Museum Project

INTRO:

To design my exhibit, I spent time researching initiation processes of various cultures, African and otherwise.

The more I learned about the Jo society and its initiation, the more it reminded me of inclusion processes in groups that I know very well: Harvard fraternities and sororities, "comp" processes and hazing in various clubs, or even a brit milah to welcome a baby boy into the Jewish community. I became interested in rituals of initiation and the tools and objects associated with them. I found that no continent is devoid of societies that perform rites of initiation, and I became very interested in this trans-cultural phenomenon and its aesthetic.

Therefore, the title of my exhibit is:

INITIATION AND ITS TOOLS: INCLUSION ACROSS THE GLOBE

AN IMPORTANT NOTE:

I felt very strongly that initiation tools should be the focus of my exhibit, but as I searched for objects to include, I was surprised to find that it was very difficult to find these sorts of objects catalogued in official existing colletions. The Smithsonian Museum of Natural History contained none from my selected cultures, and other objects from the described cultures were not accompanied by photos, so I did not include them. The Peabody Online Collections Catalogue also did not reflect possession of any such objects.

Therefore, you will notice that the photographs I included are often images from field research, rather than photographs from a museum collection. I realize that this implies that my exhibit would be far more anthropologically focused than art-historically focused. However, just because the objects portrayed do not appear to have yet been analyzed from an art-historical perspective does not mean that they are not prime objects for this sort of analysis.

As usual, the conflict of utility vs. aesthetic was a relevant one in the research I did for this project. I wanted to acknowledge this struggle at the beginning of my analysis, not to dismiss it, but to posit that the images below do not reflect a lack of potential for artistic analysis, to complement and supplement what may seem like more anthropological or ethnographic musings.

THE OBJECTS:

My object

A Jo Initiation Figure

Source: Peabody Museum Collections

A 1920's sign collected by the National Museum of American History from Brooklyn, NY.

It belonged to a knife shop owned by Joseph and David Miller.

The top left objects are a circumcision knife an shield.

A circumcision is a way of initiating an 8-day-old Jewish baby boy into the Jewish community.

Source: http://circcentral.tripod.com/knives.htmlx

Naghol land diving -- Tower and Vine

On Pentecost Island in the South Pacific, Naghol tribe members initiate their men by inviting them to participate in a yam harvest ritual that involves bungee jumping from a tower up to 90 feet high.

One hope for my exhibit would be to include a miniature replica of this tower and potentially a preserved vine. I would be very interested to analyze the tower for its architectural qualities.

Source: http://www.telegraph.co.uk/travel/picturegalleries/2602520/10-top-world-festivals.html?image=3

Sepik Cutting Patterns

Multiple tribes along the Sepik River in Papua New Guinea initiate their men by cutting into their skin with razor blades, giving it a crocodilian texture.

The tools use for this process are less interesting than the patterns themselves; it appears that a common razor blade (as seen in Western razors) is the tool of choice.

These patterns are fascinatingly beautiful, for although they are meant to replicate the texture of crocodile skin, they are intricately detailed and often resemble geographical or zoological features from nature. I would love for my exhibit to include a series of photographs of these various patterns and explanations/analyses of their meanings.

Source: http://www.majorwageratsea.com/Blackwater0409.htm

Mentawai Tooth Chisel

In Sumatra, females in Mentawaian communities are initiated into womanhood through a process of tooth-chiseling, to sharpen their teeth and make them more attractive to men.

The tools used to chisel the teeth are specifically designed and ornamented, and in my exhibit I would include a few for analysis.

Source: http://www.mobile-media.nl/video/teeth-chiseling/

Xhosa circumcision tools: Goat skin, Swadi, Isichwe

Male circumcision is by no means limited to Jewish communities. The Xhosa community in particular initiates its men with circumcision. In this photo are three interesting artifacts: a bandage fashioned from goat skin, swadi (to treat bleeding), and isichwe (used as an antiseptic). The medicines are clearly adorned, and an artistic analysis of their decorations would fit perfectly into my exhibit.

Source: http://www.ezakwantu.com/Gallery%20Lister%20Hunter%20Photo%20Set%20A%20-%20Abakwetha.htm

Sabiny Female Circumcision Tools

Multiple communities initiate their young girls into womanhood with female circumcision, or female genital mutilation. Much like in the Sepik cutting ritual, it looks like Western tools might be used in this process, as the picture implies. However, I would be interested to collect some of these tools to see if they are adorned in any way. I would also be interested to collect garments and jewelry from the surgeon, the young girl, and the onlookers to analyze for significance.

Not surprisingly, however, most literature on this subject does not focus on an art-historical analysis of the tools, but rather on a call for action to put an end to this painful ordeal.

Source: http://news.bbc.co.uk/2/hi/africa/1045516.stm

Sande Helmet Mask

The Sande Society, which is much like the Jo society but spans multiple tribes in multiple countries across West Africa, also practices female circumcision. However, as an all-female women's society, it also hosts many initiation masquerades.

