The Annual Report of the Haffenreffer Museumof Anthropology
Volume 39 Spring 2014 The Haffenreffer Museum of Anthropology is Brown Universitys teaching museum. We inspire creative and critical thinking about culture by fostering interdisciplinary understanding of the material world. The museums gallery is in Manning Hall, 21 Prospect Street, Providence, Rhode Island, on Browns main green. The museums Collections Research Center and Circumpolar Laboratory are at 300 Tower Street, Bristol, Rhode Island. Manning Hall Gallery Hours: Tuesday Sunday, 10 a.m. 4 p.m. Haffenreffer Museum of Anthropology Box 1965 Brown University Providence, RI 02912 www.brown.edu/Haffenreffer www.facebook.com/HaffenrefferMuseum (401) 863-5700 haffenreffermuseum@brown.edu About the Museum On the front cover (clockwise fromupper left): Doing research on an Egyptian Old Kingdom carving; a pre-Columbian vessel from Costa Rica donated to the Museum; students in Faculty FellowElizabeth Hoovers class Native American Environmental Health Movements examine an Inuit mukluk in CultureLab; a Thai Spirit House purchased for the collection; delegates of the Bangwa (Lebialem) community examine masks collected by Robert Brain in Cameroon. 1 As the newDirector of the Haffenreffer Museumof Anthropology, I would like to share some thoughts about museums in general and university-based anthropology museums in particular. All museums, from the Smithsonian Institution, to the Metropolitan Museum of Art, to the Haffenreffer Museum, are experiencing challenging times today. They are facing increasing public scrutiny regarding their traditional missions. There is an ongoing academic discourse about their elitist origins, their collecting histories, and their representational authority. At the same time, there is a popular debate about the value of museums in the Internet age. After all, why go to a museum if you can see their collections on-line? These challenges have led to a productive rethinking of the functions of museums and a growing awareness of the importance of engaging the needs and agendas of diverse interest groups. A new museum ethos is emerging that sees museums not as passive reposito- ries of things, but as places where new relationships can be established. The Internet has not rendered museums obsolete; rather, it has provided a new con- text for museums to reach out to broader audiences. Museums are now recognized as active participants in society, often taking on challenging social issues in order to highlight injustices and to promote greater cross-cultural understandings. University-based anthropology museums, like the Haffenreffer Museum, occupy a special role in this new landscape. Such museums are places for the acquisition of new knowledge through archaeological and anthropological fieldwork and research. They are places for the development of innovative approaches to teaching. They are places for the exploration of representational practices by combining virtual and digital exhibitions. They are places for the promotion of ethical practices regarding collecting, stewardship, and repatriation. My vision is for the Haffenreffer Museumto help shape this newethos, both nationally and in the state of Rhode Island. The Haffenreffer is well positioned to serve as a key site for the production of newunder- standings about the material mediation of culture, in the past and for the present. It provides unparalleled opportunities for faculty and students to explore some of the interrelationships between identity discourse and heritage claims inall their complexities and nuances. Significantly, this newdialogue needs to critically examine the interface between objects and their repre- sentations, museums and the Internet, and research and teaching, for the benefit of multiple audiences. Robert W. Preucel F r o m t h e D i r e c t o r 2 Haffenreffer Faculty Fellows ProgramInstituted The Haffenreffer Museumof Anthropology has established a Faculty Fellows Programto encourage faculty to use the museums collections in their teaching. The 2013-2014 fellows are Ariella Azoulay (Assistant Professor of Comparative Literature and Modern Culture and Media), Peter van Dommelen (Professor of Archaeology and Anthropology), Paja Faudree (Assistant Professor of Anthropology) and Elizabeth Hoover (Assistant Professor of American Studies). Stephen Houston (Professor of Anthropology), and AndrewScherer (Assistant Professor of Anthropology) will share the award. More information on this project appears on page 7. Two Postdoctoral Fellows are Appointed The Museumhas appointed two Postdoctoral Fellows for the academic year. Jennifer Stampe has been reappointed as the Postdoctoral Fellowin MuseumStudies. She is particularly interested in American Indian self-representations in museums and tourist sites and non-Native responses to these representations. Sean Gantt has been appointed as the Postdoctoral Fellowin Native American Studies. Sean is a visual and public anthropologist specializing in tribal economic development, Indigenous self-representation, and identity among Southeastern tribes. Mellon Foundation funds collaboration with RISDs Art Museum Robert Preucel and John Smith (Director of the RISD Art Museum) received a four-year $500,000 grant fromthe AndrewW. Mellon Foundation to support a programon object based teaching and research. The organizing concept for the programis the idea of the assemblage, which has a variety of meanings in different disciplines. The project will involve Faculty Teaching Fellows, Postgrad/Postdoc Photography Fellows, conferences and workshops. It is the first major collaboration between our two museums. NSF funds research on womens roles in the production and trade of cloth in the North Atlantic Michle Hayeur Smith was awarded a three-year, $605,000 research grant fromthe National Science Foundations Arctic Social Sciences programto examine womens roles in the production and trade of cloth across the North Atlantic fromthe Viking Age into the early 1800s. Dr. Hayeur Smiths new project expands upon her previous, successful, 3-year (2010-2013) collections-based archaeological project also funded by the Arctic Social Sciences program. This is the largest federal research grant ever received by the Haffenreffer Museum. More on Dr. Hayeur Smiths research can be found on page 14. NSF funds Viking Age research Kevin Smith received a $45,503 RAPID grant from the National Science Foundations Arctic Social Sciences programto conduct emergency excavations on a Viking Age site deep within Icelands Surtshellir lava cave. The work done in August 2013 resulted in the recovery of a unique and informative assem- blage of Viking Age objects and produced new radiocarbon dates. More information on this project appears on page 15. Collections Management Systems Being Revamped With support from the Office of the Provost, the Haffenreffer Museum is preparing to migrate its database systemfromArgus to Zetcoms MuseumPlus Collections Management System. The move to MuseumPlus will allow the museum to manage the collections more efficiently and make themavailable online to faculty, students, and the public. More on this migration can be found on page 19. A n n o u n c e m e n t s Our fall season kicked off with Christopher Steiner (Connecticut College) joining us as the Jane Powell Dwyer Lecturer. In his talk, The Invention of African Art, he discussed African art exhibitions and their roles in encouraging newforms of reproduction, tourist art, and copies. We sponsored a series of programs during Browns Family weekend that also fell on the Archaeological Institute of Americas International Archaeology Day. Our programs included a talk by director Robert Preucel, who discussed his research in New Perspectives on the Pueblo Revolt of 1680. Museum Proctor Jen Thum, a graduate student in the Joukowsky Institute for Archaeology and the Ancient World, demonstrated her work using RTI analysis to transcribe an Egyptian tomb relief in Digital Magic in Ancient Egypt. To cap off the day, Museum Curator Thierry Gentis gave a curators tour of The Spirit of the Thing Given. Praveena Gullapalli (Rhode Island College) engaged us with her presentation What Happens in a