Methods in Public Humanities

Fall 2020
Steven Lubar  lubar@brown.edu

Class Meeting: Tuesday 10:30-11:50, but also asynchronous with individual and small group
Zoom check-ins. Occasional Thursday 10:30-11:50 meetings. I’ll try to be on Zoom for
15 minutes or so before and after if you’d like to chat before or after class. Zoom link:
https://brown.zoom.us/j/92880760877
Office hours: I’ll try to be on Zoom Tuesdays from 2-3. Drop by! Or click here to set up a meeting
at some other time, or send an email. Zoom link:https://brown.zoom.us/j/4474197665

About the Course

Course Description
This course provides insight into public humanities theory and public humanities work,
designed for students preparing for a career in the field. It focuses on the work that public
humanists do: techniques, concerns, and practical issues, but it also puts that work into
theoretical and historical context. We will try to appreciate the challenges that public
humanists face, and learn how they do their work, as well as to question some of their
assumptions and techniques.

The course this year focuses on three topics and one cross-cutting project. Part 1, History and
Memory, considers the way that public humanities considers the way that we understand and
interpret the past. This is foundational to the field (and timely!) and will also provide the
content used in the project that continues through the rest of the course. Museum Exhibition
Curating considers the ways that museums tell stories with objects. Digital Public Humanities
will address the opportunities and challenges opened by digital media.

The project cuts across these topics. You will work with a RISD exhibition design graduate
student in the “Introduction to Design Studio” course, part of the MA in Exhibit Design and
Narrative Environments program, to create an exhibition about memorials. More on the project
and schedule here.

Learning Objectives
Practical objectives. Public humanities in practical work. It is successful when it produces
changes in its intended audience. Those changes might include new knowledge, a new sense of
community, new understandings of the past and present, a new way of looking at art, artifacts,
and the world around them. Public humanists have developed techniques for doing this work,
and techniques of measuring those changes. You should learn some of those techniques.

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 Assessment. The changes public humanities work produces are famously hard to
measure. (What makes a museum visitor think that an exhibit is a success? What work
does a website do when it’s successful?) Assessment of the practical work in the course
will be measured both by process (your progress in learning techniques like exhibit
script writing, meeting deadlines, etc.) and also by evaluation of the end results
according to established standards (for example, the Excellent Judges criteria for
exhibits) and, where possible, by audience reaction (for example, website engagement
metrics). The big question is always: Is your work accessible and legible and useful to
the public?

Theory objectives. Public humanities is more than a collection of methods. It’s an approach to
understanding public engagement with the humanities. It has a theoretical foundation that
considers the relationships of expert, community, and audience; that appreciates the ways that
communities are engaged with the creation, shaping, use and dissemination of knowledge; and
that is concerned with the political and social implications of expertise, money, and power. This
foundation is built on the work of historians, critical theorists, anthropologists, artists, and
others, and it’s important not only to understand theory, but also to be able to critically
evaluate theoretical work and be able to select the theory that’s useful to your practical work.

Assessment. The traditional form of assessment of theory is the written essay. You
should be able to summarize the main points of an author’s argument, critique them,
and (especially important for the public humanities) be able to say how this work will be
useful to your public work. Because public humanists are concerned with using theory,
assessment of theory is best done by seeing how you have applied it in practical work.
Do your public products reflect the understandings you’ve gained from reading theory?
When evaluating your public work, can an expert see how it’s been shaped by the ideas
important to public humanities?

Historical objectives. Public humanities is a new field, but it builds on a long history of
academics and community activists who have worked with and for communities. This course
includes readings that provide historical perspectives on our work, both theoretical
interventions and important projects, successful and unsuccessful. You should be able to trace
the historical foundations and lineages of your work, and be able to put them into historical
perspective.

Assessment. In written essays and in class discussion, you should be able to summarize
historical case studies succinctly and accurately, evaluating them for the ways in which
they reflect (or don’t reflect) public humanities theory. You should be able to delineate
traditions in the field, and make connections between various historical projects. Do
your public projects reflect relevant and necessary historical contexts?

Ethical Objectives. Students should continue to develop a moral compass that will help them
make decisions in their public humanities work. How can ethics be part of your embodied

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practice as you deal with community concerns of vulnerability and precariousness? How can
radical hospitality shape your work inside of institutions and political structures?

