8 Agosto Hanoi
Il giorno extra ad Hanoi si è rivelato molto produttivo.
Alcuni di noi hanno visitato il museo etnologico e il museo di belle arti, mentre altri sono andati a vedere ciò che resta della città imperiale.
Entrambi i musei erano davvero belli, il museo etnologico (40000 Dong) è definito dalla guida come uno dei migliori musei del Vietnam, ed è in effetti molto interessante e ben fatto. Propone una panoramica sulla cultura delle 54 etnie presenti in Vietnam, dividendole per i 5 ceppi linguistici a cui appartengono.
Anche il museo di belle arti (20000 Dong) merita una visita, soprattutto per il primo piano dove sono esposte le opere più antiche.
Alle 11 di sera è partito il treno notturno che ci ha portato a Dong Hoi, la stazione ferroviaria più vicina al parco naturale di Phong Nha-Ke Bang, dove ci sono le grotte più grandi del mondo.
(Tra le foto un disegno fatto da due nostri Tommasi, Spugna e Thomas Cian, al museo di belle arti)
Between 1928 and 1934, the French artist Paul Coze made four trips across western Canada collecting ethnographic objects for the Musée d'Ethnographie (Trocadero) in Paris and the Heye Foundation in New York. An ardent admirer of Native American cultures, Coze helped organize the Cercle Wakanda, a group of Parisian “Indian hobbyists” who staged theatrical productions on Aboriginal themes. Coze also assembled a substantial private collection of ethnographic material from the Canadian Plains and Subarctic. One hundred and twenty two items from his personal collection, ranging from garments and horse gear to model canoes and games, now form part of the Ethnology collections at the Royal Alberta Museum in Edmonton. They are accompanied by 58 photographs and 119 paintings, many of them portraits of individuals whom Coze met during his travels, as well as props used in Cercle Wakanda productions. Together with Coze’s writings, published (Moeurs et Histoire des Indiens Peaux-Rouges and Wakanda, among others) and unpublished, this assemblage of diverse objects offers a unique perspective on Aboriginal life of the early 20th century as well as European attitudes towards Aboriginal peoples and cultures.
When I was a little girl, my family took yearly road trips from South Carolina to West Virginia and Virginia to see our grandparents. I always loved how they held onto a plethora of toys from the early to mid-20th century for all the grandchildren and eventually great-grandchildren to play with. We had access to old building blocks, dolls, train sets, board games, little green army men, playing cards and more. Some of my fondest memories include those of my parents, aunts, uncles and grandparents telling stories about the toys.
As an adult, I can’t help but get excited when I see toys in museums, archives and at historic sites. One of my favorite parts of the Culin Archival Collection is the Games series. Stewart Culin, the Museum’s first Curator of Ethnology, collected correspondence, manuscripts and typescripts, articles, pamphlets, and newspaper clippings regarding games from various countries and cultures around the world. The series includes a number of pen and ink or colored drawings of playing cards, dice, dolls and board games; and a small leather-bound notebook with Culin’s notes regarding Chinese games, dominoes and other forms of games. Culin also took notes describing the names and rules for games of marbles used in various street games played by children in Philadelphia and Brooklyn. In fact, Culin was an authority on games and his Games of the North American Indians and Korean Games books are still referred to today as landmark works. The #BKMLibrary holds numerous publications regarding Culin’s expertise.
A recent reference request sparked my interest in playing cards. The researcher asked for a scan of an advertisement located in the Playing Cards subseries. I thought about how my grandparents had several decks of old playing cards and taught us how to play Rummy. I remember being more interested in the various decks of cards and asking how old they were and where they came from. As I was looking through the folder I came across some really interesting stuff, including hand drawings of Mexican playing cards (top). Culin collected different types of playing cards and catalogues, advertisements, pamphlets and clippings on various types of cards and card games. I may have spent a little longer than I normally would on this type of request, but I couldn’t resist going through the all the folders. It’s such a delight to work with a collection that brings back so many happy memories!
Yeees mom’s bf knew immediately a person (a street musician) he’s friends with who would be a great interview informant. He’s gonna be in touch with him this weekend. I just can’t do the actual interview very soon, since we’re gonna be having like three lectures on interview techniques, and we have to get permission slips, and stuff like that.
I’m nervous but kinda excited? I think I might be a good interviewer.