Museum? Exhibits, Display Strategies and Visitor Engagements. Dr. Gullapalli discussed interactions between museums attempts to speak to audiences through museumdisplays and visitors preconcep- tions that dont always interact with exhibits in ways expected or designed by their curators. In conjunction with the Love Medicine exhibit, we hosted a Roundtable Discussion of Louise Erdrichs Love Medicine in collaboration with the Native Heritage Series at Brown and sponsored by the Tomaquag Museum. Dawn Dove, Narragansett elder, oral historian, author, and educator led the panel, which included Dr. Maria Lawrence, Ramapaugh, and Rhode Island College Professor of Education; Lorn Spears, Narragansett, Executive Director of the Tomaquag Museum, educator, artist, and author; Dr. Elizabeth Hoover, Mohawk/Mikmaq, Professor of American Studies at Brown; and Paulla Jennings, Niantic/Narragansett, elder and oral historian. Panelists discussed key themes in Love Medicine and their relevance to their communities. WilliamYellowRobe, Jr. (Assiniboine, University of Maine) discussed his work as a Native playwright for the Barbara Greenwald Memorial Arts Program. In a dynamic talk entitled Native American Tribal Theatre, he spoke about the trials of establishing himself as a Native author and working with various Native communities to use theatre for individual and community healing. P u b l i c P r o g r a m s a n d E v e n t s Guests at Sergei Kan's lecture examine the Museums Chilkat blanket with deputy director Kevin Smith (left) and director Robert Preucel (second fromright). Undergraduate and graduate students chat about research with Sergei Kan at one of the Museums Pizza Roundtable discussions for Brown University students and faculty. Geralyn Ducady Curator for Programs and Education Fall 2013 4 Our spring programming started with events linked to our newexhibit In Deo Speramus: The Symbols and Ceremonies of Brown University and Browns 250th Anniversary opening weekend. We hosted a programfor middle school students spending a day at Brown in which they had a chance to learn how to look at, analyze, and handle objects in CultureLab. We served cookies and cocoa during a late night, University-wide celebration open to the public. The following morning, WilliamSimmons, Professor of Anthropology, led a curators tour of the newexhibit. In further celebration of Browns sesquicentennial, the Haffenreffer MuseumStudent Group hosted a scavenger hunt of Brown Universitys Signs and Symbols for the Brown community, coordinated by Student Group members Abby Muller and Laura Berman, and we hosted a talk, Inventing Tradition, by Jane Lancaster (Brown University) on the origins of some of Browns traditions, the invention of tradition, and howtraditions create community. In Stealing the Past: Collectors and Museums of the 21st Century, Richard M. Leventhal (University of Pennsylvania) discussed controversial aspects of museumand private collecting practices that lead to the looting of archaeological sites. He called for museums to set up global systems for long-term loans rather than using covert methods to acquire objects of international cultural heritage. Sergei Kan (Dartmouth College) was 2014s Shepard Krech III Lecturer and spoke of An Old Art Formfor NewOccasions: Tlingit TotemPoles at the Dawn of the NewMillennium. Dr. Kan shared many decades of work with Tlingit families in Southeast Alaska, discussing howmodern carvers have re-interpreted the traditional totempole to honor community members and as symbols of healing. For the Barbara A. and Edward G. Hail Lecture, artist Mateo Romero spoke about his work as a contemporary Pueblo painter whose work draws on family connections at Cochiti Pueblo and his experiences among the Rio Grande pueblos. His wife, Melissa Talachy, a ceramic artist, gave a demonstration and workshop for student members of Native Americans at Brown. This spring we also collaborated with student volunteers fromBrown Green Events. You may have seen the volunteers at our receptions dutifully helping you sort your trash, recyclables, and compost. We earned a Gold Event Certificate for the In Deo Speramus exhibit opening reception by diverting 99.6% of our waste from the landfill and a Silver Event Certificate for Stealing the Pasts reception. Mateo Romero shares insights on his work with the audience attending the annual Barbara A. and Edward G. Hail Lecture. Richard M. Leventhal (University of Pennsylvania) chats with Museumguests at a reception in Manning Hall following his talk, Stealing the Past. Spring 2014 We finished our fifth year of the Think Like an Archaeologist programin 2014, partnering with the Joukowsky Institute for Archaeology and the Ancient World, the RISD Museumof Art, Providence Public Schools, and Nathan Bishop Middle School. This year, we also worked with teachers at Nathanael Greene and Roger Williams Middle Schools. To date, we have worked with seven teachers/librarians and more than 1,700 students, including nearly 475 students this year. Think Like an Archaeologist includes four classroomsessions and one off-site focal session at the Haffenreffer Museumof Anthro- pology and the RISD Museumof Art that introduce sixth grade social studies students to the processes of archaeology from recording a survey to understanding stratigraphy, recording, mapping, and interpreting an excavation site, and analyzing its artifacts. Faculty, staff, and graduate students from Brown and RISD lead each hands-on session. The programenhances the social studies curriculum by helping students understand howresearchers learn about the past and develop critical, integrative thinking skills. We encourage students to practice writing, collaborative problemsolving, group work, and public speaking, while introducing themto key archaeological concepts such as stratigraphy, mapping, and dating. Through these approaches, we help students learn to synthesize different sources of interdisciplinary information, at different scales, and provide opportunities for students to work with real archaeologists, anthropologists, and museum educators. Teacher partners help ensure that the lessons fulfill state and Common Core standards. Rachel Shipps and Molly Kerker, our education interns and students in Browns Public Humanities program, worked with me on this project during the academic year, along with our partners from the RISD museumand the Joukowsky Institute. Our teams success was shared at The Massachusetts Archaeological Education Consortiums (MAECON) first workshop last summer and I presented a team-authored paper, Museum Education and Archaeology: Using Objects and Methodology to Teach 21st-century Skills in Middle School at the Society for American Archaeologys annual meeting this April. The papers co-authors are Mariani Lefas-Tetenes (RISD Museum), Sarah Sharpe (Joukowsky Institute), and Christopher Audette (Nathan Bishop Middle School). Thinking Like an Archaeologist Geralyn Ducady Curator for Programs and Education C o l l a b o r a t i o n s i n E d u c a t i o n Exhibiting Animals with the Brown/Fox Point Early Childhood Education Center We are in our second full year of collabo- rations with the principal and teachers at the Brown/Fox Point Early Childhood Education Center, Inc. Piloted in the spring of 2012 by Public Humanities student Alexandra Goodman with the Centers four-year-olds, the program has expanded to include three-year-olds as well. Throughout the year, education intern Rachel Shipps and I visited each classroom three to four times, the four-year-olds have come to the museumtwice, while the three-year- olds are gearing up for their first visit this spring. Students learn about object handling, howto describe objects, and proper museumbehavior. For the second year, the four-year-olds are working with the Museums staff to put together an exhibit with carefully selected objects fromthe Haffenreffers collections. This years exhibit, Animal Faces and Figures will be installed in Providences Rochambeau Library. Jennifer Stampe Postdoctoral Fellow in MuseumAnthropology I ama cultural anthropologist in my second year as a Postdoctoral Fellowin MuseumAnthropology at Brown and the Haffenreffer. I have previously