Pahma Newsletter (fall, 2003)

PHOEBE A. HEARST

MUSEUM OF ANTHROPOLOGY UNIVERSITY OF CALIFORNIA, BERKELEY

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VOLUME 4, NUMBER 1

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FALL 2003

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ECUADORIAN POTTERY AND TEXTILE TRADITIONS OPENING IN SEPTEMBER

LARGE FIGURATIVE VASE MADE BY ESTHELA DAGUA, 2001, QUICHUA (CANELOS) PUYO, ECUADOR PRIVATE COLLECTION PHOTOGRAPH BY THERESE BABINEAU

he Phoebe A. Hearst Museum of Anthropology announces the new exhibition, Ecuadorian Pottery and Textile Traditions, on view to the public September 12 through December 14, 2003. The exhibition pays tribute to Ecuador's rich history and cultural accomplishments by tracing the chronology and development of the materials, methods, and designs used by Ecuadorian artists from pre-Hispanic times to the present. The Berkeley presentation includes Ecuadorian textiles from the Mossman-Vitale Collection along with examples of pre-Hispanic pottery from the San Diego Museum of Man and contemporary Ecuadorian pottery from private collections. Ecuadorian Pottery and Textile Traditions is based on the exhibition Ecuadorian Pottery Traditions organized by the San Diego Museum of Man.

Ecuadorian cultures were among the first in the Americas to discover the mixture of clay, water, and fire that led to the invention of ceramics. The earliest examples of pottery, fired some 6,000 years ago, have revised the archaeological record, peeling back layers of time to reveal Ecuador's heritage. Archaeological evidence supports theories that an ancient ceramic tradition and permanent farming villages were established in Ecuador at least a thousand years before similar pottery-making and agrarian communities were established in Peru and Mesoamerica. The development of a pottery tradition goes hand-in-hand with cultural development. Before pottery-making techniques evolve, civilizations must first establish settled communities with a sufficient food supply to sustain their way of life. A strong textile tradition also accompanied the development of pottery in Ecuador. Evidence of intricate ceramic spindle whorls and ornate costumes on ceramic figures are an indication of the high level of textile development in Ecuador from pre-Hispanic times forward. continued on page 6

FROM THE DIRECTOR Dear Friends,

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s the new director of the Phoebe A. Hearst Museum of Anthropology (PAHMA), I promise you that the year ahead will be one to remember as we reveal the Hidden Treasures of the Hearst. We are embarking on an ambitious threeyear program of changing exhibitions and public programs to increase our role of service to the campus and the broader community under a newly launched initiative: Diversity – Cultural Arts – Antiquities. In September 2003 we will open the exhibition, Ecuadorian Pottery and Textile Traditions, which explores the birthplace of ceramics and the evolution of styles and techniques through examples of ancient and modern pottery. We are grateful to the San Diego Museum of Man, curator Grace Johnson, and to guest curators Richard Burkett and Joe Molinaro, for enabling us to bring the exhibit to Berkeley, which we are augmenting with several examples of Ecuadorian textiles from the Mossman-Vitale Collection. In February 2004, the Hearst Museum will open Hecho en México: Mexican Folk Art. The exhibition, featuring objects from every state in the country, will be accompanied by a series of scholarly lectures, docent and school tours, and public events. The Museum will also be developing programs with local artists in conjunction with the exhibit. The Hearst Museum continues to maintain its strong commitment to the collections and their use in support of faculty teaching as well as for intra- and extramural research. In the spring, UC Berkeley Classics Professor Dr. Stephen G. Miller captivated our imaginations with his discovery that a bust of Plato and an unremarkable herm in the Museum’s collections belonged together as one sculpture to portray one of the best likenesses of the Greek philosopher. Dr. Tim White, professor of integrative biology at UC Berkeley and PAHMA’s curator of biological anthropology, confirmed with his team of researchers that fossilized skulls of two adults and one child discovered in eastern Ethiopia are 160,000 years old and are the oldest known fossils of Homo sapiens. Skeletal samples from the collection were integral to this research. Recent efforts to extend the reach of the collections can also be seen through the Museum’s new Web site –http://hearstmuseum.berkeley.edu – which includes online exhibitions, program information, and is the gateway for further study about our vast holdings. A Fond Farewell It goes without saying that I have inherited this position from an extraordinary director who managed to make great strides in moving the Museum forward in a brief three years, doing so on a part-time basis, while teaching in the Anthropology Department and conduct-

