Museum Anthropology Review 2019-07-24T19:58:58-04:00 Jason Baird Jackson Open Journal Systems <p><em>Museum Anthropology Review</em> (MAR) is an open access journal whose purpose is the wide dissemination of peer-reviewed articles, reviews, essays, project reports, and other content advancing the field of material culture and museum studies, broadly conceived. <em>Museum Anthropology Review</em> is the scholarly journal of the Mathers Museum of World Cultures. ISSN&nbsp;1938-5145.</p> Histories and Realignments: Museum Anthropology Review in a New Era 2019-07-24T19:58:43-04:00 Jason Baird Jackson <p><em>In an editorial, </em>Museum Anthropology Review<em> editor Jason Baird Jackson discusses the history of the journal as a context for explaining plans to reorient it to focus more closely on the work of the Mathers Museum of World Cultures and its museum and community partners; reducing the amount of unsolicited content published and increasing invited content arising from the research, exhibitions, and outreach work of the museum and its collaborators.</em></p> 2019-03-29T00:00:00-04:00 ##submission.copyrightStatement## Traditional Arts Indiana’s Bicentennial Exhibition 2019-07-24T19:58:53-04:00 Jon Kay <p class="Normal1"><span style="font-size: 12.0pt; line-height: 115%;">This project report describes the planning, creation and touring of a 26-panel traveling exhibition about Indiana folk arts staged for the bicentennial of Indiana’s statehood. The exhibition, its catalogue, and related public programs were produced by Traditional Arts Indiana, Indiana’s official traditional arts service organization based at the Mathers Museum of World Cultures, Indiana University, Bloomington.</span></p> 2019-03-29T00:00:00-04:00 ##submission.copyrightStatement## Exhibiting Moments: Qualla Arts and Crafts Mutual at the Mathers Museum of World Cultures 2019-07-24T19:58:49-04:00 Emily Buhrow Rogers <p>In 1973, Indiana University’s Mathers Museum of World Cultures purchased a selection of works from the Eastern Band of Cherokee Indians’ Qualla Arts and Crafts Mutual, one of the oldest Native American-owned art and craft cooperatives in the United States. In this paper, I discuss, from my perspective as co-curator, the development of the museum’s 2015 exhibition of that collection, <em>Cherokee Craft, 1973</em>. Through this project, the curatorial team sought to creatively evoke the Qualla cooperative at the dynamic historical moment these works represented, while also contending with significant resource limitations. What resulted was an exhibit organized around the concept of a moment in time. This alternative presentation strategy gave us an opportunity to explore a variety of important topics and ongoing processes specific to the institution in the early 1970s. In this paper, I discuss how this approach allowed us to present a plurality of voices, while also showcasing many of the cooperative’s most renowned makers. I also position <em>Cherokee Craft, 1973</em> as an exhibit curated by graduate students for a university audience: it was a site of innovation and representational experimentation for its creators, unique to its institutional type and its own particular moment in time.</p> 2019-03-29T00:00:00-04:00 ##submission.copyrightStatement## Shapes of the Ancestors: Bodies, Animals, Art, and Ghanaian Fantasy Coffins 2019-07-24T19:58:45-04:00 Kristin Otto <p>This project report describes the research and presentation of Shapes of the Ancestors: Bodies, Animals, Art and Ghanain Fantasy Coffins, an exhibition focusing on the workshop of Ghanain fantasy coffin maker Paa Joe. The exhibition was on display at the Mathers Museum of World Cultures in Bloomington, Indiana from August 14 through December 16, 2018.</p> 2019-03-29T00:00:00-04:00 ##submission.copyrightStatement## The American Folklore Society-China Folklore Society Folklore and Intangible Cultural Heritage Project, 2013-2016 2019-07-24T19:58:54-04:00 C. Kurt Dewhurst Timothy Lloyd <p>Emphasizing its museum-focused sub-project, this report describes the second phase of the China-US Folklore and Intangible Cultural Heritage Project (2013-2016). Supported by the Henry Luce Foundation, the larger project links these two national scholarly societies in a program of professional exchanges, scholarly meetings, and joint inquiry around issues of intangible cultural heritage policy and practice. The museum sub-project has included joint exhibition development work, travel to local communities in the United States and in Southwest China, and other collaborative initiatives. This report describes the project's history, funding, outcomes, and some lessons learned.</p> 2019-03-13T00:00:00-04:00 ##submission.copyrightStatement## Ramblings in Search of an Exhibition: Beadwork Adorns the World 2019-07-24T19:58:58-04:00 Marsha Bol <p>In this project report, exhibition curator Marsha Bol discusses the origins and scope of the 2018-2019 Museum of International Folk Art exhibition Beadwork Adorns the World. The exhibition presented a worldwide survey of beadwork arts in their cultural and social contexts.</p> 2019-02-19T00:00:00-05:00 ##submission.copyrightStatement## Sensefield: An Exhibition of Experimental Ethnography 2019-07-24T19:58:51-04:00 Gabriele de Seta Kerim Friedman <p>This project report describes Sensefield: An Exhibition of Experimental Ethnography, an event showcasing works at the intersection of art and anthropology held in October 2017 in Taipei, Taiwan.</p> 2019-03-29T00:00:00-04:00 ##submission.copyrightStatement## Beyond Compare: Art from Africa in the Bode Museum 2019-07-24T19:58:47-04:00 Kristin Otto <p>This work is an exhibition review considering Beyond Compare: Art from Africa in the Bode Museum, a project of the Bode Museum.</p> 2019-03-29T00:00:00-04:00 ##submission.copyrightStatement## Museum Cooperation Between Africa and Europe: A New Field for Museum Studies (Laely, Meyer, and Schwere, eds.) 2019-07-24T19:58:56-04:00 Kristin Otto <p>This work is a book review considering the title <em>Museum Cooperation Between Africa and Europe: A New Field for Museum Studies</em> edited by Thomas Laely, Marc Meyer, and Raphael Schwere.</p> 2019-02-19T00:00:00-05:00 ##submission.copyrightStatement##