staff of NMAI in Washington, D.C. consists of the
following positions (as of January 1992):
Director Secretary to the Director Special Assistant to the Director Congressional and Legislative Affairs Specialist Deputy Director Budget Analyst Fiscal Technician Personnel Specialist Receptionists (2) Computer Specialist Assistant Director for Public Programs Exhibitions Project Manager (pending) Publications Manager Outreach Coordinator (pending) Exhibitions Coordinator Administrative Assistants (2) Information/Technology Manager (pending) Native American Staff Development and Training (pending) Field Hearings Assistant2
2Voikert, James, NMAI Acting Assistant Director for Public Programs, interview by author, 1991.
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The National Campaign Office is made up of the following positions:
National Campaign Director Assistant Director for Public Relations and Special Events Assistant Director for Foundation and Corporate Relations Special Assistant for Community Relations Program Manager Secretary to the Director Clerk Typist Secretary to the Assistant Director for Public Relations and Special Events Campaign Associate Information Resources Specialist Special Assistant for Public Relations in New York City Director of Membership Services Staff Membership Services Assistant
The New York City Staff is divided as follows:
Administration Assistant Director Secretary to the Assistant Director Assistant Controller Bookkeeper (2) Receptionist
Collections Associate Curator (North American Ethnology) (4) Assistant Curator (Middle and South American Ethnology)
Registration and Collection Support Registrar Assistant Registrar Registrar's Assistant Conservator
Public Affairs Public Affairs Assistant Membership Secretary
Exhibits Curator of Exhibits Exhibits and Graphics Designer Exhibits Preparator
Education Head of the Education Department Manager, Indian Information Center/Museum Educator I Assistant Educator Educational Assistant Appointment Secretary
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Photography Assistant Curator Photographer (2) Curatorial Assistant
Security and Maintenance; 10 - 15 staff
Huntington Free Library: 5 - 7 staff
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From the NMAI Organizational Chart for New York City,
departments are arranged under the Assistant Director as
follows:
Public Programming; Exhibitions and Graphics Film and Video Education Resource Center Museum Shop
Administration: Public Relations Administration and Finance Facilities
Collections and Research: (to move to new Suitland, Maryland, facility in 1997) Curatorial Collections Management Photography Registration3
Organization Chart for New York Staff, National Museum of the American Indian, (New York, N.Y.: Smithsonian Institution).
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The Honorary Committee consists of the following:
The Honorable Ben Nighthorse Campbell - Chair President George Bush The Right Reverend Robert Marshall Anderson, D.D. Mr and Mrs. Robert 0. Anderson Willard L. Boyd Jimmy and Rosalynn Carter Ralph T. Coe Kevin Costner President Gerald R. Ford and Mrs. Ford Honorable Barry Goldwater R.C. Goreman LaDonna Harris The Honorable James A. Joseph Doris Leader Charge Dr. George F. MacDonald Wilma Mankiller Jose' Matos Mar Paul Newman President Richard Nixon and Mrs. Nixon Arnold Palmer Octavio Paz Janine Pease-Windy Boy President and Mrs. Ronald Reagan Robert Redford W. Ann Reynolds Rabbi A. James Rudin Douglas W. Schwartz The Honorable Sargent Shriver Martin Sullivan Maria Tallchief Stewart L. Udall James D. Wolfensohn4
4Colonghi, John, NMAI National Campaign Director, interview by author, 1991.
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THE "TWENTY NEEDS" of NMAI
QUOTATIONS FROM CONSULTATION PARTICIPANTS
SI BUREAUS PROVIDING SUPPORT TO NMAI
133
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The "Twenty Needs" of NMAI express what the Museum
should embody in the following principles:
1. Flexibility for changes and renewal in its organization, programming and architecture.
2. Commitment to facilitate hemisphere-wide exchange and communications among Native American communities.
3. Forum where Indian voices speak to Indians and non- Indians in a multilateral communications setting.
4. Programs that celebrate the continuum and contemporary vitality of Indian cultures.
5. Four interconnected and fully supported museums: the Custom House, the Reserach Center at Suitland, the Mall Museum, and the "Fourth Museum."
6. Access to technical and human resources in support of community driven efforts.
7. Access to collections for traditional and non-traditional researchers on-site and electronically, through traveling exhibitions and in some instances repatriation.
8. Collections care and housing meeting high museological standards as well as the diverse requirements of the Indian communities who produced the materials.
9. Presentations that are contextual and multisensory; paced and respectful, and creatively used technology to better tell the museum/s stories.
10. Community produced exhibitions and presentations supported financially and technically by the Museum when needed.
11. Debunking stereotypes and re-educating the public about all aspects of Indian history and culture.
12. Information organized to accomodate the needs of multiple users.
13. Node and clearinghouse roles in the flow of information among international Native communities.
14. Generating and collaborating roles in producing new information through diverse research programs.
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15. Training for Native Americans and Smithsonian staff in cultural resources development.
16. Support of community efforts at cultural preservation, maintenance and revival.
17. Support of educational and cultural institutions in Indian communities.
18. Support of artistic recognition and market expansion for artists.
19. Buildings and landscape that reflect Native values, design traditions, symbolism and spatial qualities.
20. Architectural and site designs with appropriate settings for ceremonial activities at all sites.
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The following quotations are from consultation participants. They provide a wide range of recommendations for the design of the facilities, and even if they are not literally incorporated into the architecture, they should serve to inspire thoughtful and creative solutions.
& Washington, DC Contest, Mall Museum Exterior and Entry "An Indian child has to come here and be proud We have nothing here fa capital' "The Museum is being given birth, not being planned^. The land where it willsit has a spirit—. This Museum has to be connected not ody to us as the people but to our children-reconnecting the umbilical corf of our . children." "Because of the Museum's location near the Capitol its exhibits should address the history of relationships beaveen the government and Native peoples and the contiibuticas of some, such as the Iroquois, in creating the American form of government and by others, such as Navajo code talkers, and Cfcpctaw coders in past war efforts." "Incorporate n monument dedicated to Indians o f the past here in Washington, DC - dramatic." "This buildiag competes with ssoaameatsef&ercrid !t mast be compatible; is lh*t seeing, as She monument to Narive Americam.* "I see a stgn not a building. A building that says somtthin* - » »tJko&£' "I see the limitations of the MalL -Tint the building purple." "It’s sot what’s on the outside that matters, but whai'j on the inside and written." "Say who we are visually.' "A living Museum, not formal and quiet Noise and eonfuaco are OK. Processkasa! ceremonies in pfcas - activity excites."
