Paths of Life Exhibit Study Notes

Introduction to Paths of Life Exhibit

  • In 1987, the speaker became the curator of public programs.

  • Main project: Development of the Paths of Life exhibit.

    • Responsibility: Develop interpretation for the Majorettes McGrath gallery and secure funding.

Background Information

  • Previous Experience:

    • Worked for the Arizona Historical Society.

    • Limited experience with American Indian communities in Arizona.

  • Arizona State Museum's existing relationships:

    • Extensive contacts with American Indian communities through university connections and tribal representatives.

    • Successful history of repatriation efforts.

Development of the Exhibit

  • Emphasis on American Indian Input:

    • The planning began with an NEH (National Endowment for the Humanities) planning grant.

    • A group of consultants was gathered:

      • University faculty

      • Tribal museum representatives

      • Scholars with extensive experience with these communities (e.g., Masseria and Tarahumara).

    • Unique Aspect: Consultants were involved in the planning process from the start, not just reviewing curators' plans.

Planning Process

  • Developed key elements for the exhibit:

    • Origins, history, and interpretative format were collaboratively crafted.

    • Themes for ten different cultural groups were established with consultant input.

Community Engagement and Relationships

  • Different paths of interpretation took unique courses:

    • Extensive interactions with community members occurred.

  • Specific case of the Yo Ma:

    • Felipe Molina, scholar and primary consultant, directed life casting efforts.

    • Community members participated as dancers and singers; used actual clothing and props in the exhibit.

  • Recognition of local artist:

    • Local artist created life casts and developed strong relationships with the Yaqui community.

    • The artist was later commissioned to create a statue for the Yaqui tribe.

Respect for Cultural Practices

  • Exhibit Design Choices:

    • Diorama closed for six weeks during Lent as respect for the Piccola ceremony.

    • The decision acknowledged the importance of cultural sensitivity, despite possible visitor disappointment.

Collaboration with Specific Tribes

  • Extensive work with the Hopi community:

    • Collaborated with Emery Sica Kwok Da'wah, a faculty member with strong ties to the Hopi tribe.

    • Engagement with elders and the Hopi Cultural Preservation Office to refine exhibit plans.

Enhanced Effectiveness Through Collaboration

  • Utilization of Native American languages and terms throughout the exhibit.

  • Enrichment of the exhibit through extensive community quotes and participation.

  • The positive collaborative experience acknowledged by the NEH.

Funding Journey

  • After the initial planning grant, two subsequent implementation grants were obtained:

    • Total awarded: Almost one million dollars.

    • Participation seen as a model for museums nationwide.

Increased Community Connections

  • Implementation grants facilitated:

    • Enhanced contact with tribes and students at the university.

    • Established internships for American Indian students interested in museum work.

Contributions of Student Interns

  • Gerald Donovan, Hopi student, designed the exhibit logo:

    • Logo later adopted by the Arizona State Museum.

  • Nicole Horseherder, a Navajo student intern:

    • Involved in curating the modern Navajo Hogan diorama.

    • Assisted in artifact collection among her relatives.

  • Anecdotes about the experience:

    • Curators Mike Baron and Clarinda Begay worked with Nicole on family sheep herding photographs.

Conclusion and Community Integration

  • Interns became integral to the project family:

    • Introduced curators to additional family members and community networks.

  • Overall experience characterized by community involvement and mutual respect, resulting in a successful exhibit.

  • The Paths of Life exhibit was developed after the speaker became curator of public programs in 1987, focusing on interpretation for the Majorettes McGrath gallery and securing funding.- The Arizona State Museum already had extensive contacts with American Indian communities and a history of successful repatriation efforts, which aided the project.- Exhibit planning began with an NEH planning grant, gathering university faculty, tribal museum representatives, and scholars as consultants who were involved from the outset, collaboratively crafting the exhibit's origins, history, and themes for ten cultural groups.- Community engagement was crucial, involving extensive interactions, such as Felipe Molina directing life casting for the Yo Ma, with community members participating as dancers and singers. A local artist created casts and a statue for the Yaqui tribe.- Cultural respect was paramount, demonstrated by closing a diorama for six weeks during Lent for the Piccola ceremony.- Extensive collaboration with the Hopi community, including elders and the Hopi Cultural Preservation Office, enriched the exhibit.- The use of Native American languages, terms, and community quotes enhanced the exhibit's authenticity, leading to positive acknowledgment from the NEH.- The project secured an initial planning grant and two implementation grants totaling nearly 11 million, serving as a model for museums nationwide.- These grants also fostered increased connections with tribes and established internships for American Indian students interested in museum work.- Student interns, like Gerald Donovan (Hopi) who designed the exhibit logo, and Nicole Horseherder (Navajo) who curated the modern Navajo Hogan diorama, became integral, introducing curators to broader community networks.- The overall experience emphasized community involvement and mutual respect, leading to a highly successful exhibit.

Museum exhibits have a significant impact on how audiences perceive and learn about Indigenous cultures and societies. When museums prioritize authentic community engagement and collaboration, like the "Paths of Life" exhibit, they can foster a much deeper and more respectful understanding. This involves involving Indigenous consultants, elders, and cultural preservation offices from the very beginning of the planning process, not just for review. Utilizing Native American languages, terms, and direct community quotes, as well as incorporating active participation from community members (e.g., dancers, singers, artists), ensures that the interpretation is culturally accurate and sensitive. Respecting cultural practices, such as observing ceremonial periods by temporarily closing exhibits, also demonstrates a profound commitment to cultural integrity. This collaborative approach moves beyond presenting Indigenous cultures as static historical artifacts and instead showcases them as living, dynamic societies, promoting a more nuanced and accurate

educational experience.