taught Museum Studies at New York University and Anthropology at the University of Minnesota, where I earned my PhD. My teaching and research interests center on the cultural politics of indigeneity, focusing on Native American self-representation and sovereignty. I have conducted ethnographic fieldwork in residence at the Mille Lacs Ojibwe Reservation in Minnesota. FocusingontheMilleLacs IndianMuseumandTrading Post State Historic Site, I examine the priorities and experiences of Indigenous peoples in representing themselves as well as the responses of non-Native people to new, unexpected, representations. I have published articles fromthis research in the journals Tourist Studies and Settler Colonial Studies, and amworking on a book tentatively entitled You Will Learn about Our Past: Representing Ojibwe Culture in the Treaty Rights Era. At the Haffenreffer, I coordinate our newFaculty Fellows Programand teach Anthropology in/of the Museum[ANTH1901], a course that develops an anthropological approach to anthropology museums, understanding themas social spheres in their own right. The course introduces students to object, visitor, and archival research in museums, using the Haffenreffers collections and facilities. Last fall, I curated an exhibit of Ojibwe and other Woodlands Indian material to support the 2013-2014 Big Read in Rhode Island sponsored by the Tomaquag Museum. Most recently, I assisted Bill Simmons with his work on In Deo Speramus: The Symbols and Ceremonies of Brown University. Sean Gantt Postdoctoral Fellow in Native American Studies I joined the Haffenreffer Museumthis year as the Museums Postdoctoral Fellowin Native American Studies. In the course of the year I have strengthened my engagement with national and international Native American and Indigenous scholarship by actively participating and presenting my research through the Native American and Indigenous Studies Association (NAISA), the Society for Applied Anthropology (SfAA), and Association of Indigenous Anthropologists (AIA) section within the American Anthropological Association (AAA). I taught Introduction to American Indian Studies (ETHN1890), a cross-listed course in Ethnic Studies and Anthro- pology during the spring semester. I have also been actively involved in developing the Native American and Indigenous Studies at Brown (NAISAB) interdis- ciplinary working group by helping to put on its lecture series, organize the Spring ThawPowwow, and present my research at Brown and Roger Williams University. I amexpanding my involvement in academia while maintaining my relationships in Mississippi and with Native American students and faculty at both the University of NewMexico and Brown University. I am strongly invested in working with undergraduate Native American students and student organizations, and have been mentoring and advising student members of Native Americans at Brown (NAB). Much of my focus this past year has been working with students and organizations interested in Native American/Indigenous Studies here at Brown University and serving as a liaison between these groups and programs, the Anthropology Department, and the Haffenreffer Museum. I have also partici- pated in the Haffenreffers events and contributed to the In Deo Speramus: The Symbols and Ceremonies of Brown University exhibit through digital video editing. 6 P o s t d o c t o r a l F e l l o w s 7 F a c u l t y F e l l o w s This year the Haffenreffer Museuminaugurated a Faculty Fellows Programto encourage tenure-track faculty at Brown University to develop courses or course components using the museums collections and facilities. The programformalizes and expands the Haffenreffers longstanding commitment to working with faculty and others interested in teaching with museumobjects by granting a stipend to support Fellows research and course development. At the same time, it promotes object-based teaching across the University by reaching out to faculty who may not yet have thought of using museum collections in their teaching. This year, after an open campus-wide call for proposals, we selected six faculty members: Elizabeth Hoover fromAmerican Studies; Paja Faudree, Stephen Houston, and AndrewScherer fromAnthro- pology; Ariella Azoulay fromModern Culture and Media; and Peter van Dommelen fromAnthropology and the Joukowsky Institute for Archaeology and the Ancient World. They used objects and images fromour collections to teach about issues as diverse as human-environment interactions, the ways language and material culture operate as complex symbol systems, methods in anthropological archaeology, the material quality of colonial and imperial relations, and the circulation of images and idioms of revolution and reform. Over the year, Haffenreffer staff members introduced Fellows to the museums resources and assisted themin identifying appropriate objects fromthe collection, finding useful research materials, and developing object-based pedagogies. Course projects included sessions in CultureLab and classrooms around campus examining objects and archives, assignments fromresearch papers to exhibit proposals, and innovative student projects including, in one case, making a reproduction of a headhunters axe in the Haffenreffers collection in order to under- stand howmaterials inspire human innovation. The Faculty Fellows found the use of museum objects to be extremely helpful in their educational objectives. Peter van Dommelen stated that Without the rich variety of the Haffenreffers collections, my freshman seminar (Postcolonial Matters: Material Culture between Colonialismand Globalization - ANTH0066) would have been much more abstract. That would have been a shame. Studying material culture is by nature hands-on: having real objects at hand is crucial. Paja Faudree explained that, The Faculty Fellows Programmade an enormous difference to me and my students this term. It helped me make clear to the students, using new materials and newapproaches, some of the funda- mental insights of the course (Sounds and Symbols - ANTH0800). First, that the ways we talk about things, and the ways we use language, have numerous material effects and manifestations. And second, that anthropologys central ideas about language can easily be applied to other semiotic systems, including those embedded in material objects. In short, the Faculty Fellows Programhelped me transformthe course and push it in rewarding and innovative directions. We encourage faculty fromall disciplines to consider adding a material culture component to their teaching. Contact the museumto learn more. Students examine African objects of communication fromthe Museums collections with curator Thierry Gentis (left) and Paja Faudree (right) in her class, Sounds and Symbols. The Haffenreffer MuseumWelcomes its First Faculty Fellows Jennifer Stampe Postdoctoral Fellowin MuseumStudies The Haffenreffer Museums two Black Forest bears, recalling Brown Universitys mascot, stand before the universitys iconic Van Wickle Gates at the entrance to In Deo Speramus: The Symbols and Ceremonies of Brown University. Symbolizing Brown: In Deo Speramus Kicks Off Brown Universitys Sesquicentennial WilliamSimmons Professor of Anthropology Symbols underpin all human social and cultural life. They can be objects, words, or social practices that communi- cate shared meanings and ideas. They create a sense of solidarity and inspire identification with something beyond the self, distinguish groups fromone another, and orient action. They encode precedents and principles that serve as guidelines for initiating, resisting, and incorporating change. While symbols may seemto be stable and eternal expressions of enduring truths, they are surprisingly dynamic and easily adapted to newmeanings and uses. Brown Universitys symbols and ceremonies have changed since its founding 250 years ago, yet they provide a unifying sense of purpose, enshrining a version of the Universitys past that burnishes even its newest traditions and serves to guides us in imagining the future. On the occasion of the Universitys 250th anniversary, we assembled Browns central symbols for our exhibit In Deo Speramus: The Symbols and Cere- monies of Brown, which opened