"Yob should bear &e dogs tasting." Theyoothandinepecgfccssfeingjhsplacsjolife. Ttatwillbe impcrtaes," •Present central Native American vainer- the Individual as part of the cfimmunhy^riha and wspanrfhalftfeg'
"Close 10 nature, not set apart in the universe."
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'We need a trarisidcn space, a decompression area for little kids whooping it up (hat saysVou are entering oar space.' Asenseofceremony.spteeio leave behind stereotypes. Music could help calm chlltfcea.* 'Maybe use water (from the site's underground stream?) to make this transition. Not creating a acred space but projecting the notion of the spiritual* There could be many entries and at different levels, with tamps and passages that draw one in like a sculpture.* The building should take advantage o f outdoor space. It will be SO" in Aprill* 'Consider a covered outdoor introduction area to explain areas o f the country and to slow people down. The door should be infonnaL* •Programs that reach Indian communities are mere important than buildings.* •Consider having display o f eibal seals or flags near the entrance-like the UN.* •Consider acquiring the triangle o f land south of Maryland Avenue for use as an environmental exhibit that would also connect to the adjacent Botanic Cardens.* •Use the MaB site sow » •Have a lawn with a circle inside for dancing - like a Pilcher's mound, a place in the center for drums, lighting. PA system anda fence for charging admission. Fumit A anlih't o nin th» luf..«s»»m * Tbe architectural design should not intrude.* T he architects should design in accordance with the rntemariooal way, with contemporary and traditional materials. It should be in tune with tbe year2000-upiodaie. •Look at bow v tt'rt living today. Individual cultures inside..sand out in modem design.”
•We should think o f ourselves as modems, or a composite cf the past.* ‘One could enter the Museum like a Kiva, with a sense of stepping down into the womb.” The Building should have an entrance with an abundance of light.' *Not bright light, but soothing.' 'I think the entrance should be first daric.„ihcn light.' 'Slow the pace down so people think of the Museum as a significant place where they will have an experience.*
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H ave Indian languages written on the building.’ T ve never seen a tipi oat o f other materials lo c i goodL* 'Provide x homelike reception room, with water. Tale a few minutes to fed a borne. The Air and Space Museum reminds a e of a warehouse- it projects the idea o f storage. We want lo welcome people that should be in the entrance.® *We need a dose of reality. We will have seven million people trampling the docents. Can we consol the volume o f visitors?* •The old Smithsonian is inviting. The others are like open vaults. The Castle has that element of hospitality ~ the Secretary actually lived there.’ ’If this place does nothing else but be a living entity that transmits human respect and sensitivity, then all the work we do and will do will be a success. We cannot compare this to other museums. We should create iL* "Plant life has power.* ’ Buildings should enhance relationships and activities •• not draw atienu'on to themselves or their architect.* T h e building design should be done by an Indian architect’ *Tbe Museum should confront know-it-all tourists with the shock of nature, getting back to a primordial time and the kind o f complexity that created the boric! mounds. The canssee should have waier flowing; it should show LnspLratiss. The entrance should b o s place where people choose to g a Maybe there are outside exhibits for shore tourist visits by know-it-all kids.* "It should be a natural experience to go there, juxtaposed to tbe Neo Greek around ii. It should touch children and have the blessing o f spiritual leaders. Cne should feel the Jove o f Indian people for who they are. These things are alive and pan of today. Test the design with children and elders, then w ell know the power. Smell sweet grass and sage.* •You should smell sage, wood, fislu * Terrain, colors, textures, snelis._a giant'scratch and sniff.** *Wa!ter Chsriey’s (as Alaskan elder) stories should be here.0 “Our scries should be tdd la quiet and strong vdces.~as a mosaic.* T h e MaB Museum should incorporate a ritual like that o f a mosque where ooe takes one's shoes off before entering, symbolizing leaving something o f oneself outside the building.* "Entering the Museum should be analogous to entering someone's home in the respect that is given by the visitor." ’ Adopt our values while you're here-.hosts with the ’Aloha’ spirit’ T h e entrance should allow transition...siow or fast..to take off my business suit and pul on Indian dress.*
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'Conflict and diversity should not be watered down.* "Humor is also very important to be integrated into the inspiration of design." "Use Mali site now as an opportunity to create routing exhibit] in, far example, a temporary bughouse. TOs could be a period o f training and experimenting and of constituency buMag.* T b e groond should be bfcoed before cocaroctioa.* "Sweedawf should reflect the ideas of 4 e Mali - not separateness - but continuity.*
T f tbe Mall Museum is ttadidcruUSweedamf can be abstract*
b. Native Symbols and Traditions "My grandparents were my collection, my museum. Tbe museum shouldn't mean a loss of community and family.” ' "Would our grandparents see themselves here in the right way?” 'Adaptability and stsvivaL How can we portray that inner strength?* "It takes four years to even learn about water without the text boohs - the Apache way; it takes four more yearn to learn about nature - herbs, plants, animals; another four years for the stare and heavens. The last four years am the hardest pan - to team about ourselves, you and me. When you have eompieicd sixieen years under a medicine man, you can sing the songs.* ’Fire symbolizes who we are.* "Directional alignments are important Sclsdcial/equinoxial alignments, as well as pole” *Doat generalize from one tribe’s architecture. For Northwest peoples, the rectangle is tbe main shape of rooms and buildings.” •Recognize diversity. It’s especially apparent in Alaska.” "Kodiak people like informality. They protest having agendas at meetings.* T lingit people like structure.0 "Everything doesn’t have to be universal to be marvelous.” ’Introduce me to other tribes and what they do today. Then go beck in time.* , "Have ooe floor that is earth from this place. Everything doesn’t need to be concrete and marble.* •Some tribes would want entry from the east - the sunrise.* "Our (Southeast Alaska) door has to (ace the beach.”
