Monday, February 20, 2017

Upcoming Deadline: Anne Ray Internship, School for Advanced Research, Santa Fe, NM


The School for Advanced Research, Indian Arts Research Center (IARC) offers two nine-month internships (September 1–May 31) to individuals who are recent college graduates, current graduate students, or junior museum professionals interested in furthering their professional museum experience and enhancing their intellectual capacity for contributing to the expanding field and discourse of museum studies. The internships include a monthly salary, housing, book allowance, travel to one professional conference, and reimbursable travel to and from SAR. One internship is open to an indigenous individual from the U.S. or Canada, and one internship is open to any U.S. or Canadian citizen meeting the application requirements.

The interns will devote their time to working on IARC educational programming, research and writing activities, and collections management and registration. Other requirements include presenting a research paper at the SAR Colloquium Series; attending a professional conference; assisting with IARC seminars, symposia, and collection tours; and working on outreach initiatives to local Native communities. Interns will also participate in interviews, photo sessions, video recordings, and exit interviews to document their experience. During the internships, the Anne Ray Resident Scholar provides mentorship and academic support to the interns.

For more information, download the Anne Ray Internship Application (PDF, 420 KB). The deadline to apply is March 1st.

Saturday, February 18, 2017

Next Week: Smithsonian Center for Folklife and Heritage Mother Tongue Film Festival Highlights Cultural Diversity

February 21-25, 2017
Various locations in Washington, D.C. 
Free and open to the public
The Smithsonian’s Recovering Voices Initiative will present films from across the globe on the occasion of its second annual Mother Tongue Film Festival. The five-day festival will open on United Nations Mother Language Day, Tuesday, Feb. 21, and will feature work representing 33 languages across six continents. The festival presents a curated selection of films on music, identity and place from communities around the world. Together, the program includes a variety of styles from drama to experimental and brings to light the value of language use and revitalization in today’s increasingly globalized world.
The festival will run through Saturday, Feb. 25, at multiple locations across the Smithsonian and Washington, D.C. Complete festival listings, times and locations are available at recoveringvoices.si.edu. Doors will open approximately 30 minutes before each show. All screenings are free and open to the public.
“Language is inextricably linked to our identity,” said Mary Linn, curator of cultural and linguistic revitalization at the Smithsonian’s Center for Folklife and Cultural Heritage. “The Mother Tongue Film Festival foregrounds the role mother tongues play in fostering a sense of self, both across the nation and around the world.”

Friday, February 17, 2017

Museum Anthropology Futures Conference: Student Travel Funding

We are pleased to announce a small graduate student travel fund provided by CMA to defray costs for travel, accommodation, and registration for the Museum Anthropology Futures conference.

Interested graduate students should submit: 1) a one-page letter stating how and why this conference will help their studies, along with (2) a budget stating how much funding is requested (including other potential sources for financial support), and (3) a current CV. Please send the letter to: museumfutures2017@gmail.com. Deadline for applications for the graduate student travel funds is March 31, 2017.

Remember to check the Museum Anthropology Futures Facebook page for updates!

Thursday, February 16, 2017

Call for Submissions: CMA in Anthropology News


Museums are spaces where peoples of different backgrounds, cultures, and faiths can come together to promote dialogue and understanding. In the wake of global political upheaval, what can museums and heritage sites do? How are museum anthropologists and cultural heritage professionals reacting to threats to funding, speech, or the essential exchange of international ideas, exhibitions, and objects? What can our work in museum anthropology, material culture, or cultural heritage do, say, or advocate for in the current environment? Submit your proposal now!

The Council for Museum Anthropology's regular column in Anthropology News, the newsletter of the American Anthropological Association, is dedicated to publishing the most current thinking in our field. In addition to publishing news of the CMA, our CMA News column offers a space to publish our most relevant and innovative work fast online. (One piece from each section will be chosen each year for print publication.)

Send your proposal, half (500-700 word) or full (1000-1400 word) piece to Diana E. Marsh at: dmarsh@amphilsoc.org

CMA news columns have rolling acceptance and will be published online approximately two weeks after the final submission has been accepted and approved.


In addition to work on current events, for the 2017 year, we especially welcome submissions on the following topics:
museum anthropology and the public
curatorial conundrums (e.g. difficult heritage/the "interrogative" museum)
current exhibitions (reviews or curatorial perspectives)
collaboration
student work
teaching and methods

Submissions must be received by e-mail in Microsoft Word or other standard text format. Authors may submit up to three images as separate files. Credit or caption text should be submitted as part of the text document. Authors must also provide their name, title, institution, and a short, one- to two-sentence bio to be included with their piece.