in Manning Hall on Friday, March 7, 2014 as the first public event in Browns 250th Anniversary celebration. In this exhibit, we integrated objects, images, and actions that illustrate three dimensions of Brown Universitys symbolic life the material icons of Browns long history, Browns unique sense of place, and the rejuvenating purpose of its academic processions. Browns key symbol the design on the Corporations seal has been through three transformations as the university, itself, evolved. The first, of 1764, bore the profiles of Englands King George III and Queen Charlotte of England and was replaced after the American Revolution with one that depicted a temple of learning inscribed with the names of the seven liberal arts. Todays In Deo Speramus seal with its radiant sun replaced the second when the College of Rhode Island and Providence Plantations changed its name to Brown University. Other key symbols Brown Universitys president, Christina Paxson, opens In Deo Speramus, on March 5, 2014, for Browns 250th anniversary. E x h i b i t i o n s include logos and coats of arms, our bear mascot, the Alma Mater, the Presidents and Chancellors chains of office and academic gowns, and Browns ceremonial mace. All of these are assembled in In Deo Speramus, with the Haffenreffer Museums hand carved Black Forest bears welcoming visitors to the exhibit. Colleges and universities, through their architecture and their placements, are among the most symbolic sites in our culture. Browns founders selected for its location an eight-acre tract that already had strong communal, theological, and ethical meanings that seeped into the college they planted and that exists today. Through maps, interactive displays, and a student-generated scavenger hunt for Browns symbols, we examine some of the continuities of past and present that give meaning to Browns location. Browns most symbolic gatherings are occasions on which the universitys dispersed community gathers to renewfriendships, display its symbols, and, at commencement, invest graduates with their personal imprint of the seal on their diplomas. Through film footage, maps, and audio components we encourage visitors to consider howsinging the alma mater, performing in contemporary a cappella groups, and marching in a traditional order strengthens and renews Brown itself through bonds forged between symbols, place, and the living community. Jennifer Stampe, Postdoctoral Fellowin Museum Studies, provided extraordinary guidance to the project fromthe beginning. She and Nathan Arndt, HMA Assistant Curator, transformed the academic plan into an exhibit true to the tone that I hoped it could convey. Our undergraduate research apprentice, Emma Funk, was truly a gift to the project. Jennifer Betts, University Archivist, went the extra mile time after time, as did her staff. Kirsten Hammerstrom and J.D. Kay generously helped with materials from the Rhode Island Historical Societys collections, as did Kate Wells and Jordan Goffin with the Providence Public Library. Martha and Artemis Joukowsky, Catherine Pincince, Rob Emlen, Mitchell Sibley, Tobias Lederberg, Russell Carey, Janet Cooper-Nelson, Mike Cohea, Steve Maiorisi, Jo-Ann Conklin, Michael Thorp, and Amalia Davis all contributed valuable expertise. Clockwise, fromtop: Brown Universitys presidential gown and chain of office; the top of Brown's ceremonial mace; and the auditory artifacts corner of In Deo Speramus, where sounds from Brown's ceremonies, past and present, can be enjoyed. Teaching with the Museum, a newexhibit in our satellite space at the Stephen Roberts 62 Campus Center showcases the Haffenreffer Museums new Faculty Fellows programand our commitment to object-based teaching. It also aims to inspire faculty members and others to consider using museum objects in their teaching. There is an increasing appreciation in the academy for the power and efficacy of object-based teaching. Teaching with objects makes abstract concepts material in ways that engage the senses. It provides hands-on experience and a formof knowledge that students might not otherwise acquire. Objects also inspire discussion, teamwork, and lateral thinking, all of which are essential skills in higher education and in the workplace. The objects on display were used this year by Brown faculty in their teaching. They include mukluks once owned by Inupiat dancer and author Aknik (Paul) Green of Kotzebue Sound, Alaska. Elizabeth Hoover used these in her course Native American Environmental Health Movements to emphasize the inventiveness of indigenous peoples in relationship to their environment, and the threat environmental I curated a special exhibit Reading Love Medicine: Beads, Bark, and Books fromOjibwe Country in connection with the 2013-2014 Big Read programin Rhode Island, a year-long series of events hosted by the Tomaquag Indian Memorial Museum. The programselected Louise Erdrichs novel, Love Medicine, a story of several generations in two Ojibwe families set in a fictional North Dakota community. We installed Reading Love Medicine in a newlocation for us, the Finn Roomof Brown Universitys John D. Rockefeller, Jr. Library, where it was on display from September 27 through October 24, 2013. Our exhibit juxtaposed objects, such as beaded bandolier bags and birchbark baskets fromOjibwe country, the Upper Great Lakes region of the US and Canada, with relevant books, many authored by Native American scholars. Ojibwe people (also known as Chippewa and Anishinaabe) have long shared this territory with other American Indian groups, including the Dakota, Ho-Chunk, and Potawatomi, and with Euro-American immigrants. The exhibit included objects that addressed this multi-ethnic landscape. In keeping with the themes of Love Medicine, it examined stories that can be told by following the ways people have used things as gifts, commodities, and mementoes to forge connections across generations of Ojibwe people, among tribes in the Woodland regions of North America, and between American Indian and non- Indian communities. With its focus on books and stories, the exhibit provided an opportunity to collaborate not only with the Tomaquag Museum but also with Browns Rockefeller Library, whose Finn Roomdisplay space gave us a forumfor addressing a newaudience. The library contributed to the exhibit by displaying books on Ojibwe culture and history from its collection, and highlighting those by Native American scholars. The Big Read is a program of the National Endowment for the Arts in partnership with the Arts Midwest. The 2013-2014 Big Read in Rhode Island was hosted by the Tomaquag Indian Memorial Museum, the states only Native-operated museum, with support from Brown Universitys Haffenreffer Museum of Anthropology, its Third World Center, Native American and Indigenous Studies at Brown (NAISAB), and Native Americans at Brown (NAB). Cap- tion Reading Love Medicine: Beads, Bark, and Books fromOjibwe Country Jennifer Stampe Post-Doctoral Fellowin MuseumStudies Teaching with the Museum 10 continued on page 11 11 Exhibiting ALiving Collection: Images of Power and Connection Laura Berman (Brown 14) and Kevin P. Smith, Deputy Director/Chief Curator Images of Power: Rulership in the Grasslands of Cameroon opened in the museums Manning Hall gallery on November 15, 2013. The Haffenreffers Student Group curated this exhibition under the leadership of Laura Berman (Brown 14), with objects drawn fromthe museums vast African collections. Images of Power examines ways in which Cameroonian Grasslands kings, or fons, have used images and symbols of power drawn fromindige- nous concepts of authority to legitimize their offices and their rights to rule despite, and at times in association with, potentially disrupting forces of globalization and colonialism. By choosing objects for this exhibition that were produced over the course of the late 19th through early 21st century, the exhibition challenges the notion of a divide between the traditional and the contemporary, querying instead the role of tradition within the politics of contemporary life. The theme of the exhibit solidified after conversa- tions with a delegation of nobles and leaders from Cameroons Bangwa (Lebialem) community