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"Spaces should adapt to different seme* o f Indian spaces - an Iroquois longhouse measures 2 7 high x 2 7 wide x ISO* long. a wigwam has a 17 ceiling, a tipi is 3C high. Think of an airplane hangar with tinker toyi within ©makespace*.* T h e Copper River people of Alaska build bouses with ..a place for smoke in the middle, with a big steam bath right behind." "Indian traditional spaces tend to be communal space. Foe in the middle is important as the spiritual center of the house* "Consider bringing dirt fonn various places and commissioning an opera for the opening dirt ceremony* "A revereaee for things like planting com and beans is important, but don't reinforce the stereotype that Indians are the spiritual gurus of the world. People want our ceremonies; if a complicated." Tin a loogbcuse] four elements are important: Food, Fire, Floor - dirt for F ire-so d Dance.® • TradirioosHy, most native groups do not display their art objects. They tend to be kept sa trunks until needed for a ceremony*
"For Apache, there are always four o f things: four sacred colon corresponding to directions: East» Black, South ■ Blue, West ■ YeOow, North ■ White; four saints; four sacred trees: East - Pinion. South ■ Walnut, W e::= Cedar, Norw * Poplar: our door is East; four bridges. Things always go clockwise. Everything we do is round* "For Keetoowah Band o f Cherokee, seven is the critical number - seven days of the week, seven directions." "If the entrance is on the East, then it wiS also face the ooly hill around.* "Museum for my tribe (Lakota) is a big stone. Lakots want all pipes, remains returned. My grandad died in 1913 in Washington as part of a delegation petitioning the government - o f pneumonia or by poison - we don't know. Three years ago his pipe came back. The family now has an annual sundance. The pipe is kept in a frame building without environmental controls - 1 donT call it a Museum - It’s k2 dive." *We say we look to the seventh generation to benefit from resources.* "The s e e d Should be at the center with people moving clockwise around it.* °Diflerent tribes may have different connotations for various symbols. The use o f symbols has to be on a broader and deeper level and reflect actual use. Beth Suitland and the Mall Museums should incorporate this.* "Colors can be representative of direction, as for the Apache. Some of us have six directions or seven.* ,
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"The circle is almost universal and dominant. It is the shape o f Kivas and ceremonial spaces for Pueblos and Hopi.® 'Reflect tbe solar calendar and equinoxes in the design - not just as a sym bol-but in actual use. For instance, the sun might faSoo a west- facing wall in a particular way at a certain time of year.® *An eastern orientation and eastern entrance is critical for many tribes.® There could be a circle of rocks for the equinox.* "We have a totem pole tradition here (local DC Native peoples) that many people don\ know about We have larse carved panels with sheds and incised designs.* *It is very important to have a room to take things out to talk with so the family who owns them won't get sick. My northwest people would want a salmon pit outside the Museum and a cedaMined room for objects.* "Many Indians do not have positive experiences with the conventional buildings in their lives —HUD Houses etc. Lodges for religious ceremonies are loved, as are churches and homes.” T h e building designs should drew on the symbols and traditions o f many people and yet not be Pan-Indian' designs.* "The East has a worldwide significance, though it is not always materially expressed in the same way.* "We are using two terms that bother me - Native and Indian." "This place should have a different name than NMAJ - The National Museum o f the Life and Land of Native American Culturcs—The People's Way of Being.*
c. Spatial Character and Interior Spaces "Bring the outside in, avoid all rectangular walls. Make spaces adjustable.* *For Inuit people - a dome on top. Not all squares...but roundnesx* "Interiors should be finished with natural materials from all over the United States - an adobe wall, plants from another area, stone, wood - not dominating, but giving a feel to the place.” "Simple, elegant lines. Not busy, busy. Our soul is elegant.* "Think about technology to come—the possibility of huge y r r n ? to create sensory entries. The possibility of creating landscapes to walk through with holography." "There should be no shortness of opportunities to learn. Don't use westers fragmentation. Computers are an opportunity to teach an organic way o f dealing with the world.* "nave a sense of calming light streaming down from above."
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"Recognize distinctions in tribal architecture in tbe exhibition areas.* I *NMATs Museum shops should be like « maritet.” *A bomey feeling, sand, colon of tbe earth.* "Smallness fits our way of life-wood greys with aging - color is important and tied to our Nadveaess.” "I don't mind tbe feeling o f stone~Jft tbe values that are attached. Stone ■ Greek.* "In Central and South America, our monuments are natural elements.* "Tbe building shouldbe pcnnaaenL.it should last" "Skylights could be used to gives sense of the sky." * A huge skylight to watch the sunrise and sunset." * A crater with a dome." *We need an opening to the sky and to the bottom. We need the warmth of wood rather thus the coldness of stone. The underground spaces of the East Wing are relieved by the presence of water. Tbe Ripley Crater, in contrast, feels claustrophobic - you feel the shea weight of the building oo top of you." "There needs to be some flexibility in tbe program and design to re-plan spaces at a momentfs notice." ’Space Itself - iafinks pcssiuuiues.-£aany roiea.=
*The Museum should address environments. How many people know there are mountains where you can took without seeing a house or see tbe ocean and the horizon? If you don't experience this you've missed what life is about* "Present our contemporary lives counter the view that 'you're not living the life you're supposed to.*" "A whale illustration in 8 museum would be making fun o f it; showing disrespect We might not be able to get that whale*
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NMAI will have the expertise and support of other SI
bureaus and offices during the consultation phases of the
development process, as well as for the operation of NMAI's
programs and buildings. Some of the many bureaus and
offices involved include:
Business Management Office (BMO) Conservation and Analytical Laboratory (CAL) Museum Support Center (MSC) Offices of Facilities Services (OFS) Office of Design and Construction (ODC) Office of Information Resource Management (OIRM) Office of Plant Services (OPLANTS) Office of Protection Services (OPS) Office of Registrar (OR) Smithsonian Archives (SA) Smithsonian Institution Travelling Exhibitions Service (SITES) Office of Exhibits Central (OEC) Office of Telecommunications (OTC)5
sMaster Facilties Phase 1 Report, NMAI, 38.
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OUTREACH SUPPORT
144
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Outreach support for cultural activities may include:
Language preservation (to be directed locally) Music and dance documentation and support Oral history recording, especially through film and video Development/dissemination of curricula materials for schools-(print, audiovisual, telecommunications, etc.) Technical assistance and training programs to benefit tribal museums, libraries, schools, cultural centers Traveling performances, exhibitions and loans to and from communities Artist-in-residency programs for production of replicas of objects for use and exhibition by tribes Access to and input on Museum collections and information such as geneological data Advocacy for authenticity in the use and copyright of Native art, stories, writings and performances Leadership in standardizing language use and database formats to foster the broadest sharing of resources Programs directed towards youth Access to information about economic and career opportunities created by the Museum, such as artists cooperatives Production of 30-second "spots" on a variety of subjects for public television broadcast6
6Ibid., 65-66.
