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LOGGER'S SHEET 1988-081
[[Crossed out]]
LOGGER: Skye Morrison
REEL NUMBER: [[Crossed out 1]] 2/8 STAGE: AFS
DATE: 6/23/1988 PRESENTOR: Tim Lloyd
GROUP NAME: The Sacred, The Personal, and The Offensive:
REGION/STYLE: Do We Preserve and Present?
PERFORMER(S) | INSTRUMENT/OCCUPATION
Worth Long (folklorist- Atlanta Georgia)
Lynn Martin (folklorist- Honolulu-Hawaii)
Nora Davenhauer (Twngit narrative specialist- Juneau Alaska) 
Tim Lloyd: Presentor (folklorist, Columbus, Ohio)
CONTENTS
1. Introduction: What to folklorists do with private materials?
2. Worth Long: comments: effect of intervention of folklorists: negative influence.
3. Nora Davenhauer: cultural sensitivity needed for outside presentation: the removal of acred objects: Chilcut Blankets as stagnant presentations
4. Worth Long: represents grave robbing when taken by museums
5. Nora Davenhauer: Gives story of the Chilcut Blanket to uses - To importance spiritually.
6. Worth Long: Talks about permission to visit private events and establishing the trust of informants
7. Tim Lloyd: Family humor: private ceremonies.
8. Lynn Martin: talks of the history of interaction of traders and ethnographers with Hawaiians: history of poor documentation.
9. Tim Lloyd: The American Cylinder Project as part of native and traditional movement to return objects to their communities
10. Nora Davenhauer: upon return of Ceremonial objects to their home 
 but ongoing documentation, stewardship, funding is needed.
11. Lynn Martin: talking about resurgence of Hawaiian language
the sacred and personal aspects of native language. 
12. Worth Long: Building temporary symbolic spaces at festivals and how these work: but museums tend to make objects static
13. Timm Lloyd: How can museum people + working folk artists communicate better?
Nora Davenhauer: Museum can give the space- living tradition bearers can give accurate context.
Worth Long: refers B Thompson (Robert Farris [[written over Wm. Ferris]])"African Art in Motion how to avoid "Peasant Under Glass."
Lynn Martin: tells of museum experience in Hawaii where craftspeople were allowed into collection rooms to reempower these objects
Conclusion.