Found 196,898 Resources containing: Cultural Anthropology
Arts and Cultural Anthropology Exhibit in the Smithsonian Castle. There is a large display case in the foreground, paintings are hung along the exhibit walls, and the windows of the Castle can be seen behind the exhibit space.
Frame selections featured in "The Torch," July 1965.
Visiting archeologists from the Hemisphere Republics, Father Pedro Porras and Silvia Maranca, work with artifacts from the Division of Cultural Anthropology at the Museum of Natural History.
The Folklife Festival has three fantastically diverse programs lined up this year: Hungarian Heritage; One World, Many Voices; and The Will to Adorn. For most of the Festival, each program group will occupy a separate section of the National Mall to share traditions and performances. But the multi-cultural nature of the Festival provides the irresistible opportunity to also explore some intersections among these groups.
This is the motivation behind “cross programs” at the Folklife Festival. These daily events (which will move around the different program stages and are marked “Cross Program” on the Festival schedule) will bring together one or two representatives from each program for a conversation about a common topic. For example: expert weavers from Bolivia, Hungary, and Ghana will compare their traditions and techniques; hairstylists will demonstrate techniques ranging from African-American dreadlocks and braids to traditional Palenque styles from Colombia; and musicians from China, The Republic of Tuva, and Hungary will discuss the relationship between their music and the natural world. Other cross program topics will include: language and identity, wedding ceremonies, clothing design, celebration traditions, and hat making.
This is an exceptional opportunity for both the participants and the public. It is a chance for visitors to hear cross-cultural panels of experts from many fields and to see the diversity of cultures represented at the Folklife Festival at one time in one place. It will also allow speakers the opportunity to share techniques and experiences with other experts in their field. With the aid of multilingual translators, dress and hair models, and handcrafted visual display items, all parties involved will hopefully gain a deeper appreciation for the enormous variety of traditions across human cultures. We hope that visitors, too, will be inspired to explore their own cultural traditions and their connections to the world around them.
Morgan Anderson recently graduated from the University of California, Davis, with a B.A. in Cultural Anthropology. She is an intern with the Smithsonian Folklife Festival, assisting with the One World, Many Voices: Endangered Languages and Cultural Heritage program.
This print is reproduced in USNM Bulletin 80, Plate 19, following page 114. There are many other photographs of the National Museum of Natural History in this location, as well as throughout RU79, Box 9.
A sepia image is available under Neg. #SIA2009-2193.
Anthropology Hall in the new United States National Museum, now the National Museum of Natural History. The Anthropology Hall contains many exhibit cases with artifacts in them. The front exhibit case, which was part of the Polynesian ethnology exhibit, shows a life group of indigenous people of the Samoan Indian group with native artifacts.
As a participant in the Smithsonian’s Summer Institute in Museum Anthropology (SIMA), I was invited to be a volunteer in the Folklife Festival to learn about basketry techniques, as well as to engage with the presenting artists and Festival visitors. I spent my day with Dora Flor Alba Briceño, a basket weaver from the Andean Highlands of Colombia. She makes baskets from a material called junco that grows rapidly in Lake Fúquene. She learned basket weaving from her grandmother, which she has passed down to her children and grandchildren. Dora Flor is recognized for her fine work and has won many awards.
At the Festival, Dora showed one of her spectacular pieces through photographs that she had brought with her from Colombia. The photograph depicted a large basket, at least ten feet in height, which was commissioned for a parade in her community. Many of the Festival visitors were astonished and gained a better appreciation for her skill and talent as a weaver. During my time with Dora, she produced three baskets and hundreds of visitors, of varied ages and knowledge of Colombia, were engaged by her nimble hands and her wonderful smile. Dora invited children to participate by showing them the knots and letting them have a go for themselves. A few visitors even chose to stick around for her to complete a large flower vase.
Not only did I learn a lot from Dora Flor, but I also learned from the visitors that stopped by. Many of the Spanish speakers that visited the Folklife Festival were gracious enough to translate Dora’s words for the non-Spanish-speaking visitors. Several, who acknowledged Colombia as their original home, talked about the places where they had lived, the diverse cultures that reside within the region, and the current sociopolitical climate. The Festival atmosphere facilitated conversations and cultural exchanges that enabled rich dialogue among the groups of visitors and artists. I have no doubt that these interactions with the Colombian participants, whether through viewing the productions of art, participating in traditional games, or engaging in conversations, generated new perceptions of Colombia and the world we live in.
After a long day and a sore throat from many conversations, I left the Festival not only with a new understanding of Colombia and the unique cultural traditions of the people that live there, but also with a new appreciation for innovative ways of learning and connecting with others.
Gina Watkinson is a graduate student in the American Indian studies program at the University of Arizona. She is among 12 students who assisted Festival artists as part of the Summer Institute in Museum Anthropology (SIMA), a program offered by the Department of Anthropology at the Smithsonian’s National Museum of Natural History.
Museum Specialist Joseph Brown in the National Museum of Natural History Anthropology Processing Laboratory sitting behind a table full of skulls, October 1, 1982.