museums

Anth 380 Introduction to Museum Anthropology

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Most recently offered: May-June 2013  (previous Fall 2011)

Instructor: Lynette Harper

An introduction to contemporary issues in museum practice and their historical context.  Topics include historical debates and analytical frameworks; shifting purposes and roles of museums and anthropology; changing political contexts and issues; museums, communities, and First Nations; acquisition and interpretation of cultural property; and issues in public representation.

Textbooks

* ANTH 380 Course pack (available in bookstore, and on reserve in library) – titles listed below

* Watson, Sheila (ed.). 2007.  Museums and their communities. New York: Routledge.

Schedule at a glance

Sept.6 Course overview
Sept. 13 A critical history: Museums as social institutions
Sept. 20 Politics of cultural property
Sept.27 Public representation
Oct.4 Museums and First Peoples
Oct.11 Multiple perspectives
Oct.18 Community, Identity, Relationships
Oct.25 Social responsibility: Museums in a troubled world
Nov.1 Objects vs. people  &  Museum practices
Nov.8 Battleground or Contact Zone?   & Time for exhibit teamwork
Nov.15 Exhibition Committee meeting
Nov.22 Committee debriefing, Course review
Nov.29 In class open book essay exam     Take-home option by advance request

Assignment overview

15% Chapter analysis

15% Exhibit analysis

20% Collaborative exhibit project

30% In-class essay exam

15% In-class Group reports or Reflective writing

5% Class participation and attendance

Assignment details:

1. Chapter analysis  (15%) 

Write a short analytical essay (approximately 4-6 pages double-spaced), which addresses one or two chapters in the textbook.

Select a textbook chapter at least 6 pages long, that is not written by editor Sheila Watson, and is not included as required reading in the course outline. Chapters less than 6 pages may be used only if you are comparing and contrasting two of them. Your essay should:

  1. briefly, accurately, and concisely describe focus and significant points in the chapter(s);
  2. analyze the chapter(s) using anthropological concepts and ideas from class and other sources;
  3. consider strengths and weaknesses of the chapter;
  4. link with other readings, concepts, class discussions, and/or personal experiences.

Evaluation criteria for assignments 1, 2, 3 & take-home exam 

  • Main ideas are clear and well developed.
  • Insightful, with ideas and assumptions fully explained, in depth and with details, demonstrating the reasons for your interpretation. 
  • Considers more than one perspective, comparing interpretations to reach your own conclusions.
  • Ideas and opinions are well supported by evidence, using multiple resources, with specific references when appropriate. 
  • Demonstrates accurate understanding of course materials, and appropriate application of anthropological concepts from class & readings. 
  • Easy to read (well organized, concise, with accurate grammar, spelling & punctuation errors)
  • All quotes must be referenced in the body of the essay with author, date, and specific page numbers; general concepts require author and date only. (except for in-class exam, see below)
  • Use any standard format for your list of references at the end of your paper, listing authors alphabetically.

Please note: Essays longer than the specified length are welcome!

2. Exhibit analysis  (15%)        

Your essay (approximately 5-7 pages double-spaced) should go beyond a simple description of the exhibit content, appearance, and visitor reactions.  The analysis should consider the meanings, values, and assumptions that are consciously or unconsciously represented in the display.

  1. Choose an exhibit to analyze.  The display should be in a museum, gallery, historical society, or similar cultural institution. If you’re uncertain about your choice, check with the instructor!
  2. Provide a “thick description” of the exhibit, and apply analytical questions and critical approaches to your chosen exhibit.
    • Briefly, accurately and concisely describe the exhibit focus and present significant features (including content, exhibition techniques, and visiting experience);
    • Consider strengths and weaknesses of the exhibit from multiple perspectives (ie. museum staff, visitors, people represented in the exhibit).
    • Analyze the exhibit using anthropological concepts, readings and topics including those we have discussed in class. Specific themes that might be relevant to your analysis are the museum context and purpose; exhibit purpose (explicit and/or tacit); ideas and values represented, subordinated, or missing altogether; whose interests are being served; apparent relations with source communities; authenticity; and voice.  You are welcome to draw upon other anthropological concepts and frameworks, and personal experiences.

3.Collaborative exhibit proposal  (total marks 20%)       

Groups of 3 or 4 students will collaborate to develop a socially relevant exhibit proposal and make a visual presentation to the class. All proposals will be assessed in an Exhibit Committee Meeting.  Proposal guidelines will be distributed in class.

Presentation (5%)  Group marks based on instructor, peer, and self-evaluations.

Independent report on exhibit plan & development  (15%)

Each student will produce an independent report about the exhibit plan and development, following the proposal guidelines. (Group reports are acceptable by advance arrangement; all team members will receive the same mark.)

4. In-class open book essay exam (30%)  (last class)

Open-book essay exam; sources quoted or cited require only title and author name. Students will write two or three short essays chosen from exam question options, 2-4 handwritten pages for each answer.