Now I just gotta familiarize myself with 80′s music, especially in Finland, so that I know even something about the topic beforehand. Not a bad homework, huh?
Aahh what to do with this energy, I don’t want to clean??
- A White guy is fed up painting a cabin for his little cousins. Even if his Black girlfriend stays with him to help him and spend time with him, he tells how fed up he is : “Oh my God! I don’t want to do this shit all day long. I am not a Nigger!” … However he claims that he can’t be racist because he is deeply and sincerely in love with a Black young lady… Do not mistake LOVE for FETICHISM!
- A White Master student of Ethnology decides to interrupt the Black student who presents her work on racial issues in the West Indies : “Oh! haha something just came in my mind. Do you know the difference between Black people and a tire? A tire doesn’t sing the Blues when you put chains on it!” And the whole audience willingly laughs …. However they claim that it is not racist because …well, it is just a joke! Do not mistake HUMOR for PURE HATRED!
- A White girl is pissed off because she failed an exam. She also seems to be impressed because her so-called Black friend got the highest score : “I know you but hey! You really are full of surprises! You are smart for a Black guy!” …. However, she claims that she is not racist because she has Black, Latino and Asian friends….Do not mistake FRIENDSHIP for QUOTA!
- A White mother constantly tells her daughter that she is beautiful because she is mixed with blond and curly hair, green eyes, light skin, and no big nose or other Negroid features. She doesn’t want her daughter to speak Black, act Black or see her Black family. … However she claims she absolutely can’t be racist because she married a Black man and have half-Black children. Do not mistake WANTING THE BEST FOR YOUR KIDS for FEEDING ALIENATION!
We all are a Black friend, a Black student, a mixed child, a Black co-worker, etc … We all experienced an insane situation at least once in our short lives. But we also are the ones who try to excuse racist behaviours. We voluntarily close our eyes because we think that if we do not see the evil, the evil does not exist. Do not mistake OPTIMISM for BEING IN DENIAL!
Do not be fooled! If they have to add “But I’m not racist”, they clearly are.Tariq Nasheed wrote a really relevant comment on his IG about how White supremacy works after we discovered a picture of one of the racist girl at Desert Vista High smiling and hugging her Black (boy)friend : “People can smile in your face, and be hugged up with you, and even lay up with you, and at the end of the day, they will still remain loyal to the system of White supremacy.” https://www.instagram.com/p/BA3rhYizXHU/?taken-by=tariqelite
I’ve researched some weird fucking things for the sake of my writing, but I think “where to find large quantities of pigeon dung” and “how much pottasium nitrate is there in pigeon dung” which in turn led me to “manure: a social history” and “the ethnology of Iranian pigeon dung collection” takes some beating
Dedicated to exploring the rich diversity of Laos’ ethnic minorities, the Traditional Arts and Ethnology Centre friendly relations Luang Prabang is a great array to begin a Northern Asia vacation. An independent non-profit museum, the column seeks so as to acquaint visitors over and above a outweigh piercing of the ethnic groups that take residence at the region. Situated at the foot of Mt Phosui, the allelomorph building turn long standing exhibitions documenting recognized costumes, tools, and artifacts used by tribes including the Hmong, Akha, Tai Dam and Kmhmu. Laos is home to 49 ethnicities consisting pertinent to over 160 ethnic groups, form himself something of cultural helter-skelter.
For those who are interested into learning new speaking of the cultural heritage and fascinating history of Lao PDR, the Traditional arts and Ethnology Centre is in plain words the set to start! As well as this, the straddleback colosseum ‘Le Patio Caf is well worth a have an entree. The French-style caf features ceiling fans, resigned wicker chairs and WiFi, amid a striking enormous backdrop. Menial up likable dishes that include speakeasy delights and a picking of baked goods, it is not unusual to find the local expats tapping in in favor of a coffee while enjoy the relaxed surrounds.
Duration this meditative go astern is day after day praised for its temples and UNESCO World Heritage Situate status, the people play a charitable part an in what one might describe as being the laid back bent and inherent charm in relation to the parts. Visiting the sustainably motivated Traditional Arts and Ethnology centre prior on route to doing a homestay or trek pining no doubt enhance the experience. This is also a great place to spokeshave up some integral and expert handicrafts, art, textiles and jewelry.