Assessment. Ethical concerns should be evident in your writing and project work, which
should show an ongoing concern for the people you work with, the people your work
addresses, and the people who are affected by your work. How do your public projects
acknowledge and respect the shared authority of participants and stakeholders? Does
your work reflect an awareness of sociopolitical contexts, power dynamics, and systemic
injustices?

Canvas will be the central site for the course. We will also use Slack for online discussions.
(Slack, which is used in many businesses and nonprofits, is a good skill to have. Slack has a bit of
a learning curve; be patient. If you haven’t used it before, check out this short course on
LinkedIn Learning, free through Brown. Join the class Slack channel here. This is an experiment,
and may change over the course of the semester.) Over the course of the semester, we’ll also
use other digital tools (like Perusall) to coordinate project work and encourage discussion.

For each week of the course, I’ve linked a Google doc for cooperative note taking.

Over the course of the semester, you should keep up with journals, web sites, blogs, twitter
feeds, and newspaper stories on public humanities and cultural heritage. Share items of
interest to the course with all of us on Slack.

Course Prerequisites
While the course has no prerequisites, it is designed for graduate students interested in work in
public humanities institutions.

Required and Optional Texts and Materials

It is not necessary to purchase any books, though the major texts will be available at the Brown
Bookstore; most of the readings for the course (except for Serrell and Simon) are available
online through Canvas, OCRA, or at the Brown University Library. The Public Humanities Center
library has many more books on the topics of this course. 

Books available at the Brown Bookstore and online

Polly McKenna-Cress, Creating Exhibitions: Collaboration in the Planning, Development, and

Design of Innovative Experiences $18.75 - 25.00 (and online at the library)
Nina Simon, The Art of Relevance (available from the author, $15-$25)
Michel-Rolph Trouillot, Silencing the Past $15.00 - 20.00 (and online at the library)
Beverly Serrell and Associates, The Big Idea: Getting to an Exhibition’s Big Idea. Available for
purchase here. $15

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Course policies

Participation: There are a lot of moving parts in the course this year: synchronous discussions
(recordings will be available), asynchronous discussions, online presentations, group projects,
peer grading, Slack channels, and more. All of it is experimental, and we can adjust them as we
go along. Try to participate as much as you can. Participation is evaluated by the quality of your
comments: I’m interested not so much in critique, or your opinions of the readings, as in what
useful approaches and techniques we can gain from them. Be constructive: refer to the
readings, present new information from your experience and from outside readings, and
suggest new ideas. Participation should be part of a conversation.

Late work and make up: I would rather see an excellent paper than a less-good one turned in on
time. As long as all of your work is turned in by the end of the course you’ll get credit for it. I’m
happy to read preliminary drafts of any assignment, or a second, improved, version. However,
when working on group projects, and with RISD exhibit designers, meeting deadlines is
essential.  

Student responsibilities
The course looks at methods, the art of getting things done. The assignments reflect this. In
addition to academic papers, you’ll write memoranda, project outlines, and other practical
documents, presenting guidance to a boss about what should be done, and why. Each of these
will be peer-reviewed, in addition to my grading. You should also attend, over the course of the
semester, some of the workshops or seminars hosted (virtually) by the Public Humanities
Center. Your grade is based on your project work (40 percent), six short writing assignments
(pick any six; 5 percent each), and participation (30 percent).

Course Schedule and Workload

The course schedule lists readings for each week. Assigned readings are indicated with an
asterisk. Read those (roughly 50-150 pages each week) as well as others from this list, or that
you find on your own, that are useful to you. (Share these via Twitter.) Check the online syllabus
each week: I will add additional readings and links based on current events and discussions in
the earlier classes.

Expectation of time for coursework:

Activity Duration Frequency Total

Class time 1.5 20 30
Reading 5 13 65
Online 3 13 29
participation
Writing 4 6 24
assignments
Exhibit project 40 1 40

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 TOTAL 183

The Dean of the College asks that this information be on all syllabi:
Inclusion: Brown University is committed to full inclusion of all students. Please inform me early
in the term if you may require accommodations or modification of any of course procedures.
You may speak with me after class, during office hours, or by appointment. If you need
accommodations around online learning or in classroom accommodations, please be sure to
reach out to Student Accessibility Services (SAS) for their assistance (seas@brown.edu, 401-
863-9588). Students in need of short-term academic advice or support can contact one of the
academic deans in the College. Students seeking psychological support services should contact
Counseling and Psychological Services. 