This particular helmet mask belongs to the Sherbo tribe sect of the Sande and was carved by a bundu, or masker. As the object that most resembles other types of maks and human figures that we have seen in this course, I thought it was importnat to include as a more classical representation in this realm of initiation.

Source: http://afrikadawn.com/africa/sande.html

Mormon Undergarments

I became interested in this type of object because of the fact that my freshman year roommate is Mormon and has always been graciously open and honest with me regarding Mormon tradition. Receiving the undergarments is a type of initiation, much like baptism; one receives the garments upon receiving endowment, a blessing that enables one to enter sacred Mormon temples. This rite of passage is one of many steps undertaken to fully participate in the Mormon community.

Sources:

http://www.ldschurchtemples.com/mormon/underwear/

http://www.mormonstudies.com/index.php?option=com_content&view=article&id=8:what-are-mormon-underwear-or-garments&catid=1:faq&Itemid=2

Image courtesy of http://dekerivers.wordpress.com/

THE ARRANGEMENT OF MY EXHIBIT:

In total, therefore, I have nine objects:

9 objects:

· Jo initiation figure

· 1920s Jewish circumcision sign

· Naghol land diving tower

· Sepik Cutting Pattern Photos

· Mentawai Tooth Chisel

· Xhosa Circumcision tools

· Sabiny Female Circumcision tools

· Sande Helmet Mask

· Mormon Undergarments

I would want to arrange my objects in a way that is both thematically relevant yet aesthetically inviting, to provoke curiosity and thoughtfulness in both young students and elders.

Therefore, I would put the Naghol tower in the center a circular room. (Ideally, this would be a room with high ceilings, and the replication, although miniature, would still be an awesome thing to behold.) Then, in this order in a circle, I would put: the Sande Helmet Mask, the Jo initiation figure, the Mormon Undergarments, the Jewish circumcision sign, the Xhosa Circumcision tools, the Sabiny Female Circumcision tools, the Sepik Cutting Pattern photo, and the Mentawai Tooth Chisel.

This order was chosen to group objects according to region, while at the same time, to show a transformation from objects that replicate or enhance the body to objects that physically change the body, inspiring contemplation on the role of bodily transformation in initiation, and what this says about dedication in various cultures.

MISCELLANEOUS THOUGHTS:

As previously mentioned, the biggest challenge in designing this exhibit was to maintain a balance of aesthetic and ethnographic/anthropological relevance. Ethnocentrism is also difficult to avoid when designing an exhibit, but this is why I hoped to choose objects that were as globally diverse as possible (though it is quite clear to me that multiple Asian, Latin, and, of course, African cultures -- among countless others -- may not be adequately represented).

Overall, I found the experience to be exciting and enlightening, and I've found myself wishing that bringing this sort of exhibit to life were of even comparable difficulty to designing it.

OTHER SOURCES:

http://listverse.com/2010/07/17/10-incredibly-painful-rites-of-initiation/

http://en.wikipedia.org/wiki/Initiation#Religious_and_other_spiritual_initiations

Enigma and Mystery

Every work of art holds certain dimensions of reality and mystery. What are the most enigmatic elements of your object? What questions might they lead you to explore in your final paper? What evidence could you find to build an argument around?

This is an exciting and multi-layered question for me; so much of both the details on my object and its history are enigmatic, in that they either have not been written about, or that their significances are merely impossible to rightly divine.

When I examined my object in person for 2+ hours, I came up with this (preliminary!) list of attributes that were mysterious to me:

**pictures of what I'm describing here are coming soon, once I get my camera phone functioning for transfer!**

• The body markings are arranged in something like a "dotted line" where each "dot" looks like a little equilateral (or in some cases, isosceles) triangle that points either up or up and to the right. Is the shape of the "dot" (a triangle) symbolic? Intentional? Justa result of the available tools?
• The body markings are not symmetrical; to the right of the breasts and the navel, two lines -- parallel on the left-hand side -- diverge away from each other to the right.
• Similarly, the whole object seams to lean/tilt toward the right. The buttocks are clearly defined and delineated from the thighs on the left, but not on the right. This looks almost inarguably intentional to me; what is the significance of the right-leaning?
• She also leans forward, in almost a bowing or submissive stance -- or is this just the wood settling oddly?
• There is a hole on the top of the coiffure and smaller holes on the sides -- what for? I never read that this could be hung...
• She's so light! Why, compared to other, heavier figures of comparable size?
• Lines/scratch-marks emerging in the shape of a sunburst around the breasts and navel -- intentional, or just the result of available tools?
• 9 red beads on bracelet, 16 red beads on left anklet, 14 red beads and 2 blue beads on right anklet. Are these numbers significant? Why the seemingly arbitrary inclusion of two pieces of blue?
• What color were beads on the bracelet intended for the other hand? How did that bracelet fall off? Where is it now? (It was definitely attached at some point, the indentations are clear.)
• The metal eyes! Are those actual nails? How were they pounded in without destroying the nasal bridge?
• The legs make almost a perfect rectangle -- is this intentional? What is the significants?
• The face is so flat on the bottom -- practically no chin. Significance?
• The markings on the back and the markings on the front are not connected -- is this significant, or was it just impossible to get tools in under the arms?
• What is the significance of the nose ring? How many women wore them at the time? How did he make the rippling pattern in it? What is its significance.