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"POINTS OF VIEW" DESIGN DEVELOPMENT PROGRAM DIAGRAM: THEME AREAS
"POINTS OF VIEW" EXHIBIT DIAGRAM
146
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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. \D V/' VIEW OF A Conceptual Relationships POINTS NATIONAL MUSEUM OFTHE AMERICAN INDIAN INDIAN AMERICAN OFTHE MUSEUM NATIONAL AESTHETtCSiProc— o :===iJ :===iJ L fM t* Owftfer AtSTHirrtCStUAMntnff PRESEJlVINQt \ 1—Un - FOCUS \ / | _ Dhrvntty/Th* tv — 1
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LIST OF FUTURE EXHIBITIONS
150
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NMAI's Exhibition Review Committee met in the spring of 1991 and accepted the following exhibitions for future shows at the George Gustav Heye Center:
A Day in the Life of Native America A documentation project by Native American photographers addressing the state of their own communities 500 years after Columbus arrived. The exhibit will focus on the diversity of Indian lifestyles and how Native Americans see themselves. (Toured by the Native Indian/Inuit Photographers Association)7
The Changing Soundscaoe of Indian Country A combined exhibition with live performances identifying new forms and styles which have emerged in Native American music since the arrival of Europeans in the New World. The exhibit will show the changes in Native American music resulting from contact with non-Indian cultures by addressing the history of Indian musical traditions, the Euro-American elements of each tradition, and the implementation of these elements in Indian music. Included in the exhibit will be musical instruments, record album covers, wax cylinders, and hymn books. (Organized by the Office of Folklife Programs and NMAI)8
Reflections of a Weaver's World: Gloria F. Ross Collection of Navajo Weaving Thirty rugs and tapestries by Navajo artists will be featured in this exhibit, all created from the late 1970s to the present. The exhibit will address the cultural background of the artists and the meaning weaving gives to modern reservation life. (Toured by the Denver Art Museum)
Navajo Blankets: Woven from Life Fifty 13th-century Navajo wearing blankets from the NMAI collection will be shown to document weaving techniques, dye, and fabric content. The show "will interpret the use and pattern design from a multi-dimensional perspective by incorporating anglo and Indian views from today as well as the distant past."9 (Produced by NMAI)
Our Land/PurseIves Sixty-six framed works on paper by Native American artists will focus on land and its inhabitants through
7Nanwooksy, R. Fred, Jr., NMAI Exhibition Coordinator, interview by author, 1992.
8Ibid.
9Ibid.
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"metaphysical, metaphorical, allegorical, and political perspectives." New perspectives will be presented to encourage an understanding and appreciation for the landscape and Indian art; as well as reflect the diversity of contemporary American art; as well as show the perspective of land and its inhabitants from contemporary Indian artists. (Toured by Exhibits USA)10
Kiowa Culture in Transition: Photographs of Horace Poolaw The photographic exhibit will document the transition and profound changes of tribal culture from 1925 to 1955. Photographs show the "events of daily life for the young and old, as well as traditional ceremonies, dances, rodeos, etc." Seventy-two black-and-white photographs will comprise the exhibit. (Toured by the American Federation of the Arts)11
I0Nahwooksy, R. Fred, Jr., NMAI Exhibition Coordinator, interview by author, 1992.
nIbid.
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SCHEDULE OF SPACES
REGULATORY AGENCIES
153
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3. Schedule of Spaces - Suiiland
Tbe following list summarize* tbe specea and activity areas proposed through the consultation process.
l Site Needs - Bridge, tunnel or direct connection to NMNH collections areas at the Museum Support Ceuter - Visitor and staff parting - Shuttle bus stop -Loading area - Path connections to shared and related facilities and future Metro stop. b. Entrance and Welcoming Area -Entrance vestibule - Entrance lobby and reception desk -Hospitality lounge - Visitor orientation area (Collections reference area?) - Dining facilities or access to shared conference and cafeteria areas - Security station -Restrooms.
c. Collections Reference Areas - Collections access computer terminals - Reference librerian/Curetor offices - Library collections reference area Of Integrated with objects Reference Area).
d. Collections Viewing and Use Areas -L obby - Circulation and staging spaces &r access to objects in housing areas - Research carrels - short term users - Research carrels - long term users - Specialized carrels as needed - Group study gase(s} and conference rooms
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- Artins sudio(s) - Ceremonial spaces) with outdoor area - Dressing rooms for ceremonial uses - Staff coSec&os use and viewing area* - Assisting curator and security stiff areas - Object handling equipment storage *• Restrooms.
e. Collections Housing end Care Areas ~ Objects bousing areas by tribe -Specialized shared objects housing areas - Objects organized in other ways - Shipping and receiving areas - Registration and photography areas - ConservariooAestoratioaAtpIicatioa areas - Objects handling equipment storage, freight elevators, etc.
f. Library and Archives Collections ~ Reference area (if not intcgrsico with objects collections reference area) - Reading, viewing and listening areas - Copying and photographing area - Weed processing area - Display ares - Circulation desk ~ Book stacks - Photographic collections storage - Audiovisual materials storage - Other archival materials storage - Library and archive staff offices - Materials processing and conservation area, including a digital processing center -Restrooms. •
i
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g. Exhibit Support Areas - Exhibit design offices and studios - Exhibit production workshops - Storage and staging areas - Loading dock access.
h. Fourth Museum Support Areas - Staff offices and workrooms - Film/viico production studios - Audio production studios - Publications production and storage - Computer demonstration and training center .. Education laboratory and learning resource center - Computer network room - Satellite uplink facilities.
L Staff Work Areas - Director's office - Ait minis trativft m tt - Computer and telecommunications staff - Conference rooms and classrooms - Volunteer and viator w est g s s e s QS not provided elsewhere).
j. Building support systems and areas (to be developed in Phase 2).
k. Possible shared residential and conference center (probably a separate building).