Books, Supplies, and Materials: If your Brown undergraduate financial aid package includes the
Book/Course Material Support Pilot Program (BCMS), concerns or questions about the cost of
books and course materials for this or any other Brown course (including RISD courses via cross-
registration) can be addressed to bcms@brown.edu. For all other concerns related to non-
tuition course-related expenses, whether or not your Brown undergraduate financial aid
package includes BCMS, please visit the Academic Emergency Fund in E-GAP (within the
umbrella of "E-Gap Funds" in UFunds) to determine options for financing these costs, while
ensuring your privacy.

Class Recording and Distribution of Materials: I would like to record our discussion because
some students may be in different time zones, have poor internet connections, or have health
issues. This means that we will record all classes to make them available to all students that are
enrolled but cannot be present. If you have questions or concerns about this protocol, please
contact me so that we can talk through those to also ensure your full participation in this
course. Lectures and other course materials are copyrighted. Students are prohibited from
reproducing, making copies, publicly displaying, selling, or otherwise distributing the recordings
or transcripts of the materials. The only exception is that students with disabilities may have
the right to record for their private use if that method is determined to be a reasonable
accommodation by Student Accessibility Services. Disregard of the University's copyright policy
and federal copyright law is a Student Code of Conduct violation.

Use of Technology to Support Student Learning in Your Course (NEW: Optional)

This course will use several technological platforms, including Google Drive, Canvas, and Slack. I
am committed to ensuring access to online course resources by students. If you have any
concerns or questions about access or the privacy of any of these platforms, please reach out to
me. The IT Service Center provides many IT Services including remote assistance, phones,
tickets, and chat. Please also see the Online and Hybrid Learning Student Guide.

Please be familiar with the Academic Conduct Code.

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Syllabus

Introduction

Week 1 - Thursday, September 10

Before class:

Look at my video introduction to the course. Read through the syllabus.

Assignment 1: Introduce yourself with a short essay (a page or so) or a short (2-3 minute) video
that outlines the public humanities skills you bring to the class from previous work or courses.
Consider the nature of your skills: are they interpersonal, technical, academic? How did you
learn them? What new skills are you interested in learning this semester? What new skills are
you interested in learning in the Public Humanities program? Share by uploading to Canvas as
assignment 1. (If you’d like to share these with other students, you can upload them to
Discussions, too.) Due September 9.

Start reading Trouillot, Silencing the Past

In class:

Group drawing assignment: draw a picture of public humanities (Zoom breakout groups, use
google slides or Zoom whiteboard). Half hour; then presentations back to the entire group.

After class:

Take a look at this year’s and previous years’ drawings, here. Use Canvas discussions to share
comments on these, and on this year’s drawings.

Part I: History, Memory, and Memorials

Week 2 - Tuesday, September 15

Before class:

Read Trouillot, Silencing the Past, Preface, chapters 1 2, and 3.

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You can jointly annotate the this at perusall.com; make an account and find this course at
LUBAR-VFTBU
Assignment 2: Write a short essay (200-500 words) on one chapter from Trouillot, explaining it,
and saying how you think it might be useful to your public humanities work. Submit it on
Canvas, and then give feedback on the paper that Canvas asks you to comment on.

Watch short video: Leah Nahmias (Director of Programs at INDIANA HUMANITIES, Public
Humanities MA, 2009), “Why I reread Trouillot.” (It’s in the Media Library). You might also be
interested in my short essay on why I assign Trouillot.)

In class:

In class, I’ll ask some of you to talk about your essays.

Thursday, September 17

We’ll start with a joint class meeting with RISD design students to introduce the exhibition
project and a quick exercise: we’ll ask teams of Brown and RISD students together to think
about the history of a memorial, and how you might exhibit its history - with the report out of the
group being sketches, not words. These are the memorials we’re planning to use: the Bamyan
Buddhas, The Statue of Liberty, Mt. Rushmore, Columbus Lighthouse, the Nanjing massacre
memorial, the Korean War memorial on the Washington Mall, and the Coronation park in Delhi.

We will meet using the RISD class Zoom ID: 317 028 1806 and password: Liuni.

At about 11:15 we’ll come back to our usual Zoom address (link from Canvas) to continue
talking about Trouillot.