Two in relation with the world’s top-three hotels accommodate guests in safari tents… just twin Kamu Lodge. Our 20 free-standing lodges are hybrids actually. Thick-walled tents coop up out the elements while a sturdy shock roof guards against rain and lunation. However rustic the consider and feel, Kamu’s mattresses underwrite a good night’s peacefulness. In the spirit of sustainable lodging, solar panels unchecked to the roofs gather just satisfyingly pith until keep your fan deviance wide world night and your interior lit. Every etch map a white-washed stone annex, and the familiar frills and furbelows of a traditional bath. Totally committed sap flows from Kamu’s shower heads. And there’s extending space to maneuver about as you make your daily ablutions. On the apron of every lodge, a thatch-covered veranda and its plodding shabby chairs encourage passive enjoyment of a timeless intent over the slow-moving Mekong.
Student artist found inspiration in her museum job
Angela Linn remembers the moment Kirsten Olson first saw the story knife collection at the @alaskamuseum.
“It was just like this light went on,” said Linn, the museum’s ethnology and history collection manager. “She was like, ‘What are those things? Wow!”
That’s not an unusual reaction to the decorated utensils used by Yup'ik girls to draw in dirt or snow, Linn said — “they’re so beautiful and they’re so unique, everybody can relate to them in some way.” Linn remembers the moment, though, because Olson didn’t stop at “Wow!”
Olson, then a graduate student in art, started to explore the Yupik decorative styles in her own work with ceramics. Eventually, the exploration culminated in a memorable, insightful thesis project featuring an elegant sit-down dinner served on Olson’s decorated ceramic dishes in the museum lobby.
Linn attended the dinner and, months later, still marvels at the event.
“It was such an intimate thing and the food was great and conversation awesome, but the pottery was just incredible,” Linn recalled. “It was so beautiful. We were just like ‘I can’t believe she made this with her hands.’”
Olson began stewing over her ideas in the museum basement after securing a summer job with Linn in 2012.
“That was just amazing,” Olson said of working with Linn. “She was really the one who kept feeding the anthropology side of my work.”
Originally from Pennyslvania, Olson had earned an undergraduate degree in anthropology and a minor in art from Juniata College in Huntingdon. While there, she studied the Inuit culture and art from Cape Dorset on Baffin Island in northern Canada. Seeking out a graduate school, she said, “I decided ‘Why not Alaska?’”
In fall 2011, she began a master’s program in anthropology at UAF, but she found herself a little homesick.
“Fairbanks is so very different from Pennsylvania, and I needed something that was like home, and the ceramics studio became that for me,” she said. She eventually switched her master’s program from anthropology to art.
However, when she began working at the museum the next summer, those interests began to overlap again. [More…]
I’m so cafffeinated I’m HYPER and I should use this energy to something productive like that article essay or cleaning my apartment but my body says no. :(((
At least the lecture was very informative and I’m not freaking about the interview exercise anymore, I think I’ll do okay, if I just can find a good informant, but my mom’s bf knows so many people I think that will work out too.
Also I’m having my first male teacher and he is AMAZING. So professional and so sensitive to tough topics, very diplomatic but firm, really seems to appreciate the class AND when he called my attendance by my birthname I corrected him once to use my chosen name and he just wrote it down immediately. *thumbs up* There are good men in this world too though it’s sometimes hard to believe.
Now, ethnology—like any science—comes about within the element of discourse. And it is primarily a European science employing traditional concepts, however much it may struggle against them. Consequently, whether he wants to or not—and this does not depend on a decision on his part—the ethnologist accepts into his discourse the premises of ethnocentrism at the very moment when he denounces them. This necessity is irreducible; it is not a historical contingency. We ought to consider all its implications very carefully. But if no one can escape this necessity, and if no one is therefore responsible for giving in to it, however little he may do so, this does not mean that all the ways of giving in to it are of equal pertinence. The quality and fecundity of a discourse are perhaps measured by the critical rigor with which this relation to the history of metaphysics and to inherited concepts is thought. Here it is a question both of a critical relation to the language of the social sciences and a critical responsibility of the discourse itself. It is a question of explicitly and systematically posing the problem of the status of a discourse which borrows from a heritage the resources necessary for the deconstruction of that heritage itself. A problem of economy and strategy.
Jacques Derrida, “Structure, Sign, and Play in the Discourse of the Human Sciences”