in America. The delegation visited the Haffenreffer in the summer of 2013 to see the museums collection of Bangwa masks collected by Robert Brain, an anthropologist who worked in the Bangwa capital of Fumban during the late 1960s. Mbe Tazi, the leader of this group, remembered Brains visits fromthe time he was a child and recognized several of the masks in the museums collection as pieces carved by his father. Their visit gave the group a new perspective on the enduring political and personal significance of these objects in Cameroonian society. Through these conversations and their research, the student groups exhibition also brings together contemporary and traditional museumperspectives on the voices that informvisitors understanding of a living collection. Teaching, continued frompage 10 contamination poses to the health of individuals, communities, and places. For Peter van Dommelens freshman seminar Postcolonial Matters, student SamHill-Cristol, wrote a proposal for an exhibit comparing Moro, Japanese, and Filipino weapons, understood as tools of colonial domination, appropriation, and resistance. Part of his proposal Teaching, continued frompage 10 appears as an exhibit-within-this-exhibit. An Ogoni spirit mask fromNigeria and a Baule linguists staff finial fromGhana, which illustrate subtle intercon- nections between abstract language and more tangible material culture, were among the objects that students studied during Paja Faudrees course Sounds and Symbols. 12 Collaborating with the Haffenreffer Museum contributed significantly to the success of Brown Universitys first Mellon Sawyer Seminar, Animal Magnetism: The Emotional Ecology of Animals and Humans, and to my teaching at Brown. For Animal Magnetism, an interdisciplinary project organized by Browns Programin Early Cultures, I curated, with anthropology graduate student Alyce de Cartaret, two displays using objects fromthe Haffenreffers collections to engage the theme of human/animal interactions. Our first installation contrasted archaeological objects frompre-Columbian Peru, Mexico, and the Dominican Republic that represented non-human animals more-or-less representationally although with less directly representational meanings with others, ethno- graphic and archaeological, made expressly from animal parts. This exhibition contributed to our workshop, Menageries and the Giving and Costly Pet. Our Graduate Fellows, Alyce de Carteret, Michiel vanVeldhuizen, andCliveVella eachdiscussed an object from the exhibit during one of the work- shops receptions, exposing our guests to the collection and adding a valuable material culture element to our seminar. This, and our second installation, which focused on the theme of hybridity, also contributed significantly to my teaching at Brown. I assigned each of the students in my class, Animals in the Ancient City: Interdependence in the Urban Environment, to look, study, and describe their experience of understanding one object fromthe first exhibit. Then, they were asked to examine the second exhibit and brainstorm the significance of the hybrid features of each object and speculate on its meaning in its culture of origin. During our most recent workshop, The Pushmi- Pullyu of Consocial Life, the Animal Magnetism seminar benefited fromyet another collaboration: that between the Haffenreffer and Public Humanities Jenks Society for Lost Museums. The Jenks Society gave a very well received presentation at our opening reception and, so, we benefited yet again fromHaffenreffer collaborations! Mutual Attractions: Animal Magnetismand MuseumCollections Susan Curry Postdoctoral Fellow, Joukowsky Institute for Archaeology and the Ancient World As Assistant Curator at the Haffenreffer Museum, I have been looking for ways to introduce new technologies and digital media into our exhibits not only to give patrons improved experiences, but also to maintain secure and stable conditions for our collections. This year I worked with a number of groups within Brown to expand our use of digital technologies. Our goal was to enhance the objects on display by providing access to a larger selection of objects through digital media. The introduction of Browns Touch Art Gallery (TAG) database into the In Deo Speramus exhibit was a key element in making this possible. We added hundreds of photographs and additional details into a database that can be searched by those interacting with the exhibit. As we move into phase two of the exhibit, we plan on making this programavailable online. We also partnered with Ken DeBlois at CIS to design a customwebsite that would later become a digital radio dial allowing an auditory history to be included in the In Deo Speramus exhibit. While we have included soundscapes before, this was the first time that we have given museumvisitors the chance to customize their experience. Not all of the innovations made at the museumwere visible to visitors, but they all played an important role in moving us into the future. The use of LED NewTricks Nathan Arndt, Assistant Curator NewTricks, contined on p. 16 Hybrid devils mask by the artist Juan Horta, of Michoacan, Mexico. In 1680 the Pueblo Indian people of NewMexico and Arizona successfully asserted their sovereignty in the famous Pueblo Revolt and lived free of Spanish rule for 12 years. The period immediately following the revolt, however, was an especially turbulent time in the northern Rio Grande region. It was character- ized by multiple population movements involving individuals, families, clans, and even whole villages in response to the anticipated return of the Spaniards. This high degree of mobility was facilitated by an intricate social network grounded in kinship relations and political alliances. One of the most distinctive features of this period is the shift in settlements frommission pueblos located along the Rio Grande to mesa villages located on high, defensible promontories. In the Keres, Jemez, and Tewa districts, about ten newmesa villages were established (Table 1). Many of these were multi-ethnic, composed of groups of people fromseveral different mission pueblos. Most were inhabited during Diego de Vargass peaceable reconquest in 1692 and they posed a real threat to his authority. In 1694, Vargas mounted a major campaign against themand with the help of his Indian allies successfully subdued them, one by one. Since 1995, I have been working with Cochiti Pueblo to research their mesatop village known as Hanat Kotyiti (Cochiti above) located in the Santa Fe National Forest. The central goals of our project are to iden- tify the social processes surrounding the founding and occupation of Hanat Koytiti and to understand the meaning and significance of the village and mesa to the Cochiti people today. The project involved archaeologi- cal survey and mapping, an oral history project, and an internship programme for Cochiti youth. My colleagues, Matthew Liebmann(AssociateProfessor at Harvard) and Joseph Aguilar (fromSan Ildefonso Pueblo and a doctoral candidate at the University of Pennsylvania), have extended this research into the Jemez and Tewa districts. Our research is revealing newinsights into the cultural revitalization ideology of the Post Revolt period. For example, Popay, one of the key leaders of the revolt, instructed his followers that if they would live in accordance with the laws of their ancestors, they would have a bountiful harvest and could erect their houses and enjoy abundant healthandleisure. This cultural revitalizationdiscourse was made material in the architectural layout of some of the mesa villages. We have discovered that three mesa villages- Hanat Kotyiti, Patokwa, and Boletsakwa- were constructed as double plaza pueblos. This architectural form reproduces the communitys dual division social structure that, among the Keres and Jemez people, is expressed by the Turquoise and the Pumpkin moieties. The villages may have even been built in the image of the ancestral village known as White House, the first village that people inhabited after they emerged fromthe underworld. We are currently attempting to identify the flows of people that circulated between some of these mesatop villages and the mission pueblos by means of social network analysis. Our analysis is made possible because of the Vargas journals that record the movements of the Pueblo people and even mention some individuals by name. It is also facili- tated by means of the ceramics that Pueblo women produced, used, and discarded at these villages. Here historical archaeology can provide valuable newinsights into this poorly understood period. 