Week 3 - Tuesday, September 22

Before class:

Read Trouillot, Silencing the Past, chapter 4; Monica Martinez, “Racial Forgetting and
Remembering,” and Christine DeLucia, “Recovering Material Archives in the Native Northeast:
Converging Approaches to Traces, Indigeneity, and Settler Colonialism,” Early American
Literature, Volume 55, Number 2, 2020. You might also be interested in an exhibition that Prof.
Martinez curated, “Life and Death on the Border,” and her book: Monica Martinez, The
Injustice Never Leaves You.

You can jointly annotate the Martinez and DeLucia essays at perusall.com; make an account
and find this course at LUBAR-VFTBU

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Assignment 3: Write an essay (500-1000 words) on either of the articles, or on what they have
in common - how do they expand the archive? It will be useful to use Trouillot’s ideas in this
essay. Due September 21.

In class:

We’ll work on a joint google doc to think about the ways that archives of all sorts shape public
understanding of the past, and ways that public humanists can rethink the archive.

Thursday, September 24

Optional class; join if you’d like to continue the discussion or start thinking about ideas for your
exhibit project.

Week 4 - Tuesday, September 29

Before class:

Read: Jean O’Brien and Lisa Blee, “What Is a Monument to Massasoit Doing in Kansas City? The
Memory Work of Monuments and Place in Public Displays of History,” Ethnohistory, 2014;
Trouillot, The Presence of the Past, chapter 5; and Hua Hsu, “The New Monuments That
America Needs,” The New Yorker.

Watch: Ally LaForge video on how to read O’Brien and Blee, and why it’s important.

Use Perusall to annotate the article.

If you’re interested in in O’Brien and Blee’s argument, take a look at their book: Jean
O’Brien and Lisa Blee, Monumental mobility: the memory work of Massasoit and listen
to their talk for the New Books Network podcast. (05/22/2019, running time 1:28:44)

Visit a local monument with the Monument Lab’s Field Trip. Fill it out and share it with the rest
of the class by uploading to this google folder.

In class:

Discussion about how, why, when and where memorials happen. Breakout rooms to share your
Field Trip documents.

After class:

Begin thinking about your project of creating a memorial museum. More on the project here.
Write up a few paragraphs about your plans. Due October 6. Please talk with me about your
project as you’re thinking about it. Remember, you can set up a Zoom meeting here.

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Thursday, October 1

Optional. Join us if you’d like to discuss ideas for your project. Start sharing ideas about projects
on this page. Remember - we’ll probably have two people working on each project.

Week 5 Tuesday, October 6 - Contemporary issue: Memorials

Before class:

Watch: Society of Black Archaeologists, "As the Statues Fall: A Conversation about Monuments
and the Power of Memory" [Additional information on the speakers: La Vaughn Belle,Nicholas
Galanin, Tsione Wolde-Michael, Dell Upton, Tiffany Cain.] Also of interest: JNBC Virtual lunch talk
by Karyn Olivier, Witness, and her Washington Post op-ed. For local memorials: watch the Center
for Reconciliation’s Rebuilding Our Past, Building New Futures: Examining Monuments and
More in Rhode Island.

and

Watch: Francie Latour, co-director of Wee the People, a social justice project for kids,
caregivers, & educators, discusses her workshop for kids called "Who Gets to Make History?
The Story of Monuments and Statues." What are monuments for? Whose stories do they hold
up for celebration? Whose stories do they erase or keep hidden? In this workshop, Wee explore
what monuments mean and reimagine how they can celebrate values of community, equity,
and justice.

Assignment 4a: Working in small teams (2-4 people; pick your own team), develop a public
program around a series of memorials. Choose 2-4 monuments, a platform or place (online or
in-person), an outline of the program, an age group for the program, and write out 2-3
interactive activities and 2-3 learning goals. Due October 5.

or

Assignment 4b: Choose one of the speakers in the “As the Statues Fall” webinar or the CFR
panel and describe their position on monuments. 200-500 words. Due October 5

In class: We’ll trade public program proposals and try them out.

Write up a few paragraphs as a proposal for your exhibit. Due October 6, but best to discuss it
with me earlier.

Thursday, October 8

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Optional. Continued discussion of public programs, and discussion of ideas for your projects.

Part II: Museum Exhibition Curating

Week 6 Tuesday October 13

Before class:

Read Beverly Serrell and Associates, The Big Idea: Getting to an Exhibition’s Big Idea. Available
for purchase here. Watch an interview with her here.

Draft a “big idea” statement for your exhibition project. Add it to your proposal document.