And there are many, many more where those came from.

Still, beyond the physical attributes of the objects that are enigmatic, I am additionally dumbfounded by the number of possibilities regarding its use and ownership:

• It was carried during the Jo initiation journey, but before then -- how was it stored?
• After that -- how was it stored?
• Was it actually put on a staff?
• What happened after the ceremony? Was it really given to young girls?
• At what point in its life was it hanging?? What are those holes for? Hanging in storage?
• How did Donald Deskey get it?
• Why did he not donate it in his first batch of donations?
• Why does no one seem to care about it in the correspondence?

Given these facts, I am choosing between the following frameworks for my paper:

• Semiotic
• Psychodynamic
• Structuralist
• Formalist

Right now, the enigma that most interests me is the body markings, so despite the persuasive thought of a paper that discusses purely gender issues, I am hoping to look at gender through a semiotic lens -- if that is possible! I look forward to discussing the potentials and possibilities further.

"Prestige" Part 2

My presentation and our discussion in class covered most of what I had planned as an elaboration on this topic. But still, a brief summary for records:

• My object was donated by Mr. Donald Deskey. I need to confirm, but if this is he: http://en.wikipedia.org/wiki/Donald_Deskey
  that adds quite a bit of prestige to my piece, as it influenced this important designer's later works!
• Donald Deskey donated a collection to Peabody in 1960.
• Then, in 1975, "Mr. Deskey wished to release his life estate into the collection."
• Because this object was donated in the later batch, it could be less prestigious (not interesting enough to donate on the first go-around), or more prestigious (Mr. Deskey might have wanted to keep it because valued it as a find).
• This was one of 64 objects in the second batch of donations, most of which consisted of Yoruba and Warega pieces; it did not receive much attention in the correspondence and was lost among the larger, more popular communities' collections. This detracts some prestige.

Other things that could raise its prestige:

• Kate Ezra (http://mavcor.yale.edu/people/kate-ezra) wrote her dissertation on Jo initiation figures.
• David Rockefeller owned one of these figures.

"Prestige" Part 1

I have chosen to divide this blog post into two parts. The first will be published on the evening of Sunday Nov. 6th, before I have seen my figure in person and read its accession file (which contains information on its collection history); the second part will be published on the evening of Monday Nov. 7th, after I have spent a number of hours with the piece and learning about its history. I am anticipating at least some major changes to my analysis of its level of prestigiousness after I have learned of its acquisition.

LOW TO PRESTIGE IN ITS ORIGINAL CONTEXT

The value of the piece in its original context was determined, I believe, by the commissioner and the keepers of the piece after its initial use. Depending on which of the conflicting sources I choose to believe, the piece would have various levels of prestige.

According to Bamana, by Jean-Paul Colleyn (2009), the jonyeleniw (small Nyele, or nyeleni figure) would be held by select initiates while they "travel for a period of six months and appear in small groups from village to village, carrying a bag to receive gifts," as part of the initiation process. After the initiation rites come to a close, "the statues have their finery removed and are stored away for their next appearance" (33).

This is in stark contrast to the Kate Ezra article I previous referenced, where she says that, post-initiation, the statues are given to young girls as dolls for play. Interestingly enough, in my mind, whether or not Colleyn or Ezra is correct plays an important role in my judgment of the "prestige" level of the object. If the statues are stored carefully and respectfully, sanctioning them for the coming year, I would assume a high level of prestige. If they are stored hastily, dustily, like Christmas lights after the holidays, I would assume a lower level. And if they were merely tossed aside to the children, never restored to their former glory, I would assume very little prestige indeed.

Still, it is agreed that only select Jo initiates get to carry a nyeleni throughout their initiation. I cannot know for sure yet, but my assumption is that the initiates whose families could afford to commission a statuette were the ones who were privileged to hold one. This leads me to believe that the object was, in fact, relatively prestigious.

On the other hand, the standing of the Jo in comparison to other Bamana jow ("religious complex," according to Bamana: The Art of Existence in Mali by editor Jean-Pail Colleyn, 2001) also contributes to my assessment of prestige. Colleyn stated in 2009 that, of all the jow, Jo was not the most prestigious and feared; the komo was. Therefore, this figure is not as prestigious as the figures of the komo would be, in both its original and its current context.

Therefore, my conclusion is that the figure was certainly far from commonplace; but it was also far from being one of the most revered objects in its community.

LOW TO PRESTIGE IN ITS CURRENT POSITION

This portion of the blog post will be addressed tomorrow, after I discuss with curators the history of the object's accession, prices that were debated, the process of negotiation and sale, etc.