13 Post Revolt Mesa Villages of the Northern Rio Grande Robert W. Preucel, Director and Professor of Anthropology Table 1. Post Revolt Mesa Villages of the Rio Grande Region Hanat Kotyiti Keres District Canjilon Keres District Old San Felipe Keres District Patokwa Jemez District Astialakwa Jemez District Boletsakwa Jemez District Cerro Colorado Jemez District Tunyo Tewa District Embudo Tewa District San Juan Mesa Tewa District R e s e a r c h Weaving Islands: Archaeological Textiles and Gender in the North Atlantic, AD800-1800 Michle Hayeur Smith MuseumResearch Associate In July 2013, I received a three-year, $605,000, researchgrant fromthe National Science Foundations Arctic Social Sciences programto initiate a project entitled Weaving Islands of Cloth: Gender, Textiles, and Trade Across the North Atlantic fromthe Viking Age to the Early Modern Period. This archaeological, collections-based project will expand on the scope of my previous NSF-funded, 3-year (2010-2013) project, Rags to Riches An Archaeological Study of Textiles and Gender in Iceland AD 874 -1800, and my previous archaeological research on gender, dress, and adornment in medieval Iceland. In Rags to Riches, I analyzed archaeological textile assemblages from31 Icelandic archaeological sites that spanned 1,000 years and was able to generate newinformation on the roles of men and women in Icelandic society, changing approaches to textile production through time, the role of Icelandic textiles and women in international trade and Icelands economy, creative approaches that Icelands women developed as sustainable responses to climate change during the Little Ice Age, and changes through time in Icelandic dress. Critically, I found material evidence in the formof increasingly standardized textile production that women were pivotal in making Icelands cloth currency during the medieval period. Further, I was able to use these funds to obtain radiocarbon dates on textile samples frommost of these sites, enabling me to directly date critical changes in textile production strategies and provide much needed dating for many of the sites I investigated. Weaving Islands of Cloth will allowme to take the knowledge I gained and the lessons I learned from Rags to Riches to the next logical level: a comparative, millennium-scale examinationof textiles as evidence for womens labor and roles in all of the colonies that Norse settlers established across the North Atlantic in the 9th century ADand that developed, over the following centuries, into the modern nations of Scotland, Iceland, the Faroe Islands, and Greenland. This international collaborative project will integrate comparative analyses of existing collections in six national museums with a pilot project to assess the potential for using isotopic and trace element analyses to monitor howcloth moved in trade across this region. Through these analyses, I hope to gain new insights into the ways these island nations developed, while exploring womens roles in creating the foundations of international trade, developing national identities through the transformation of cloth into clothing, and adapting to climate change. Both of these grants are providing newinsights into North Atlantic archaeology and womens roles in the development of northern societies and economies. They are also expanding the range of the Haffenreffer Museums international partnerships and collabora- tions, with work underway in museums in, and with colleagues from, Iceland, Norway, Denmark, Sweden, Germany, Scotland, the Faroes Islands, Greenland, and Canada. Icelands North Atlantic landscapes provided perfect grazing for the sheep whose wool forms the basis of Michle Hayeur Smiths current research. 14 15 In August 2013, I received funding fromthe National Science Foundations Arctic Social Sciences Program to excavate an endangered Viking Age site deep inside western Icelands Surtshellir Cave. Surtshellir (Surts Cave) formed inside lava that flowed at the start of the 10th century over six newly settled Viking Age farms, filled two upland valleys and covered 242 km 2 of grazing land. For settlers just arriving fromScandinavia and the British Isles, this first experience of volcanic activity must have been terrifying. They named this largest cave within the newly formed lava field for Surt, the elemental being they believed was present at the worlds creation and would eventually bring about its destruction and the gods death. Over succeeding centuries, Surtshellir became associated with stories about chieftains seeking to placate Surt, outlaws ravaging the surrounding region, acts of cruelty meted out by chieftains on their rivals, ghosts and evil spirits. Surtshellir may well have been the most dreaded place in Iceland; but in 1750 two Icelandic naturalists entered Surtshellir, dispelling these beliefs, describing a roofless house and piles of bones deep within the cave they believed was an outlaw bands lair. In 2001, colleagues fromthe National Museumof Iceland and I documented this enclosure, its bone pile, and a massive stone wall sealing the cave for the first time, dating themto Icelands Viking Age (ca. 870-1000 AD). In 2012, we returned with Mehrdad Kiani (Brown 15) to document those remains in greater detail. In doing so, we discovered that the enclosures delicate floor deposits, long assumed to be sterile, contained Viking Age artifacts that were being actively damaged by tourists exploring the cave. Last summer, we excavated these floor deposits and recovered an unexpectedly informative suite of Viking Age artifacts that includes calibrated lead weights for weighing silver, a large assemblage of glass beads including several that were probably produced in the Middle East, and fragments of orpiment an arsenic ore fromthe Mediterranean used as pigment, poison, and medicine. All of these are materials associated with Viking Age chieftains rather than outlaws. In addition, scores of jasper and flint fire-starter fragments and 3-5 newareas where fragmented bones of domestic animals had been piled or cremated document intense, focused activities undertaken over the course of a century in the total darkness of this caves interior. However, we found no areas with residues fromoccupation, undermining the outlawoccupation hypothesis. My colleagues and I are nowworking on this material to unravel Surtshellirs subterranean secrets. Although we have much to do, we now suspect that Surtshellir was a sacrificial site where offerings were made, quite possibly by Icelands Viking Age elites to placate Surtur and forestall the end of the world. Deputy director Kevin Smith stands inside the Viking Age structure within Surtshellir Cave. Below: four lead scale weights fromthe floor of the cave. Photograph by var Brynjlfsson, National Museumof Iceland. Documenting a Den of Thieves or the Temple of Doom? Kevin P. Smith Deputy Director and Chief Curator 16 In early 2011, I received funds fromthe National Science Foundations Arctic Social Sciences program to investigate the origins of northern Alaskas enig- matic Old Whaling Culture, first documented in 1958 by WilliamSimmons (then a Brown undergraduate, nowProfessor of Anthropology) and J. Louis Giddings (the Haffenreffer Museums first director). Old Whaling, perhaps the earliest arctic whale hunting culture, is still known in Alaska froma single site Giddings and Simmons initial discovery on Cape Krusenstern and on the Siberian side by two possibly related sites. Since its discovery, the Old Whaling site and the origins of its occupants have been scrutinized several times with ambiguous results. It has been suggested, for example, both that the Old Whalers came to Cape Krusenstern from Siberia or that they were Indians from Alaskas interior; that the Old Whaling site was a short term encampment or that it