Submissions must be no longer than the specified word limit (700 for half pieces, 1000 for full), including title, photo captions, and bio.

Wednesday, February 15, 2017

Bamiyan Cultural Center in Afghanistan to Open in 2018

ArtFourm
February 3, 2017

"Bamiyan Cultural Center—a state-of-the-art complex and research facility dedicated to preserving culture, raising awareness about heritage, and enriching community life by organizing a series of cultural events including festivals, films, music, and dance—in Bamiyan, Afghanistan, is scheduled to open in the summer of 2018, Hannah McGivern of the Art Newspaper reports.

Located at the UNESCO world heritage site where the Taliban razed the sixth-century monumental rock-cut Buddha statues, known as the Bamiyan Buddhas, in 2001, the 26,372-square-foot facility designed by the Argentinian firm M2R Arquitectos will include two galleries, a performance hall, and a tea house. The $2.5 million project is being funded by the South Korean government. The Afghan ministry of urban development has approved $1.5 million to build a garden at the site.


Despite UNESCO’s decision not to rebuild the statues, German archaeologists have partially reconstructed one of the Buddha’s feet. While the Afghan government supports the conservation project, UNESCO continues to dismiss it. “We think any reconstruction will essentially be a fake because of lack of original material,” UNESCO’s assistant director-general for culture, Francesco Bandarin said. UNESCO will release further recommendations on the estimated $12 million project in October."

More here.

Sunday, February 12, 2017

Position Announcement: Co-Production and Engagement Curator, Derby Museums

Department: Derby Museums
Reference: CPEC02World
Salary: £20,215 Pro Rata
Hours: Two days a week
Contract Type: Two year contract
Location: Museum & Art Gallery
Closing date: Monday 13 February at 5pm
Summary Description
Do you have a passion for connecting communities with museums and their rich cultural heritage? Are you a friendly, enthusiastic and highly driven creative person who can communicate confidently and effectively?
If the answer is yes, you may be exactly what we are looking for.
We are a charitable trust, managing Derby’s three museums with their extensive and world-renowned collections. Our programme focuses first on transforming our visitors’ experience of these significant collections through co-produced displays, innovative presentation and interpretive methods.
The Role
The Co-Production and Engagement Curator position is a creative, hands-on role working with visitors, communities and volunteers to display, document and interpret our World Cultures collections in a new and inspiring way. Based at the Museum & Art Gallery, as part of a creative team, you will be responsible for developing and delivering workshops with communities that shape and inform each step towards the exhibition.
The ideal candidate will have experience of working closely with a diverse range of communities, sharing historical objects and facilitating discussions, an understanding of different display methods and interpretive practice, be aware of co-production methods and willing to experiment.
The Person
You will have an eye for detail and have a good understanding of curatorial practice in the broadest sense. You will be a good team player and enjoy exploring ideas, experimenting and researching. You will have experience of working in a cultural venue and have excellent communication skills.
Employee Benefits: 20 days + bank holidays (pro rata), Flexible working, pension, mileage allowance payable on authorised business travel.
The closing date for receipt of applications is Monday 13 February at 5pm
Interviews will be held on Tuesday 21 February at the Museum & Art Gallery, The Strand, Derby DE1 1BS.

Saturday, February 11, 2017

Call for Session Proposals: Heritage Across Borders - Association of Critical Heritage Studies, 4th Biennial Conference

Heritage Across Borders - Association of Critical Heritage Studies, 4th Biennial Conference
1-6th September, 2018, Zhejiang University, Hangzhou, China
Call for Session Proposals
Deadline 31st March, 2017


The global rise of heritage studies and the heritage industry in recent decades has been a story of crossing frontiers and transcending boundaries. The 2018 Association of Critical Heritage Studies conference, held in Hangzhou, China, thus takes 'borders' as a broadly defined, yet key, concept for better understanding how heritage is valued, preserved, politicised, mobilised, financed, planned and destroyed. Thinking through borders raises questions about theories of heritage, its methodologies of research, and where its boundaries lie with tourism, urban development, post-disaster recovery, collective identities, climate change, memory or violent conflict. Held in the city of Hangzhou, China, Heritage Across Borders will be the largest ever international conference in Asia dedicated to the topic of heritage. It has been conceived to connect international participants with local issues, and in so doing open up debates about the rural-urban, east-west, tangible-intangible and other familiar divides.