In class:

We will be joined by the RISD Museum’s Kate Irvin, Curator, Department of Costume and
Textiles, and Stephen King, Manager, Preparation and Installation, who will discuss the exhibit
Repair and Design Futures. Maybe joined also by RISD exhibit design class.

In small groups, we’ll discuss our exhibition proposals and workshop the “big ideas”

After class:

Project work: Due October 14: Write up a revised version of your exhibition plan, including the
“big idea.” We’ll share these with the RISD exhibition design students (details to be
determined).

Thursday, October 15 meet with RISD students

The exhibition plans will be shared with RISD students, who will pick projects they want to work
on. Over the course of the day, Francesca and I will meet with each curator/designer team.

Week 7 Tuesday October 20 Exhibit development process

Before class:

Read Polly McKenna-Cress, Creating Exhibitions: Collaboration in the Planning, Development,

and Design of Innovative Experience, through chapter 3.

Read Sumaya Kassim, “The museum will not be decolonised,” in Media Diversified

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Read Smithsonian Guide to Exhibition Development through p. 9

In the Media section on Canvas, look at some of the videos I uploaded. Most useful for class will
be Overview, Process and Big Ideas, and Telling Stores. The others will (I hope) be useful) as you
get further into your exhibition development.

In class:

Discussion of exhibition development.

Week 7 Thursday October 22

Meet with RISD students on projects - Francesca and I will set up times for you to meet with us.
Projects list

Week 8 Tuesday October 27 Curating and S111ocial Justice

Before class:

Read: Elena Gonzales, Exhibitions for Social Justice and look at the access worksheets from the
book; Museum As Site for Social Action: and What is means to be a social justice curator, Art in
America, June 8, 2020

Watch:

Gonzales Art Libraries Association talk or Gonzales talk for the Texas Historical
Commission

American Alliance of Museums annual meeting session Racism, Unrest, and the Role of
the Museum Field

In class:

Elena Gonzales will join us; be prepared to ask questions.

After class:

Project work: Consider your exhibition in light of readings on social justice and museums. How
might your project change to better serve this purpose?

Thursday October 29

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Before class:

Work with your partners on the exhibit to prepare for short (5-10 minute) presentations in
class.

In class:

Meet with RISD class at Zoom MEETING ID: 317 028 1806 password Liuni - teams present
projects.

Week 9 November 3 no class - Election! VOTE!!!

Week 9 Thursday November 5 Working with communities

Before class:

Read:

Nina Simon, The Art of Relevance NOTE: THis is available for purchase from the author or
reading online at http://www.artofrelevance.org/.

Amy Lonetree. Decolonizing Museums: Representing Native America in National and Tribal
Museums, chapters 1 and 5. These are available on Perusal for group commenting.

Some additional readings that might be useful for your paper:

The case-study chapters from Lonetree, Decolonizing Museums

Christina Kreps, “Curatorship as Social Practice,” Curator 46/3, July 2003.

Chapters of interest from Schorch, Philipp, and Conal McCarthy, eds. 2019. Curatopia:
Museums and the future of curatorship. Manchester, UK: Manchester University Press
.
Clifford, James. 1988. "On collecting art and culture." In Clifford, James, ed., The
predicament of culture: Twentieth-century ethnography, literature, and art, pp. 215–
251. Cambridge, MA: Harvard University Press.

Libraries and Museums in an Era of Participatory Culture

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 Bill Adair, Benjamin Filene, and Laura Koloski, eds., Letting Go? Sharing Historical
Authority in a User-Generated World. Philadelphia: The Pew Center for Arts and
Heritage

Helena Robinson (2020): Curating good participants? Audiences, democracy and

authority in the contemporary museum, Museum Management and Curatorship

School for Advanced Research Guidelines for Collaboration

Take a look at this material about the Gorham exhibit that Sarah and Alexandra will discuss:
A brief scan of the exhibition page for those who aren't familiar with Gorham -
This short reading describing the advisory process -
And the soundwalk, which was one outcome of the process:

In class:

Discussion of community curatorship. We’ll be joined by Sarah Ganz Blyth and Alexandra
Poterak of the RISD Museum; they’ll discuss two shows with significant community
engagement, “Gorham Silver: Designing Brilliance”, from last year, and an upcoming exhibit,
“Shahzia Sikander, Extraordinary Realities.”

After class:

Assignment 5: Write an essay on the ways that museums can or should or do work with
communities. It can be a review of the literature, a case study, or something else. Roughly 1000
words. Due November 15.