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4. Schedule of Spaces - the M ali
t. Site Development and Outdoor Space*
(Tbe distinction between the outdoor and indoor activities should be blurred) The site could include: - Native plants, water, host traditions - Performance area with dirt surface —Exhibitions - Introductory information -Shadedplaces to sit -B u s stop for Suitiand shuttle and school and tour Buses - Loading dock access.
b. Entrance and Welcoming Areas
(Elements o f the site should penneate the interior) - East facing main entranoe - Entrance lobby(s) and information dealt -Cos? check -Public restrooms -Public telephones
T« c. Gathering Spaces - Main gathering circle - Place of remembrance, honor and celebration - Group orientation spaces -Conference center. d. Exhibition Galleries - Introductory galleries - Large volume galleries -Intimate galleries - Exhibition-related Interpretation, demoosaatios and performance areas Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 5 8 .. sitting and viewing place* - Exhibition technology service and access spaces. e. Performance Areas - Performance »psct(*) - Audience space(s) - Dressing rooms - Rehearsal are* - Equipment, storage and support spaces. t . Resource Center - Electronic collections and other databases access area - Reference collections - Reading and viewing room(a) -Librarians’desk and work areas - Hands-on materials storage and access -Classrooms - Computer network comroL g. Retail Spaces and Potomac Center (Parts of these activities could expand to the outdoors fa spring and summer) -C entral gathering and drculatioa space - Native American restaurant - Food veodora (fried bread esc.) - Native - Food vendors or self-service - noo-Nafive - Performance and demonstration areas -Bookstore - Shop with children's educational materials and other m^tchand;«a» —Contemporary fine art gallery (traditional and non-traditiona] artists) - Information area t o tribal museums and membership - Potomac Center support, kitchens and storage. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 5 9 h. Museum Offices and S&fif Facilities - Staff facilities for public space staff - Director and immediate saff offices - Development office -Membership office - Public Relation* office - Public Education staff offices - Conference and board room - Volunteer work spaces - Staff entrance and shuale stop. L Building Support These system* and spaces will be largely developed** part of the more detailed technical requirements of Phase 2 programming work. They will Include: •• Exhibition staging, support and repair workshops -- Outdoor activity support spaces ~ Resource conservation suppoa spaces - Security offices -Loading dock -Plantservices. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 6 0 The regulatory agencies which will have preservation oversight over the design and construction of NMAI, as well as all other SI buildings include: 1) The District of Columbia Historic Preservation Office 2) The New York State Historic Preservation Office 3) The Advisory Council on Historic Preservation 4) The National Capitol Planning Commission 5) The Commission of Fine Arts 6) National Landmarks Program 7) New York City Landmarks Commission Other agencies which SI relates to are: The Pennsylvania Avenue Development Corporation D.C. Preservation League The Committee of 10 012 12,lRegulatory Agencies With Preservation Oversight of Smithsonian Institution,11 NMAI, 1991. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPENDIX H POLICY STATEMENT ON REPATRIATION EXAMPLES OF COLLECTIONS 161 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 6 2 National Muaeun of the American Indian Policy Statement on Native American Hunan Remains and Cultural Materials I. PREAMBLE In November 1989, the National Museum of the American Indian Act became lav. Public Law 101-135 provided for the transfer to the Smithsonian Institution of title to the assets of the Museum of the American Indian, Heye Foundation. The National Museum of the American Indian (hereinafter "Museum"), established by the Act, has a Board of Trustees which, subject to the general policies of the Smithsonian Board of Regents, has the sole authority to lend, exchange, sell, or otherwise dispose of any part of the collections of the Museum; purchase, accept, borrow, or otherwise acquire artifacts and other objects for addition to the collections of the Museum; and to specify criteria for use of the collections of the Museum for appropriate purposes, including research, evaluation, education, and method of display. Integral to fulfillment of that mandate is the affirmation that: * Native American cultures and the collections that reflect those American Indian, Alaska Native and Native Hawaiian cultures provide a context for and constitute a rich part of the activities of the Museum. * The goal sf the Museum's repatriation policy is to support the continuation of ceremonial and ritual life among Native American peoples, to foster and support the study by Native Americans of their own traditions, and to forge consensus among the Museum and Native American communities while accounting for and balancing the interests of each. * The wishes of Native American peoples with respect to the human remains and funerary objects of their own ancestors must be honored. * The wishes of Native American peoples with respect to access to and treatment and use of ceremonial and religious materials needed in the practice of their religion must be granted. * The Native American community must have broad access to and use of information pertaining to collection materials to ensure that informed decisions can be made regarding the treatment a n d disposition of Native American materials. * All Native American materials, including human remains, funerary objects, ceremonial and religious objects, and communally-owned property, together with all culturally-specific information, must be treated as the sole property of the affected Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 6 3 Native American culturally-affiliated group and with the utmost respect by scholars and interpreters of those cultures, whether in collections research, scientific study, exhibitions, or educational programs. * Respect for Native American peoples and cultures and principles of law prohibit the retention of Native American naterials that were acquired by or transferred to the National Museum of the American Indian illegally or under circumstances that invalidate the Museum's claim to them. * The Museum has, as one of its highest priorities, the expeditious implementation of its repatriation policy. To carry out this policy, there must be continuous dialogue between the Museum and Native peoples to assure that all viewpoints and beliefs are considered in its implementation. * with respect to Native American peoples beyond the borders of the United States, this policy shall be carried out in accordance with the following procedures and applicable treaties and international agreements. This statement describes the National Museum of the American Indian policy and procedure for: (1) the repatriation of Native American human remains and funerary objects; (2) the repatriation of objects of religious, ceremonial, and historical importance-.to Native American peoples, communally-owned tribal property, and other property acquired by or transferred to the Museum • illegally; and (3) the treatment and display of Native American materials. II. BACKGROUND Over the years, a set of principles has evolved within federal policy regarding Native American religious freedom and the treatment and the repatriation of cultural materials. Certain of those principles, pertaining to human remains and funerary objects, were codified into law by Public Law 101-185. The National Museum of the American Indian is committed to a policy that extends the principles of the law to other categories of Native American objects, namely, ceremonial and religious materials and communally-owned Native property. \ The initial focus of all repatriation requests involves the nature of the material in question and the circumstances of its acquisition by the Museum. Each repatriation request carries with it unique facts, circumstances, and legal and ethical considerations. Thus, each request of necessity must be reviewed individually within the Museum's overall policy framework. III. POLICY The National Museum of the American Indian is committed to the disposition, in accordance with the wishes of