Borders tell us much about the complex role heritage plays in societies around the world today. Historically speaking, physical and political borders have led to ideas about enclosed cultures, and a language of cultural property and ownership which marches forward today in tension alongside ideals of universalism and the cosmopolitan. More people are moving across borders than ever before, with vastly different motivations and capacities. What role can heritage studies play in understanding the experiences of migrants or the plight of refugees? And what heritage futures do we need to anticipate as the pressures of international tourism seem to relentlessly grow year by year?

Heritage Across Borders will consider how the values of heritage and approaches to conservation change as objects, experts, and institutions move across frontiers. It will ask how new international cultural policies alter creation, performance, and transmission for artists, craftspersons, musicians, and tradition-bearers.

What are the frontiers of cultural memory in times of rapid transformation? How can museums engage with increasingly diverse audiences by blurring the distinctions between the affective and representational? And do digital reproductions cross important ethical boundaries?

One of the key contributions of critical heritage studies has been to draw attention to the role of heritage in constructing and operationalising boundaries and borders of many kinds-national, social, cultural, ethnic, economic and political. In what ways do international flows of capital rework indigenous and urban cultures, and reshape nature in ways that redefine existing boundaries?

We especially welcome sessions and papers that challenge disciplinary boundaries and professional divides, and explore cross-border dialogues. What lessons can be learned from Asia where the distinctions between the tangible and intangible are less well marked? And how can researchers bridge cultural and linguistic barriers to better understand these nuances?

Organised by Zhejiang University this major international conference will be held in Hangzhou, China on 1-6 September 2018. We welcome session proposals which address the conference theme of boundaries and borders, and cluster around the following suggested sub-themes:

Subthemes:
Heritage Trafficking
Negotiating linguistic borders
Heritage and human/non-human relations
Museums challenging boundaries
Crossing the indigenous/non-indigenous divide
The heritage of diaspora and refugees
The planned and unplanned spaces of heritage
Boundaries of digital reproduction
Memory and forgetting
Geographies of Craft
Asia and the world
Extraterritorial heritage
Regular Sessions
Heritage across disciplines
Nations, Regions, Territories
Theorising heritage as border
Tangible and intangible
Connecting the rural and urban
China and the region (One Belt One road)
Cross cultural methodologies
Nature-cultures
Cross border conflicts and cooperation
Bridging practice and academia
Past/present/future
Gender and heritage

Regular Sessions will be allocated one or more standard blocks of 1.5 hours, which will usually consist of four papers of 20 minutes duration (normally 15 minutes for each paper with 5 minutes following each paper for discussion and the remaining ten minutes in each block used for introductory and concluding remarks). Proposals for regular sessions should include the following details:

session type (i.e. regular session);
a session title;
the names, affiliations and contact details of one or more session organisers/co-organisers;
up to 300 word session abstract;
a list of confirmed speakers, contact details and paper titles;

an indication of whether the session will be closed or open to advertisement for further participation via the conference website when we call for individual paper submissions.
Panel Discussions

Panel Discussions will be allocated a standard block of 1.5 hours and will normally consist of a discussion amongst a group of 4-5 panellists around a specific set of questions or themes. Proposals for panel discussions should include the following details:
session type (i.e. panel discussion);
a panel title;
the names, affiliations and contact details of one or more panel session organisers/co-organisers;
up to 300 word panel session abstract;

a list of 4-5 confirmed speakers and their affiliations and contact details.
Please send your session proposals to the following email address: 2018achs@zju.edu.cn
For more information please visit the Conference Website

Thursday, February 09, 2017

MoMA Protests Trump Entry Ban by Rehanging Work by Artists from Muslim Nations

The New York Times
Jason Farago, February 3, 2017

In one of the strongest protests yet by a major cultural institution against President Trump’s executive order on immigration, the Museum of Modern Art has rehung part of its permanent collection with works by artists from some of the majority-Muslim nations whose citizens are blocked from entering the United States.

Seven works by artists such as the Sudanese painter Ibrahim el-Salahi, the Iraqi-born architect Zaha Hadid, and the Los Angeles-based Iranian video artist Tala Madani, were installed Thursday night in MoMA’s fifth-floor galleries, replacing seven works by Picasso, Matisse and Picabia, among other Western artists. Alongside each work is a wall text that plainly states the museum’s intentions: “This work is by an artist from a nation whose citizens are being denied entry into the United States, according to a presidential executive order issued on Jan. 27, 2017. This is one of several such artworks from the Museum’s collection installed throughout the fifth-floor galleries to affirm the ideals of welcome and freedom as vital to this Museum as they are to the United States.”

More here.