has underlying layers suggesting a longer occupation or the presence of earlier residents; and that its different house types represent summer and winter villages of a single group or different occupations entirely. My field research at the Old Whaling site sought to investigate whether earlier occupations did exist there and to assess whether they could indicate historical connections between the Old Whalers and other documented cultures in the Bering Strait Region. To that end, we returned, with NSF funding, to assess the sites stratigraphy through geophysical surveys and test excavations. While that investigation did not reveal evidence of preceding occupations, we learned a great deal about the sites taphonomy and the effects of contemporary climate change in the region and on its archaeological resources. In 2013, we pooled the remaining NSF funds with money contributed fromthe Haffenreffer Museum and fromMichele Hayeur Smiths Rags to Riches grant to purchase a Bruker Tracer III-SX portable X-ray fluorescence device that we are nowusing to analyze the lithic assemblage fromthe site so that we can assess and compare stone tool use and curation across cultures. In particular, we are looking for any similarities in rawmaterial procurement and production strategies between the Old Whalers and near-contemporaneous cultures in the region that could help us to assess possible historical relationships and provide clues to the Old Whaling Cultures origins. This ongoing research has provided training and employment for Brown University and Plattsburgh State University undergraduate students. Further studies will include both microscopic and macroscopic analyses of the various artifacts from the site curated at the Circumpolar Laboratory of the Haffenreffer Museum. Seeking the Origins of the Old Whaling Culture Christopher Wolff MuseumResearch Associate/Assistant Professor of Anthropology, SUNY-Plattsburgh technology has given the museumgreater light control while minimizing the risk of UV damage to our collections. This technology has been in use in the past, but we have recently begun an initiative to change our exhibit and work spaces to these light sources to provide better care for our collections. While these changes seemsmall, they allowus to bring the collections to a wider audience and will create safer exhibits with the ability change regularly, giving our visitors a newand shared experience every time they walk through our doors. NewTricks, contined fromp. 12 17 Seeking Old Whalers Connor Hilton (Brown 15), Student Research Assistant An Old KingdomEgyptian Relief Revealed through RTI: Jennifer Thum Haffenreffer/Joukowsky Institute Proctor X-Ray Fluorescence (XRF) can be a powerful tool for measuring the elemental profiles of geological, archaeological, and ethnographic objects. At the Haffenreffer Museum, I amcurrently assisting Kevin Smith and Chris Wolff in analyzing scrapers, projec- tile points, and knives fromthe Old Whaling Site in Alaska, using the Museums newly acquired portable XRF set-up. While many chert or chalcedony objects look similar, XRF analysis allows us to differentiate themat the elemental level. We are seeking linkages between objects fromdifferent parts of Old Whaling Site, comparisons with the types of stone that earlier and later occupants of Cape Krusenstern used for making tools, and similarities with rawmaterial fromknown sources of chert, chalcedony, and obsid- ian in Alaska. This will hopefully provide insights into the mobility and origins of the Old Whalers and their knowledge of the regions resources. Common markers that we see include Barium, Strontium, Zirconium, and Yttrium, which are not present in all of the tools or in the same ratios. Comparing the presence and relative intensities of elements such as these will hopefully result in distinct groupings of rawmaterial and, fromthese, insights into the communities that used them. I ama doctoral candidate studying Egyptology in the Archaeology and Ancient World Programat the Joukowsky Institute. This fall I held a proctorship at the Haffenreffer Museum, and to my surprise found that the museumhad in its collection a raised-relief limestone block fromthe wall of a private tomb of Egypts Old Kingdom, 5th or 6th Dynasty (ca. 2494- 2181 BCE), that had never been displayed due to its poor condition. In order to read the images and hieroglyphic inscriptions on the block, I used a technique called Reflectance Transformation Imaging (RTI). RTI uses a series of photographs to create a composite digital image of an object, enhanced with ideal lighting. As part of this process, I ran a public demonstration in CultureLab, letting visitors shine the light source at the block fromdifferent angles. We can nowread the inscriptions on the two regis- ters on the block. The top shows six offering bearers bringing goods in the direction of the burial. The bottom, although only partially preserved, is clearly a butchering scene, where the butchers talk in colloquial speech: one says to the other, Give me that! The other replies, I will do! This cartoon- style captioning is typical of Old Kingdomprivate tomb decoration, where scenes fromdaily life ensured that the deceased would have provisions in the afterlife. The RTI software and equipment used for this analysis are nowa part of the Museums analytical toolkit, promising other insights to be gained from its collections. NewAcquisitions Thierry Gentis A sampling of newacquisitions (l. to r., top to bottom): Stone amulet, Taino, Dominican Republic, AD 1200-1500; Dog vessel, Colima, Mexico, 100 BC-AD 250; Strawberry basket, made by Carrie Hill, Mohawk; Stone vessel, Olmec, Xochipala, Mexico, 1500-900 BC; Canoe ornament, Trobriand Islands, early 20th century; Stool, Duala, Cameroon, early 20th century; Ship cloth, Paminggir, Sumatra; Ivory seal-shaped toggle, Alaskan Eskimo, 19th century; Canoe model, Tlingit, southeastern Alaska, late 19th century; Polychrome jar, Hopi, Polaca, Arizona, early 20th century; Harp, Fang, collected in Gabon in 1963-65. Collections are the lifes blood of any museum. Their care, examination, exhibition, investigation, and use underlie all other aspects of a museums activities. The Haffenreffer Museumseeks to acquire archaeological and ethnographic objects that serve to illustrate and document human cultures and societies worldwide; that enhance the educa- tional, cultural, or research value of the collection; that are sources of artistic inspiration; and that can be properly stored, conserved, and preserved. The Museumwill not knowingly acquire materials that have been illegally excavated, nor will it support, inany way, markets inillegally trafficked antiquities. We acquire objects only when we have determined to the best of our ability that they have been collected, exported, and imported in full compliance with the laws and regulations of the country or countries of origin, of the federal government of the United States, and of the pertinent individual states within the United States. This year sawremarkable growth in the museums collection with newobjects fromall parts of the globe Greenland to NewGuinea, Nepal to Peru with ethnographic objects, stunning images, archaeological specimens, and contemporary art represented. Some highlights of this years acquisitions include 3000-year old Olmec figures and a stone bowl fromGuerrero, Mexico; a 2000-year old stone figure also fromGuerrero; and a collection of 31 superb Taino objects fromthe Dominican Republic. These objects were vetted by the museums Collection Committee as having been in the United States prior to 1970, the year of UNESCOs Convention on the Means of Prohibiting and Preventing the Illicit Import, Export, and Transfer of Ownership of Cultural Property. The museumwas the recipient of 50 objects fromWest Africa donated through the generous continuing support of WilliamC. Mithoefer and Renee-Paule Moyencourt. The collection includes many examples of traditional furniture including the impressive Bamileke chair fromCameroon currently on viewin the exhibition Images of Power in Manning hall. Mr. Michael B. Tuckers gift of 67 objects fromGabon is an important addition froman area previ- ously not well represented in the museums holdings from Africa. Collected mostly fromFang and Punu peoples, the objects were acquired as gifts and purchases in Gabon by Michael Tucker when he was working as a Peace Corps volunteer from1963 to 1965. 