culturally- based Native Americans, of (i) Native American human remains of Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 6 4 known individuals; (ii) human remains of individuals who can be identified by tribal or cultural affiliation with contemporary Native peoples; (iil) funerary objects; (iv) communally-owned Native property; (v) ceremonial and religious objects; and (vi) objects transferred to or acquired by, or hereafter transferred or acquired by, the Museum illegally or under circumstances that render invalid the Museum's claim to them. Considerations associated with each type of material follow. A. Human remains. The Museum will repatriate any human remains that are reasonably identified as being those of a particular individual or of an individual culturally affiliated with a particular American Indian tribe or Native Hawaiian organization, upon request of living descendants of the individual or of the particular tribe or organization. In addition, the Museum will repatriate to an appropriate descendant, tribe, or organization, upon request, any other Native American remains found to have been transferred to the Museum or otherwise acquired by the Museum illegally or under circumstances that render invalid its claim to them. Remains excavated pursuant to lawfully-issued permits under the Antiquities Act of 1906 will be deemed to have been acquired under color of law, but will be subject to repatriation if individually or tribally identifiable. B. Funerary objects. The Museum will repatriate any funerary objects associated with human remains, to be repatriated in accordance with paragraph A above, including any funerary object which is a surrogate for a deceased person. With respect to funerary objects not associated with human remains, with the exception of surrogates addressed above, the Museum will repatriate to a particular American Indian tribe or Native Hawaiian organization, upon request, any funerary object that is reasonably identified as having been removed from a specific burial site or culturally affiliated with that tribe or organization. In addition, the Museum will repatriate any other funerary objects found to have been acquired by or transferred to the Museum illegally or under circumstances that render invalid its claim to them. C. Communally-owned Native American property. The Museum recognizes that it holds in its collections certain objects that are communally-owned property of an American Indian tribe. Native Hawaiian organization, or Native American group itself, rather than property owned by an individual Native American person. If such property belonged to the entire tribe, organization, or group, or was held for communal purposes and could not have been legally alienated, transferred, or conveyed by any individual Native American, the Museum's claim to it is invalid, and such items will be repatriated upon request according to procedures established herein. ceremonial and Religious Objects. This category of materials consists of objects that are needed by Native American religious leaders for the practice of traditional Native American Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 6 5 religions, including the purpose of ceremonial renewal. Because objects regarded as ceremonial and religious by any given tribe nay vary substantially from the objects so regarded by other tribes, this category of objects does not lend itself to a fixed set of guidelines. Thus, in keeping’with the American Indian Religious Freedom Act, each request must be considered on a case-by-case basis in consultation with Native traditional religious leaders and practitioners. The Museum will seek the counsel of other tribal elders, members of the governing bodies and other representatives of the tribe making the request, and any other individuals who can provide relevant information to the specific request at hand. E. Objects acquired illegally. The Museum will repatriate upon request to an appropriate American Indian tribe, Native Hawaiian organization, or Native American group any materials acquired by or transferred to the Museum illegally or under circumstances that render invalid the Museum's claim to them. Each request for materials so acquired will be considered on a case-by-case basis and take into account all relevant evidence submitted by the particular tribe, organization, or group and available to the Museum. F. Duplicate or Abundant objects. When the Museum has duplicate material, numerous similar objects in its collection, or an abundance of a certain type of material, and a Native American, American Indian tribe. Native Hawaiian organization, or Native American group that is culturally affiliated with the material requests its repatriation, the Museum will consider disposition. IV# PROCEDURES All repatriation decisions are made by the Museum Board of Trustees upon advice of the Collections Committee. A. inventory. The policy outlined above requires the Museum to have in place efficient procedural mechanisms to respond to repatriation requests. The National Museum of the American Indian will prepare an inventory of religious and ceremonial objects, funerary items, and all other cultural materials covered by this policy. The steps of such inventories are as follows: 1. Using the best available scientific and historical information, the Museum will identify the origin of human remains, funerary objects, and other objects covered by this policy. 2. Identification will be based on a reasonable belief standard. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 6 6 3. The inventories will be made available to all affected American Indian tribes and Hawaiian Native organizations at the earliest opportunity. 4. The Museum will include in its inventories items that are not positively identifiable as being associated with a particular American Indian tribe or Native Hawaiian organization but, given the totality of information about the materials, make it more likely than not that the item once belonged to that American Indian tribe or Native Hawaiian organization or that the human remains are culturally affiliated with that group. B. Consultation. During the inventory process and following its completion, the Museum will consult widely with Native American peoples. The Museum will disclose all relevant information pertaining to collection objects identified in the inventories, and curatorial staff will be available to respond to additional requests for information. Physical access to materials will be provided, as requested. In addition, a special area will be made available for Native American people to view or otherwise inspect their culturally affiliated materials. Every effort will be made to reach agreement through informal consultation and cooperation. Where issues remain after gobd faith discussions, those pertaining to human remains, funerary objects and other objects covered by this policy will be referred to a Special Review Committee established by the Board of Trustees. C. Claimants. Claims for materials may be submitted by descendants and by those who can demonstrate a cultural affiliation to the materials. This group of claimants includes, but is not limited to Native tribal, religious, ceremonial ar.d Hawaiian organizational leaders. If the Museum is uncertain about the cultural affiliation of the party requesting the materials, the Museum may request information about affiliation. If a request is made by one Native American group for the return of materials that the Museum believes may be more closely affiliated with another Native American group, the Museum will advise both parties of the request. All parties with a demonstrable interest will be invited to join in the negotiation and decision-making process. Where competing claims exist that cannot be resolved through informal consultation, the parties will submit the dispute to the Board of Trustees. D* Burden of Proof. The initial burden of proof with respect to any repatriation request shall be on the requesting individual or tribe to establish, on a reasonable basis, a connection to the material in question. This connection may be lineal descent, tribal affiliation, and/cr cultural affiliation. In some cases, this burden can be satisfied by reference to the Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 6 7 Museum's inventory which shall, wherever possible, identify descent, tribal origin, and/or cultural affiliation. Where the inventory is inconclusive or cannot determine affiliation, the requesting party may satisfy