At the Peabody Museum of Archaeology and Ethnology — Harvard

Last week we had the privilege to visit and explore Harvard’s Peabody Museum of Archaeology and Ethnology for our weekly workshop. Here we were introduced to Allison Meadows McLaughlin, who is Curatorial Assistant at the museum, and the Peabody’s current interns. As well, we met with Shelly Lowe, the Executive Director of Harvard University Native American Program, who presented us with valuable insight into the Newberry Library, and fellowship and internship opportunities. From there Allison took us on a Behind-the-Scenes tour of the storage spaces that holds the museum’s collection.

Now the Peabody Museum of Archaeology and Ethnology was founded in 1866 by George Peabody and is one of the oldest museums in the world devoted to anthropology and has one of the most comprehensive collections of North American archaeology and ethnology in the world.

Such examples include (from Museum History):

• The largest collection of artifacts known to have survived the Lewis and Clark Expedition of 1804–06.
• Important collections from South America, including more than 5,000 ancient Peruvian textiles.
• The finest archaeological documentation of the Maya, as well as the most extensive and varied collection of Mesoamerican artifacts and sculpture outside Mexico.
• Early and rare historical collections from the Pacific Islands, especially Hawaii, Fiji, and Tonga.
• One of the ten largest photographic archives, documenting the cultures of indigenous peoples across the world.
• A strong relationship to indigenous communities whose histories and cultures are reflected in the collections.

With that said, much like PEM, there are artifacts that are rare and have been  in the museums possession before NAGPRA’s inception.

So while on the tour I can not help but browse the massive storage area…

…till I come to the area that says, “Plains.” And of course, interest is peaked.

And there in a collection of over a million artifacts I find a small section of a handful of drawers dedicated to Plains Cree.

But as much as I would like, it ends there. The artifacts in possession are remarkable, however, three of the artifacts stand out, one that looks like a knife but is either a bear claw or eagle talon, and would most likely have been used in ceremonial practices that I have only read and heard of but never attended, and then two “dolls” with actual human hair, most likely an enemy of the Plains Cree, i.e. probably Blackfoot.

Which brought me to the question of what happens with repatriation to international communities or acknowledging that you have an Indigenous cultures artifacts who are not federally recognized. Karen Kramer, who is the curator of Native American Art at PEM, expressed that though not legally bound to repatriate internationally, there lies the hope that the message and significance of NAGPRA will live on without legalities. Such as in April of this year, PEM repatriated masks to the Maori of New Zealand, it was a long process but the artifacts are back home.

However, the “dolls” are another interesting predicament, if repatriated, where do they go? The Plains Cree community? or the enemy nation? An interesting and yet difficult predicament faced by those in the museum and heritage profession.

We were however, able to explore further and the following images are from the storage collection at the PMAE:

 

Bows

Arrows

Rugs

PMAE even has colonial garments from after contact

The following image of a shield that presents a leopard like animal and interestingly while I interned at the Royal Alberta Museum we had a similar ledgar painting. We could not figure out what is was and I had no idea but based on this artifact that is found in Cambridge, MA, I think we might just have found a lead.

For more information about PMAE and HUNAP see:

https://www.peabody.harvard.edu/

http://www.hunap.harvard.edu/

Curatorial Collections Practice at PEM

In 1799, the sea captains and explorers of the “New World” established a place where they could easily access maps and other means of navigation for their personal and work use, and so the East India Marine Society was created and through those explorations and journeys created personal lavish and diverse cabinet of curiosities. Eventually, the society became the Peabody Academy of Science in 1867 and was named after Philanthropist George Peabody in order to enhance the “promotion of science and useful knowledge” through natural history. The academy’s name would change in 1915 to the Peabody Museum of Salem that presented natural history, ethnology, and maritime art and history.

In 1821, the Essex Historical Society was formed and provided access to the social history of Essex county, and in 1833 would become the Essex County Natural History Society. In 1848, the Essex Institute was established and contained regional art, history, and architecture.

In 1965, Captain Robert Bennet Forbes House Museum in Milton, MA was established and comprised historic houses and family histories with much of the collection devoted to Asian art, and so in 1973, the Museum of the American China Art was formed and later in 1980 would change their name to the China Trade Museum.

In 1867, the Essex Institute merged their natural history and archaeology collections to the Peabody Academy of Science and in 1984 the China Trade Museum would merge with the Peabody Museum of Salem, and in 1992, all three of these separate institutions and societies would become the Peabody Essex Museum.

In order to sustain such a large base of priceless historical artifacts and objects, PEM has established numerous policies to ensure that their integrity, condition, and if entrusted to PEM on loan, etc. can be returned. With that said, the policies also include an copyrights where applicable, and abide to state and federal laws, including NAGPRA. As old as each institution and society we read earlier, PEM like many institutions do have in their hands, Native American remains. PEM however, was one of the first institutions to repatriate human remains to descendant communities in the early 1990s and much is that is accredited to PEM Executive Director and CEO Dan Monroe, who assisted in writing and promoting the act.

