This transcription has been completed. Contact us with corrections.
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.