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ing fieldwork in Oceania. Patrick Kirch, class of 1954 professor of anthropology, took over as museum director in July 1999. His earnest persuasiveness led to new funding for a permanent exhibit in the Native Californian Cultures Gallery and to the highly acclaimed centennial exhibit, A Century of Collecting. Pat worked diligently to expand the public reach of the Museum, initiating the partnership with the Haases, for example, to spearhead the redesign of the Museum's Web site for broader access to the collections and to program information. Another of Pat's important accomplishments was overseeing the completion of the NAGPRA inventories and the consultation work with Indian Tribes. Pat and his staff were able to develop effective working relationships with the tribes and to make several loan agreements so both the tribes and the Museum can have access to these important anthropological collections into the future. During his directorship, Pat organized a long-range planning process at the Museum and created a visionary plan for the next ten years. The first step in the plan was to hire a full-time museum director, and it is with great enthusiasm that I have accepted the position. As I move forward with my plans for the Hearst Museum of Anthropology, I am honored to have the camaraderie of my esteemed colleague who continues as a fulltime faculty member here at UC Berkeley and as PAHMA’s curator of oceanic archaeology. When Phoebe Hearst identified the need for an anthropological collection in the Western United States over 100 years ago, her original vision for that museum was as a great educator dedicated to the dissemination of knowledge among the many. After more than a century of service and association with one of the greatest public universities in the world, we continue to be guided by this vision as we strive to promote understanding of the history and diversity of human cultures through our collections, research, exhibitions, and programs. We look forward to seeing you at the Museum! Sincerely,

Douglas Sharon, Ph.D. Director PHOEBE A. HEARST

MUSEUM OF ANTHROPOLOGY UNIVERSITY OF CALIFORNIA, BERKELEY

Douglas Sharon, Director Margaret R. Pico, Newsletter Editor Nicole Mullen, Graphic Design The newsletter is published twice yearly. Copyright © UC Regents http://hearstmuseum.berkeley.edu

COMPARING EXHIBITIONS AND WEB SITES By Ira Jacknis

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ost museums now have Web sites of some sort, which they use for many purposes: listing practical information such as hours, staff, access policies, and current programs, or offering curated presentations of their collections. As museum media, exhibits have a fairly stable technology and form, while Web sites keep evolving. As the technology changes, much of what once could not be done, or not done easily, is now commonplace. There are many similarities between the two media. Like films and books, both combine images (standing in for objects) and words. Unlike those, however, exhibits and Web sites have a non-linear structure. While exhibits may have a suggested path, in most cases the viewer determines which units will be accessed first and in what order, just as one can do on-line. However, there can be many differences between exhibits and Web sites. Perhaps the prime advantage of a Web site is its greater accessibility for people who cannot come to an exhibit. Furthermore, because it is not bound by spatial constraints, a Web site can hold much more content. It is also easier to make cross-references in cyberspace. As with footnotes in books, one can readily find linked bits of information—sometimes of only supplementary interest— in a non-linear way. Exhibits are much more limited in their ability to do this. On the other hand, while virtual exhibits may include more content, sometimes, as in our Centennial site, they have less. Label text is almost always available, but good photographs of the exhibited objects often are not. The most decisive difference between the two, of course, is that of dimensionality. As a two-dimensional medium, the Web is better suited for flat objects such as photographs or

paintings. While the viewer can rarely touch an exhibited object, one can often walk around an object and move closer or farther away. Good exhibits also make use of paths and vistas, allowing one to see what is coming up and look back at what one has seen, relating an object to an adjacent object within an architecturally-formed space. Early Web sites were poorly designed in this regard, but designers are finding ways to replicate such previews and reviews. A feeling for the third dimension in cyberspace can be suggested by using multiple views, so that one can zoom in and out, or more recently, around, through digitized video. Still, these take more computer memory and bandwidth and so are not common. Another problem, inherent in publications as well, is the difficulty of indicating size and scale, especially if one is dealing with a strange, foreign object. Not all pictures include rulers. Finally, and most mysteriously, there is the question of "aura," knowing that one is in the presence of an actual object created by someone in a distant space or time. We tend to perceive things with greater intensity when we use multiple senses and our whole body, than through mere visual perception. These profound issues of being and existence may be the most basic reasons we still have museums of real objects instead of living in a complete world of virtual objects. As many of these limitations are not inherent in cyberspace, it will be interesting to see how museums of the future choose to present their collections. Ira Jacknis is Research Anthropologist at the Phoebe A. Hearst Museum of Anthropology and recently curated The World in a Frame: Photographs from the Great Age of Exploration, 1865-1915, on view at the Museum through February 2004. An online version of the exhibit can be viewed at: http://hearstmuseum.berkeley.edu.

THE HEARST MUSEUM GIFT STORE carries a wide variety of items that reflect the museum collections and the diversity of world cultures. The store has extensive selections of jewelry, textiles, wooden and soapstone carvings, musical instruments, puppets, and other beautiful gifts. Most are handcrafted by native artisans from different parts of the world. The store has a wide selection of books about cultural history and anthropology, as well as museum publications. The Hearst Museum Gift Store offers reasonable prices and a wonderfully unique shopping experience. Open Wednesday - Sunday, during regular Museum hours. (left: traditional Indonesian wooden puppet)

SAVE THE DATE FOR THE ANNUAL "SANTA FE CRAFTS" NATIVE AMERICAN SOUTHWEST JEWELRY AND FOLK ART SALE, COMING NOVEMBER 20, 2003.