19 This year we decided, with generous support from the Office of the Provost, to convert our collections management systemfromARGUS, our current Database, to Zetcoms MuseumPlus system. ARGUS has served the museumvery well over the years and with it we have been able to catalog more than 90 percent of our collections into its database. The last several years have also seen the incorporation of thousands of images, which nowcover nearly 50 percent of our collections. This work, done by our staff and by students training with us as interns, has allowed faculty and students visiting the museum to acquire information and printouts to aid in their research. It also helps us in managing loans of our objects to other institutions for research or exhibits, such as those this year to the Muse du Quai Branly (Paris), the Autry National Center (Los Angeles), and the NewBedford Whaling Museum(New Bedford, MA). MuseumPlus will allow us to take this work to the next level and offer all of our collections online for the first time. When the conversion and online systems are complete, anyone will be able to access the Haffenreffers collections, download photo- graphs, request loans, or create object lists from our collections. Our goal is to open up our collec- tions to the general public and to give students, faculty, and staff at Brown a clearer understanding of what we curate and can offer them. Our shift to MuseumPlus came after years of research and consideration of databases currently available, and visits to other local institutions, including RISD, to assess and experiment with their databases to gain an understanding of what would work best for the HMA collections. We are impressed with MuseumPluss capabilities and flexibility. For the first time, we will be able to include data from our archives and track our collections in ways that were never possible before. We will start this project in the next fewmonths and we plan to have it complete by the end of the year. Managing the Collections Nathan Arndt Assistant Curator The Haffenreffer Museumregularly loans objects for exhibitions around the world: on the left, Lakota artist Claire Ann Packards Waterbirds star quilt, on loan to Paris's Muse du Quai Branly; on the right, a Greenlandic Inuit childs outfit, on loan to the NewBedford Whaling Museum. C o l l e c t i o n s Over the past year, we have been working to identify interesting and historically significant archival collections held by the museum. These archival collections represent much of our vast collections history and include a wide variety of documents, images, notes, and occasionally films or record- ings donated by collectors and researchers that complement and contextualize our ethnographic and archaeological collections. Working together, we have begun to select archival collections, both large and small, that are ideal candidates for which to build finding aids. Finding aids are the fundamental organizational tool that archivists use to inventory, organize, and describe collections in a standardized format that allows museums to document their archival collections and make them available to researchers in the outside world. This year the Haffenreffer Museumjoined RIAMCO, the Rhode Island Archival and Manuscript Collections Online, a virtual consortiumof cultural repositories throughout the state that will assist us in highlighting our extensive but poorly known archival collections. Currently, two of the museums archival collections representing past Rhode Island residents are published on RIAMCO: one supports the collections built by Emma ShawColcleugh, a late 19th and early 20th century journalist and collector; the other represents the work of Gino E. Conti, an artist whose collections from the American Southwest are curated at the Haffenreffer. Later this spring, we will make the archival collection of the museums first director and first anthropology professor at Brown, J. Louis Giddings, accessible through RIAMCO. To learn more about RIAMCO, and the museums Finding Aids go to http://www.riamco.org. 20 Haffenreffer Museumbecomes Participating Institution of Rhode Island Manuscript and Archival Collections Online. (RIAMCO) Anthony Belz, Guard/Greeter and Rip Gerry, Photographic Archivist/Exhibition Preparator Tlingit feast bowl from Sitka, Alaska, collected by Emma Shaw Colcleugh, whose archives were listed with RIAMCO. Working with Things Arianna Riva (Brown 16), Student Collections Intern Working at the Haffenreffer Collections Center has been one of the great joys of my time at Brown. Not only have I been introduced to a broad range of tasks and procedures within the museumsphere, but Ive been encouraged to pursue projects relating to my own interests. One of the most satisfying moments of my work here was completing the initial survey, photography, data entry, and organization of the museums extensive pottery collection from the American Southwest. Now, when I come across mentions of Zuni or Cochiti pottery, or images of these pots, I cant help but smile: the hands-on work I did with these pieces has made my sense of connec- tion to themmuch stronger. In addition, following through with the entire project and being able to see the pots shelved and lined up was extremely satisfying and was a wonderful way of visualizing the accomplishments we had achieved. I have also undertaken projects as varied as archival slide scanning to cleaning, cataloguing and photographing collections of Indonesian and South American textiles. As I continue to work at the Museum, I hope to involve myself in its Student Group in order to engage with my peers more about aspects of the museums work. Friends Board Jeffrey Schreck President Susan Hardy Vice President Diana Johnson Treasurer Elizabeth Johnson Secretary Susan Alcock Peter Allen Edith Andrews Laura Berman Gina Borromeo Kristine M. Bovy David Haffenreffer Rudolf F. Haffenreffer Barbara Hail Sylvia Moubayed Robert W. Preucel ex Officio Mark Schlissel Provost Daniel Smith Chair, Department of Anthropology Kevin Smith ex Officio MuseumStaff Robert W. Preucel Director and Professor of Anthropology Douglas Anderson Director, Circumpolar Laboratory and Professor of Anthropology Kevin P. Smith Deputy Director/Chief Curator and Editor, Contexts Curators Barbara A. Hail Curator Emerita Thierry Gentis Curator Nathan Arndt Assistant Curator Rip Gerry Exhibits Preparator/ Photographic Archivist Carol Dutton Office Manager Anthony M. Belz MuseumGuard/Greeter Programs and Education Geralyn Ducady Curator for Programs and Education Kathy Silvia Outreach Coordinator Grace Cleary Education ProgramIntern Molly Kerker Outreach Intern Rachel Shipps Outreach Intern Postdoctoral Fellows Sean Gantt Postdoctoral Fellow in Native American Studies Jennifer Stampe Postdoctoral Fellow in MuseumStudies MuseumResearch Associates Michle Hayeur Smith MuseumResearch Associate in Circumpolar Studies Christopher Wolff MuseumResearch Associate in Circumpolar Studies Student Assistants Pinar Durgun Proctor Jennifer Thum Proctor Connor Hilton Student Research Assistant Arianna Riva Student Collections Intern Mge Durusu CultureLab Assistant Ximena Carranza Risco Photographer Assistant guard/greeters Morayo Akande Laura Berman Aisha Cannon Christina DiFabio Aida Haile-Mariam Nora Hakizmana Connor Hilton Caroline Seyler Destin Sisemore Sara Tropp Daphne Xu On the back cover (clockwise fromupper left): A detail of the Chain of Office worn by Brown Universitys President, on exhibit for Browns 250th anniversary; a Maya woman in the marketplace, froman ethnographic image collection gifted to the Museum; a 19th century Ojibwe vest on exhibit for The Big Read; contemporary ledger art by Lakota artist Quinton Maldonado and beaded moccasins made by Ojibwe artist Cheryl Minnema, both purchased by the Museum. Haffenreffer Museum of Anthropology Brown University Box 1965 Providence, RI 02912 brown.edu/Haffenreffer Non-Profit Organization US Postage PAID Permit No. 202 Providence, RI