its burden through evidence of geography, descent, kinship, archaeology, anthropology, linguistics, folklore, oral tradition, historical patterns of ownership and/or control, and any other relevant information or expert opinion. For human remains and funerary objects, once cultural affiliation has been satisfactorily established, the requesting party has met its burden of proof and the material shall be repatriated or otherwise disposed of in accordance with the wishes of the affiliated individual or tribe. In the case of ceremonial and religious materials, the claimant must show that the materials are needed by traditional Native American religious leaders for the practice of traditional Native American religions. For communally-owned Native property, the requesting party must show that the material has an ongoing historical, traditional, or cultural relevance important to the Native American group or culture itself, rather than property owned by an individual Native American, and which, therefore^ could not have been properly alienated, appropriated, or conveyed by any individual at the time the object was separated from such group. Once the claimant has satisfactorily established its •. case, and the Board of Trustees has affirmed its claim, the claimant is entitled to the material. , E. Special Review Committee on Repatriation. The Board of Trustees, upon being notified by the Museum Director or the American Indian or Native Hawaiian claimant that the discussions concerning repatriation have reached in impasse, shall, within fifteen (15) days, constitute a Special Review Committee to review the nature of the controversy, to examine the evidence presented by the parties in dispute, and to present its findings and recommendations to the Collections Committee within thirty (30) days. The Collections Committee shall then review the findings and recommendations of the Special Review Committee and shall, within fifteen (15) days, submit a recommended course of action to the Board of Trustees for its consideration in accordance with the provisions of Public Law 101-185, Section 5(C)(B), Sole Authority. p• Acceas and Technical Assistance. The Museum recognizes that certain items in its collections are needed by traditional Native American religious leaders for the practice"”of Native American religions. The Museum is committed to a policy of repatriation of these and other cultural materials. Where repatriation is not requested, or where a repatriation agreement is not reached, the Museum is committed to a policy of mutual and shared access and use of these materials, as culturally appropriate. Access and use, in the form of availability of Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 6 8 materials for examination or for loan, will be within the purview of the collections management policy developed by the Collections Committee. The Museum also is committed to a policy of offering American Indian tribes and Native Hawaiian organizations to which materials are repatriated, technical assistance in the care, preservation, use, and disposition of materials. Such assistance may encompass advice to tribal museums and training programs, where requested. Where repatriated materials may be altered or destroyed because of their sacred or traditional nature and function, the Museum shall obtain permission from the Native American owners prior to conducting any destructive analysis or documenting the existence of the materials through reproduction or graphic representation. V. TREATMENT, CARE AND EXHIBITION The National Museum of the American Indian will develop and adopt a collections management policy that describes detailed procedures for accession, deaccession, gifts, exhibition, display, handling, access, and many other aspects of collections management. That policy must respect and accommodate the cultural and religious sensitivities surrounding the Museum's collections. The Museum will develop its detailed collections . procedures in accordance with the policy that culturally-specific information, data, documentation, reproduction and depictions— whether contained or transmitted in written, audio, visual or computer form— are the sole property of the affiliated group, and its consent regarding treatment, care and exhibition of its cultural materials must be obtained prior to decisions being made. The following collections management principles will guide the formulation and implementation of the collections management policy. A. Exhibition and Display. Religious and ceremonial objects shall be exhibited or displayed only with the consent of the culturally-affiliated group. Before displaying religious, ceremonial, or potentially sensitive material as part of exhibitions or public programs, curators shall consult with interested and concerned parties and shall consider and be guided by their views in determining the method of display. Planning of exhibitions— format ar.d content— shall be done in consultation with Native American representatives of the tribe and/or culture involved to assure historical and cultural accuracy in the presentation of all information and materials, and to avoid desecration, insensitive treatment, and inappropriate interpretation of religious or ceremonial materials. B. Curation. Curation and care of cultural materials shall be done in accordance with the highest standards of museum practices and in consultation with the views of appropriate representatives from culturally-affiliated groups, particularly where culturally and religiously sensitive materials are involved. If an American Indian tribe. Native Hawaiian Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 6 9 organization, or Native American group requests that the Museum retain custody of religious, ceremonial, communally—owned, or other tribal property eligible for repatriation, theyshall inform the curator and other appropriate staff regarding permissible methods of handling, care, and protection of such articles. C. Access. Access to the collections for viewing, study, the performance of ceremonies, and for other purposes of Native American people shall be allowed to the maximum extent. Facilities will be constructed within the Museum and/or under its auspices, as appropriate, for the purpose of conducting ceremonies. Public access to the collections for research, study, or viewing purposes may be restricted if such access offends the religions or cultural practices of Native American peoples. D. Outreach. Education constitutes an essential purpose of the Museum. Through the loan and exchange of cultural materials and travelling exhibitions the Museum will endeavor to make its collections more widely available to Indian communities and to present contemporary expressions on an ongoing basis. Provisions shall be made to furnish materials and information to Native people through, but not limited to, the application of telecommunications and other technologies. The Museum also is committed to training Native American people in museology by • developing a full curriculum of programs at all levels— senior management, administration, curatorial, technical, fellowships, support, and security. E. Acquisitions. Objects will not be acquired by gift, purchase, or exchange unless the provenance is complete and consistent with principles of law and policy established by the Museum and the Smithsonian Board of Regents. In its acquisition practices, the Museum endorses and abides by the principles of the UNESCO Convention and the American Indian Religious Freedom Act. The Museum will consult with all concerned parties before acquiring materials that may be culturally or religiously sensitive. Further, the Museum will not accept archeological materials unless they have been excavated in compliance with appropriate international agreements, negotiated tribal agreements, federal laws and guidelines, and such other state and local laws as may be applicable. Title to all objects acquired for the permanent collections shall be obtained free and clear. As a general rule, the Museum must not accept gifts with restrictions as to use or future disposition. The Museum may, however, permit exceptions to this policy for materials that are religiously or culturally sensitive and where the donor imposes restrictions on access, display, research, treatment, storage, or care. Under exceptional circumstances, and with approval of the Board, the Director may accept objects with restrictions or limitations, provided that the condition shall be stated clearly in the instrument of conveyance and made a part of the records. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Whenever an item of cultural property covered by this policy shall be offered or gifted to the Museum, or whenever it shall come to the attention of the Museum that such item is or is about to be placed on the market for sale, trade or exchange, the Director shall notify the appropriate American Indian tribe. Native Hawaiian organization, or Native American group of the known circumstances. To the extent feasible, and upon the request of the culturally-affiliated tribe or group, the Museum will coordinate efforts with the tribe or group to recover or obtain a treatment-and-care agreement, as appropriate. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 7 1 Si's Office of Design and Construction's Master Facilities Programming Draft Report lists examples which are currently on permanent display at the Main Branch at Audubon Terrace, and that reflect the diversity of the collection: Early Mississipian mound material Archeological Peruvian textiles Ecuador Archeology Ethnographic Northwest Coast and Arctic material Medicine objects from the northern U.S. Plains Material excavated at Hawikuh, New Mexico Carving in wood, horn, and stone from the Northwest Coast of North America Kachina dance masks and dolls from the American Southwest Textiles from Peru, Mexico and the Navajo Basketry from the American Southwest and Southeast and from Peru Goldwork from Columbia, Mexico and Peru Jade from the Olmec and Maya Inuit/Eskimo Carved Masks Aztec mosaics Featherwork from the Amazon and Peru Painted garments and hides from the North American Plains Archaeological artifacts from the Caribbean13 13Master Facilities Programming, Phase One, Revised Draft Report, "The Way of the People," National Museum of the American Indian, (Washington, D.C.: Office of Design and Construction, Smithsonian Institution, 1991), 39. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BIBLIOGRAPHY Anonymous, "The History of the Museum of the American Indian," 1956. Arevalo, George and Rosoff, Nancy. "Susan Billy: Summary Report" (Selector's Log - "Points of View Exhibit). New York: Smithsonian Institution, 1991. "Background Fact Sheet - National Museum of the American Indian." Washington, D.C.: Office of Public Affairs, Smithsonian Institution, 1991. Barrett, John. "Native Americans to Tell Their Stories." The Torch, Washington, D.C.: Smithsonian Institution, No. 91-8 August 1991. Board of Trustees. "Policy Statement on Native American Human Remains and Cultural Materials." National Museum of the American Indian, Smithsonian Institution, Washington, D.C. March 4, 1991. Bond, Constance. "An American Legacy." Smithsonian Magazine, October 1989. Burnett, E.K., Taped Notes of Early History of the Museum of the American Indian, (New York, N.Y.: National Museum of the American Indian). Braun, Molly and Waldman, Carl. Atlas of the North American Indian. New York: Facts on File Publications, 1985. Collections Management Policy + Glossary of Terms and Concepts. Washington, D.C.: Smithsonian Institution, 1990. Conceptual Development Program, Thematic Organizational Strategies, "Points of View" Exhibition, (New York, N.Y.: National Museum of the American Indian, Smithsonian Institution, 1991). 172 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 173 Design Development. Program. "Pathways of Tradition" Exhibition, National Museum of the American Indian, Smithsonian Institution, (Boston, MA: Krent/Paffett Associates, 1992). Design Development Program. Phase II, "Points of View" Exhibition, National Museum of the American Indian, Smithsonian Institution, (Boston, MA: Krent/Paffett Associates, 1992). "Excellence and Equity: Education and the Public Dimension of Museums - A Report from the American Association of Museums Task Force on Museum Education." Washington, D.C., 1991. Gibson, Eric. "Giving it Back to the Indians - In Quiet Revolt, Museum Pieces May be 'Repatriated'." The Washington Times. May 15, 1991, p. E2. Gill, Brendan. "The U.S. Custom House on Bowling Green." "Graphic Project Schedule." Washington, D.C.: National Museum of the American Indian, Smithsonian Institution, 1991. Gurian, Elaine Huemann. "Let's Empower all Those Who Have a Stake in Exhibitions." Museum News, Vol. 69, No. 2, March/April 1990, pp. 90-93. "History of Events - The National Museum of the American Indian." Washington, D.C.: Office of Public Affairs, Smithsonian Institution, 1989. Honan, William H. "Indians Unearth the Past in a Bronx Warehouse." The New York Times, August 3, 1991. Mason, M.S. "Ceremonial Masks Return Home." The Christian Science Monitor. June 12, 1991. "Meeting Minutes - Museum Directors, Administrators and Designers Consultation: National Museum of the American Indian." Washington, D.C.: Smithsonian Institution, May 2, 1991. "Meeting Minutes - Contemporary Artists Consultation: National Museum of the American Indian." Washington, D.C.: Smithsonian Institution, May 3, 1991. "Meeting Minutes - Researchers Consultation: National Museum of the American Indian." Washington, D.C.: Smithsonian Institution, May 30, 1991. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 174 "Meeting Md.rm.iz3S Educators Consultation: National Museum of the American Indian." Washington, D.C.: Smithsonian Institution, June 27, 1991. "Meeting Minutes - Libraries/Archives/Collections Consultation: National Museum of the American Indian." Washington, D.C.: Smithsonian Institution, July 8-9, 1991. "Meeting Minutes - Santa Fe Consultation (Southwest Tribal Representatives re: facilities/program requirements): National Museum of the American Indian." Washington, D.C.: Smithsonian Institution, July 15-16, 1991. "Meeting Minutes - Washington, D.C. Urban Consultation (#1): National Museum of the American Indian." Washington, D.C.: Smithsonian Institution, July 23, 1991. "Meeting Minutes - Technology Consultation Planning: National Museum of the American Indian." Washington, D.C.: Smithsonian Institution, August 5-6, 1991. Munley, Mary Ellen. Catalysts for Change. The Kellogg Projects in Museum Education, 1986. Honorary Committee List. National Museum of the American Indian, National Campaign Office. Washington, D.C.: Smithsonian Institution, 1991. National Museum of the American Indian Policy Statement on Native American Human Remains and Cultural Materials. Washington, D.C.: Smithsonian Institution, 1990. Native Peoples Magazine. The Arts and Lifeways. Phoenix, Az: Media Concepts Group, 1990-92. "NMAI Master Facility Plan." Washington, D.C.: National Museum of the American Indian, 1991. "Notebook for Consultations." Washington, D.C.: National Museum of the American Indian, Smithsonian Institution, 1991. Pepper, George H. "The Museum of the American Indian, Heye Foundation." The Geographical Review, Vol. 11, No. 6, December 1916. "Preliminary Exhibition Planning - Customs House (NYC)." Washington, D.C.: National Museum of the American Indian, Smithsonian Institution, 1990. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 175 "Preliminary Thoughts: Architectural Program Plan." Washington, D.C.: National Museum of the American Indian, Smithsonian Institution, 1991. Proposed Bylaws of the Board of Trustees of the National Museum of the American Indian. Washington, D.C., 1990. Public Law 101-185, 101st Congress, United States. Washington, D.C.: Government Printing Office, 1989. Regulatory Agencies With Preservation Oversight of Smithsonian Buildings, Washington, D.C., 1991. Venturi, Scott Brown and Associates, Inc. The Wav of the People -National Museum of the American Indian. Master Facilities Programming, Phase I, Revised Draft Report. Washington, D.C.: Smithsonian Institution Office of Design and Construction, 1991. Wallace, Kevin. "A Reporter at Large - Slim-Shin's Monument." The New Yorker. 1961. Weintraub, Judith. "Indian Museum's New Team - Venturi Architects to Help Plan Space." Washington Post, April 11, 1991. West, W. Richard, Jr. "The National Museum of the American Indian - A Continuing Series of Viewpoints." Native Peoples Magazine. The Arts and Lifeways, Summer 1990, pp. 3-4. West, W. Richard, Jr. "The National Museum of the American Indian: Images of Indian Culture." 1990 Minary Conference, September 18, 1990. West, W. Richard, Jr. "The National Museum of the American Indian: Beyond Repatriation (or how the 'other' became the 'we')." American Association of Museums - 86th Annual Meeting, May 22, 1991. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.