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PAHMA STAFF NOTES

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ith this issue of the newsletter we welcome Dr. Douglas Sharon as the new director of the Phoebe A. Hearst Museum of Anthropology. Director Sharon comes to PAHMA from the San Diego Museum of Man where he was executive director from 1981 until 2002. As the Hearst Museum’s first full-time director since its founding in 1901, Dr. Sharon is charged with leading the Museum into a new era of program planning, outreach, and fund development. While at the Museum of Man, Sharon took the organization through a major period of growth, implementing innovative exhibits and programs, increasing museum attendance and private financial support, and overseeing the expansion of the museum. Dr. Sharon served as member of the San Diego Coalition for Arts & Culture, the Mexican Cultural Institute of San Diego, and the Balboa Park Cultural Partnership. He is a member of the Association of Science Museum Directors. Sharon earned his doctorate from UCLA, where he worked as a research anthropologist at the Latin American Center. Prior to his years at UCLA, he was the executive secretary of Andean Explorers headquartered in Trujillo, Peru. He has published extensively on Peruvian shamanism, a topic on which he produced the award-winning documentary film, Eduardo the Healer. Sharon has also established a field school for ethnobotany as part of a collaborative effort between the Museum of Man, San Diego State University, and the National University of Trujillo. Dr. Sharon continues his fieldwork each summer focusing on Andean shamanism and cosmology. We are pleased to announce that Victoria Bradshaw was recently promoted to coordinator of the collections Division. Victoria joined the staff in July 1994 as museum scientist in the Native American Graves Protection Act (NAGPRA) unit. As division coordinator she is responsible for the daily workflow of all members of the division and for strategic planning for collections care. In addition, Victoria works as a hands-on collections manager with special responsibilities for our media collections. Matthew Kimmins recently joined the staff as creative director and is responsible for in-house exhibit and publication design. Matthew majored in drawing and illustration at the Atlanta College of Art, Georgia, where he was also involved with Alliance Theatre, building sets and doing scenic artistry. Matthew’s design experience includes graphic design, architectural illustration, digital painting for video games, and 3-D computer animation modeling for clients such as Advanced Courtroom Technologies.

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We also welcome Margaret R. Pico, PAHMA’s new director of development, who joined the staff in April 2003. Coming to the Hearst Museum is a homecoming for Maggie, who was an undergraduate in art practice at UC Berkeley in the 1980s. Previously she has served as director of development at The Jewish Museum San Francisco and San Francisco Performances, and as associate director of development at the San Francisco Museum of Modern Art. Transitions NEW STAFF MEMBERS MATTHEW KIMMINS AND MARGARET PICO IN We extend our heartfelt THE HEARST MUSEUM GALLERY thanks to Kathleen Hull, Pamela Peck, and Barbara Takiguchi for their extraordinary service and dedication to the Phoebe A. Hearst Museum of Anthropology. Each of these women brought their best to the Museum through the era of its Centennial Celebration. Kathleen served as a senior museum scientist for the NAGPRA team, while simultaneously completing her doctoral dissertation. Pamela was the principal museum preparator, and her excellent craftsmanship is evident in the Centennial and Native Californian exhibits. As a member of the Museum staff since 1993, Barbara organized a number of public program initiatives, including the Re-Generations program that brought Native artists into the Museum. Barbara also served as exhibit coordinator for many years and was the project manager for publications. We wish them all the best of luck in their new endeavors. Publications of Note The 2003 book, Ishi in Three Centuries, edited by Karl Kroeber and Clifton B. Kroeber, and published by the University of Nebraska Press, features essays by two of the Museum’s staff researchers and offers the latest research about Ishi and Yahi culture. Research Anthropologist Ira Jacknis contributed the essay, “Yahi Culture in the Wax Museum: Ishi’s Sound Recordings.” Research Archaeologist M. Steven Shackley contributed the article, "The Stone Technology of Ishi and the Yana," which appeared previously in American Anthropologist. The book Ishi in Three Centuries is available for purchase in the Hearst Museum Gift Store.

PAHMA EVENTS Unless noted, all programs take place at the Phoebe A. Hearst Museum of Anthropology. Programs are free to members, UCB faculty, staff, and students, and are free with museum admission to the general public.

September 2003 ECUADORIAN POTTERY AND TEXTILE TRADITIONS Exhibition Preview Wednesday, September 10, 4–6 pm. By invitation.