Take-home exam option available only by advance arrangement with instructor.

5. Short Group reports and Reflective writing (15%)

During some class sessions, you will be asked to either work with other students to produce a report, or  to independently write a brief written response to a video, article, or discussion topic.  These must be submitted the day of the class, or by email the next day.

Evaluation criteria:  Group work participants will receive a point for each report (5/15). Individual writing will receive a letter grade (total 10/15).

6.  Class participation and attendance (5%)

Readings in Course pack (at Campus Bookstore & Library reserve desk)

Ames, Michael M. 1992. Cannibal tours and glass boxes: The anthropology of museums. Vancouver: UBC Press.  (Chapters 2, 13)

Frank, Gloria Jean.  2000. “”That’s my dinner on display”: A First Nations reflection on museum culture.”  B.C.Studies 125/126, 163-178.

Janes, Robert R.  2009. Museums in a troubled world. New York: Routledge. (Excerpt from Ch.2 “A troubled world,” pp.26-52)

Schildkrout, Enid.  1998.  “Personal styles and disciplinary paradigms:  Frederick Starr and Herbert Lang.” In Enid Schildkrout & Curtis A.Keim (Eds.),  The scramble for art in central Africa (pp.169-192).  Cambridge: Cambridge University Press.

 

Northern Spirit: Lynette Harper Curator (and Belly Dancer)

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May/June 1988  Up Here Magazine    by Juliet Pin

Imagine the combo of belly dancing and museum work! Lynette Harper has found the link.
Born in Vancouver of Lebanese parents, belly dancing just seemed to come naturally. Her list of dance performances is impressive. From the Vancouver Sea Festival and Robson Square 

Plaza to many theatre performances, Lynette has twisted and swayed her way into the Middle Eastern Dance group of Vancouver.
When she moved north three years ago she continued performing, and has awed many a crowd at the Charity Ball, the Northern Arts and Cultural Centre and special performances in Yellowknife, Northwest Territories, ‘I’m a performer at heart, and dancing is a way of expressing my joy,” she says. “It runs in the family.”
Now curator of education and professional programs at the Prince of Wales Northern Heritage Centre in Yellowknife, she explains that the same creativity is useful in her work. As teacher and museum curator she believes she can help people find their own inner spark. Within the museum environment, Lynette says, people are inspired by seeing the results of other people’s creativity. She describes a museum as a “special place where people can develop understanding and respect for one another, through displays which show the different ways in which we see the world.”
Her vivaciousness, enthusiasm and zaniness is contagious, spreading joy and humor among her co-workers. “People sometimes don’t take me seriously,” admits Lynette, “but that’s changing, and I’m even called upon to head up international conferences and chair meetings.”
Her zaniness is a tool to help keep a perspective on what she is doing. “We take ourselves too seriously”, she says. Her humor has been known to ease tension at many a meeting.
Lynette has gained great respect in her field through her strong professional commitment. After just a short time in Yellowknife, she was thrown into the role of acting director of the Prince of Wales Northern Heritage Centre. Recalling the challenging seven month experience she praises the full support of her staff.
When a new director was named, she turned her energies to the Discovery Gallery which opened in June last year. A family area (where the signs read “please touch”) offers a wardrobe of costumes, rocks and bones to identify, a fur closet, and much more. Though she says she can be frustrated by the time it takes to develop exhibitions, she can see a slow and steady progress in the gallery. Lynette hopes to extend the opportunities for similar museum programs across the Territories. She says it’s a matter of staff and more involvement from the communities themselves. Professionally, Lynette brings a broad view of the world and her own special spark to all her activities.
After only three years in the North, Lynette says her attitudes are changing. At first, she “tried everything” because it was new and exciting, but gradually the natural rhythms took over. “I can see how one can get hooked on the North,” she grins.
Her fiance, Bruce Finlayson, shares her interest in the absurd and is also a great performer. During Expo he entertained waiting crowds outside the NWT pavilion. He is often seen on the stage at the Northern Arts and Cultural Centre amusing both adults and children.
Both Lynette and Bruce have made a valuable contribution to the theatre arts scene in Yellowknife.
When we asked her what it’s like to belly dance for people she’ll be discussing job tactics with the next day, she says she sees her dance as a different aspect of herself. “It is performance oriented, just as someone else may play hockey or sing,” she explains, “and dance is a nice way of relating to people.” When she did combine the two on the occasion of the farewell party for the director of the museum, the entire staff was thrilled.
New exhibitions are an ongoing challenge for Lynette at the museum. She’s taking a few weeks off this summer to get married. And there’s another dance performance coming up at Vancouver’s Sea Festival. There’s even the prospect of forming a dance group in Yellowknife. . .
You can be sure that there will be a spark of creativity in everything Lynette tackles.