This weeks workshop was led by:

• Karen Kramer (Curator of Native American Art & Culture)
• Will Phippen (Director of Museum Collection Services)
• Alyssa Langlais (Assistant Registrar)

Who presented valuable insight into the registration, collection documentation, and acquisition processes that PEM and it’s staff endure.  PEM’s collection is stored physically and virtually through an extensive database, which as we speak is currently being updated. Within every artifact and objects “file” there is not only an extensive description,  age, etc. but also where the item comes from. Karen was able to show us one of the recent acquisitions that she obtained from Navajo artist Armond Lara, that  was initiated by a proposal, presented to the Chief Curator, Lynda Hartigan, and Executive Director, Dan Monroe, and then is presented in front of a  selection committee. A long and tedious task that broadens and enhances PEM’s collections.

This workshop overall aided in understanding the process of acquiring and managing a collections that are hundreds of years old and have an extensive depth and range cross culturally and historically.

Museum Administration & Management at PEM

Understanding how a museum continues to function and operate relies on two main areas that I have seen so far, granted you would not have a museum without artifacts and fine pieces of exceptionally beautiful art such as those found in PEM, but how a museum works and operates depends highly on the Museum administration and management teams.

Our workshop was led by:

• Nancy Hammer – Director of Human Resources
• Anne Munsch – Chief Financial Officer
• Bob Monk – Chief of Facilities and Security
• Dan Lohnes – Loss Prevention & Risk Manager

All of these individuals play an integral role in PEM’s operations and longevity. Anne Munsch began our workshop presenting the long range financial plan of PEM and how this is closely linked to a strategic plan. From dynamic strategies to ambitious and engaging exhibitions and programs to careful financial management,  and to greater financial stability of PEM’s endowment are at the forefront of the museum, and any museum for that matter. Museums such as PEM operate on staggering budgets, as seen in my previous blog, and can be seen at the Association of Art Museum Directors (AAMD) Statistical Survey. The operating expenses of PEM, based on the Art Museum average is 2-3% higher in regards to Exhibitions and Publications, and Program Services, while the Support Services are below the average, but from what is presented, there is give and take when operating any museum, or historical/heritage institution. The one thing that stands out about PEM is their operating revenues, which are based substantially on endowments and contributions with a small fracture based on government grants.

Which brings us to endowment gifts and expendable gifts; often when you hear about how art museums operate you hear a lot about “endowments”, etc., etc., but endowments offer financial stability which creates a perpetual stream of financial support that is easy to predict than grants, membership, and so on, and aids in long term support. As well, it is attached to a legacy, which will often outlive the donor and subsequently influences future generations support. An endowment, to clear up between an investment are resources that are donated to tax-exempt organizations with the stipulation that only the income earned by the assets will be used while the original gift remains intact. We will see two types of endowments, a true endowment or a quasi endowment, where a true endowment has the resources contributed with the stipulation by the donor that only the income earned by these assets can be used while the original gift is kept intact. Quasi endowments are resources that are a received by an organization where the governing body has designated that the gift will be treated as an endowment (i.e. the original gifts will be held in perpetuity). At the same time, these endowments are within an individual larger endowment fund that is broken down into operating endowments, acquisition endowments, and restricted endowments. Operating endowments are earnings used to support operating budget activities, while acquisition endowments are earnings used to support art acquisitions, and restricted endowments are earnings used to support other specific activities not included in the operating budget.

Often, an organization will designate only a portion of the cumulative investment return from its endowments for the support of current operations with the remainder retained to offset the effect of inflation on the operations of future years and potential market declines. PEM is governed by state law, and so no more  than 7% can be spent without being imprudent. When working with endowments there will be an investment committee that is responsible for establishing an investment policy, hiring/firing investment consultants, making investment decisions, monitoring investment performance, and monitoring compliance with investment policy. Now I could go on with non-compliance legalities, but the underlying point to get across is that a museum is bound to compliance and agreements to ensure it functions, or simply to “Live by the Budget.”  However, over half of PEM’s operating expenses fall into personnel, or HR.

Nancy Hammer presented that in order for PEM to grow it is essential to hire individuals that want to grow. From training other employees to one day take over your own job to building healthy and assertive relationships, there is a lot of factors to take account of. Realistically it comes down to understanding the big picture, and understand what the goals of the organization are. Our focus then turned to Bob Monk and Dan Lohnes in regards to maintaining the museum through facilities overseeing the museum’s humidity levels, the conservation of structures, etc., and the overall security and protection of the museum. These departments are an integral component of the longevity of PEM, especially when the museum expands!