Week 10 Tuesday November 10 Exhibit experience

Before class:

Read:
Pekarik et al., “IPOP: A Theory of Experience Preference
*Serrell, Exhibit Labels, pp. 1-146
*Polly McKenna-Cress, and Janet Kamien, Creating Exhibitions, Chapter 4 and 5
Gallery text at the V&A

Watch:
Lubar video on writing words, design process, and evaluation. (In Media Library).

Write:

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Write a 100-200 word main label for your exhibition. We’ll workshop these in class.

In class:

Exhibit labels workshop and discussion of ongoing exhibition design process.

After class:

Assignment 6: Rewrite the main label and any other label from any exhibition in half the
number of words, or for a different audience, or some other way. Write an explanation of what
you’ve done and why you think it’s better now. Post to Canvas, and then give peer feedback on
the assignment Canvas will randomly assign you. Beverly Serrell, Exhibit Labels, offers good
advice on this, as does the Victoria and Albert gallery text guide. Due November 17

Some labels are here

Thursday November 12

Optional. Stop by to talk about your exhibition projects, labels, or anything else.

Part III: Digital public humanities

Much public humanities work has moved online: research, outreach, and community
conversations happen in a vast array of media.

Week 11 Tuesday November 17 Introduction to digital humanities

Before class:

Read:
Haidy Geismar, Museum Object Lessons for the Digital Age

Read chapters of interest from Digital Community Engagement: Partnering Communities with
the Academy (Univ. of Cincinnati Press, 2020) or Laura K Gibson, “Facilitating Inclusivity: The
Politics of Access and Digitisation in a South African and Canadian Museum,” Journal of the
Inclusive Museum, 2012 - or other projects of interest.

In Class:

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We’ll discuss the Geismar book and break into groups to discuss chapters from the Digital
Community Engagement, and then report back to the larger group on the chapter discussed.

Week 11 November 19 Thursday

Exhibit plans advising and review - spread out over day. Here’s a signup sheet.

Week 12 November 24 Tuesday Putting public humanities online (case study: Promise Zone
LA)

Before class:

Explore:
Promise Zone Arts | Los Angeles
World Cities Culture Forum, PZA feature.
Watch:
PZA - Promo Reel

Read the documents in this folder and please be prepared to discuss them with Edie

NOTE: the PZA Our Town Submission doc is an internal doc with DCA, and is not to be
shared publicly.

You might also be interested in some of the essays in The Routledge international
handbook of new digital practices in galleries, libraries, archives, museums and heritage
sites

In class:

Visitor: Eduardo Robles (Public Humanities MA ‘17), Project Manager, City of Los
Angeles Department of Cultural Affairs

After class:

Assignment: Digital media. Review a cultural institution’s digital presence – website, social
media, online catalog, etc. – and offer advice for improvements in a memo to the museum.
Does it provide basic information? Does it encourage exploration? Who is it aimed at? The
Museums and the Web criteria might be useful. Offer suggestions for improvement.

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OR: explore Promise Zone LA further and write a memo to Edie with advice and suggestions

Due December 1.

NOTE : With your RISD partner, sign up for a time for the final critique here.

Week 12 Thursday November 26 ----- No class Thanksgiving

Week 13 December 1 Tuesday Traditional Knowledge in a Digital World

Before class:

Read:
Indigenous Communities are Using an Empowering Tool to Reclaim Their Histories in the Digital
Space

Explore:

RavenSpace publication, As I Remember It: Teachings (ʔəms tɑʔɑw) from the Life of a
Sliammon Elder, by Elsie Paul with Davis McKenzie, Paige Raibmon, and Harmony
Johnson

Davis McKenzie, Digital Remediation

TK (Traditional Knowledge) Labels from Local Contexts.

Visualising cultural heritage collections: Is the data enough? – Olivia Vane

Runaway Quilt Project: Digital Humanities Exploration of Quilting During the Era of Slavery /

CARE Principles for Indigenous Data Governance

Protocols for Native American Archival Materials

Getting Started with Mukurtu CMS

NOTE : With your RISD partner, sign up for a time for the final critique here.

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Week 13 December 3 Thursday

Optional - stop by to talk about exhibit projects, or anything else.

Week 14 December 8 Tuesday

No class

Week 14 Thursday December 10

Final exhibit project review. Each team will present for 10-12 minutes with a 15 minute
discussion with our outside critics. Website and catalog due.

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