With Bob Monks on the left

A Native American Fellow

As you may or may not know, I am currently a Native American fellow at the Peabody Essex Museum (PEM) in Salem, Massachusetts. For the next ten weeks I will be actively involved with the Exhibition Design team at the museum and what I have seen so far is none stop! But it is incredible! So how did I get here? Well I decided to see what my options were and where I could possible go for my summer placement for my MA program, and so I searched and applied to varying institutions. I applied to three places with a fourth in discussions and luckily I was able to choose from all of them, but out of Fort Edmonton, the National Museum of the American Indian in New York, and Six Nations Legacy Consortium (though I helped a little for two weeks), I decided on PEM.

Peabody Essex Museum offers a Native American Fellowship program that aims to promote and support up and coming Native American  museum and heritage students and/or young professionals. At the same time, PEM educates its employees by having us as ambassadors for our specific Tribes and First Nations, so those in the field can learn and grow at the same time we are about Native American culture practice and belief.

After I landed in Boston, I was welcomed by Michelle Moon, the Assistant Director for Adult Programs and new coordinator for the Native American Fellow Program.

From there we traveled down the one till we hit our exit.

From there I got to see the sights of Salem and was excited for what my future 10 weeks would look like.

The next day we had an amazing welcoming by the museum staff and where met and were greeted by Annawon Weeden, a member of the Wampanoag Tribe (Mashpee), who led the ceremony by welcoming us to his and his ancestor’s home. The Wampanoag were the Natives (and who we often fail to remember) that had “Thanksgiving” with the pilgrims. It was a great welcoming and Annawon gifted us with wampum jewellery, a blessing, and sweetgrass for those who use it when we are homesick or need to talk to the Creator and what not.

(Images above and below courtesy of Annawon Weeden)

So cool right?! From a movie, but I am not quite sure?!

Annawon was boss and really welcoming, and so from there we then took a tour of PEM and the galleries and exhibits (but no pictures were allowed of either) and so I present my work place, which is amazing on its own.

The main entrance that is in process of being expanded and under construction.

Some of the current exhibits.

Inside, notice how the roofs are different designs, these are to replicate the tomb stones in the area, which interestingly PEM is located right across the old burial grounds of the Salem Witch Trials of 1692. So every day I walk a path of history.

Inside

We then went for a tour of Yin Yu Tang:

(Panoramic View: Courtesy of Dominic Henry)

Some history and background information concerning Yin Yu Tang, and I quote:

During the Qing Dynasty (1644-1911), a prosperous merchant surnamed Huang built a stately sixteen-bedroom house in China’s southeastern Huizhou region, calling his home Yin Yu Tang. Among the many literary interpretations of this name is the desire for the home to shelter generations of descendants. Yin Yu Tang was home to the Huang family for more than two hundred years until 1982 when the last descendants moved from the village. (From http://www.pem.org/visit/yin_yu_tang.php)

Though we could not take pictures inside we were able to take one outside. And so our experience led us to lunch where we had Narragansett food, which was prepared by a 2012 fellow’s family. It was a nice touch to the beginning of the stay; with maple cranberry salmon, some three sisters soup, another soup that I do not recall the name of but had clams (which I did try and then settled for defeat), and a journey cake, which is a corn cookie really.

And for dessert we had a corn pudding which was unbelievable.

So the museum has really opened their arms to us and we were even invited to the opening reception and dinner for “In Conversation: Contemporary African American Art”. The experience of an art museum is different than any opening I am familiar with and I really enjoyed that, and with exhibit design I am able to understand that sections in an exhibit are not always grouped together by theme because “In Conversation” deals with similarities and parallels in the paintings and sculptures rather than a period of time such as the Civil Rights Movement.

Next in the works for Exhibit Design is “Faberge Revealed,” which Karen Ceballos is taking on, together she, Dave Siebert, Richard Pepin, Mic Billingsley and Kurt Weidman, are the Exhibit team, and they are hilarious and brilliant beyond words. I rather enjoy how well they work together to get things done and  I know its not always easy but they are in tune with each other.

From there we begin, and where I come into play, is with “Future Beauty” Avant-Garde Japanese Fashion,” which is beginning to come to life. Now in  exhibition design, and often with exhibits that are not tangible or physically available, the team is able to create 2D and 3D images and diagrams showcasing where each artifact will be. From the creation of the artifact itself to how the exhibit will look like, the Exhibition Design team create what will eventually be. Now as we all know, nothing is ever set in stone, so anything can change. But, so far it has been amazing!

 

You will find below a picture of Mic, who works with me in Exhibit design, Karen Kramer, who is the Curator of Native American Art, exiting Director of Grants Administration Dan Elias who also was the host of Antiques Roadshow (JEALOUS?!), Jered Canty, Catawba (South Carolina) Fellow who will be in curation, myself, and Jennifer Mc Carty, Iñupiaq (Alaska) fellow in Education. Missing is Dominic Henry, who is Navajo (New Mexico) and will be working in Facilities and preservation.