ECUADORIAN POTTERY AND TEXTILE TRADITIONS Exhibition Opening

Friday, September 12 THE ETHNO–ARCHAEOLOGY OF A SACRED HALLUCINOGEN ARF Brown Bag Lecture Wednesday, September 17, 12–1 pm. A lunchtime gallery talk by PAHMA Director Douglas Sharon.

CERAMIC FOLK ART OF ECUADOR Thursday, October 9, 12–1 pm. A lunchtime gallery talk by Richard Burkett, professor of ceramics at San Diego State University. POTTERS, PAINTERS, AND WEAVERS OF ECUADOR Thursday, October 23, 12–1 pm A lunchtime gallery talk by Javier Guerrero, senior curator at the San Diego Museum of Man.

INFORMATION TECHNOLOGY: APPLIED TO THE UHLE ARCHAEOLOGY COLLECTIONS FROM PERU ARF Brown Bag Lecture Wednesday, October 29, 12–1 pm A lunchtime gallery talk by William Whitehead, doctoral candidate in the UCB Department of Anthropology.

WHO WAS ANDY KOCHERGIN? THE SAGA OF A HAIDA CARVING Thursday, September 25, 12–1 pm A lunchtime gallery talk by Selig N. Kaplan, UCB professor emeritus of nuclear engineering.

ECUADORIAN DANCE, MUSIC, AND ART Family Day Sunday, September 28, 1–4 pm An afternoon program for young and mature audiences alike. Martha Brankline and guests will be performing ethnic dances from the North and South of Ecuador. Craft-making for children includes weaving demonstrations, working with clay materials, and painting. Free with museum admission.

November 2003 RECENT RESEARCH ON INCA ARCHAEOLOGY IN ECUADOR Thursday, November 6, 12–1 pm A lunchtime gallery talk by Dennis Ogburn, ARF research archaeologist.

ECUADORIAN FIESTAS Thursday, November 13, 12–1 pm A lunchtime gallery talk by Grace Johnson, curator of Latin American ethnography at the San Diego Museum of Man.

ECUADORIAN ARTS AND CRAFTS: 1963–1970

October 2003 POT HUNTERS, GEOGRAPHERS, AND ARCHAEOLOGISTS–100 YEARS OF SOUTHWEST ARCHAEOLOGY

Thursday, November 20, 2003, 12–1 pm A lunchtime gallery talk by textile collectors Kathleen and Paul Vitale.

ARF Brown Bag Lecture Wednesday, October 1, 12–1 pm A lunchtime gallery talk by M. Steven Shackley, PAHMA research archaeologist.

MUSEUM CLOSED November 27–28 for Thanksgiving Holiday

UC BERKELEY HOMECOMING AND PARENTS WEEKEND

ECUADORIAN POTTERY AND TEXTILE TRADITIONS

Friday–Sunday, October 3–5 PAHMA will be open regularly scheduled hours and special docent tours will be offered.

Exhibition Closing Sunday, December 14, 2003 All other galleries will remain open during regular museum hours.

December 2003

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ECUADORIAN POTTERY AND TEXTILE TRADITIONS continued from page 1 Pottery traditions in Ecuador are maintained by women, often with the help of family members. From the shaping and decorating of the clay to the firing of their wares, the artists have been responsible for implementing innovations in both technology and design. Advances such as the potter's wheel have given greater speed and control. The enclosed kiln has enabled the potter to fire clay at higher temperatures, thus yielding a stronger pot. The use of glazes has provided both a decorative element and a protective surface to the finished work. While Ecuadorian artisans working today rely on these modern techniques, many communities still produce their pottery using preHispanic methods such as manual coiling and hand molding, as well as firing over an open flame. Ecuadorian Pottery and Textile Traditions explores the array of styles being used through pottery examples from the various regions, the tools that are used, and related documentation showing the processes. Central to Ecuadorian Pottery and Textile Traditions is the research provided by Professor Richard Burkett, a ceramic artist from San Diego State University, and Professor Joe Molinaro, a ceramics instructor at Eastern Kentucky University. Both men have traveled extensively to regions of Ecuador to study the work of indigenous potters who make modern reproductions of pre-Hispanic designs and contemporary decorative ceramics for the retail market. Professors Burkett and Molinaro have documented potters in Jatumpamba, in the Southern Andes near Azogues and Cuenca, and in the Amazonian Basin along the Rio Bobonaza. The pottery from the Amazon is primarily Quichua from the Puyo and Jatun Molino villages. The pottery from Puyo and Jatun Molino villages is decorated with geometric patterns of black, brown, and white slip on red clay. Faces and limbs often adorn the pottery. For one artist, Esthela Dagua of Puyo, animals are a favorite subject for functional vessels, depicted with such playful details as long spiny tails and protruding lizard tongues. Works from the Quito region include the colorful and intricate scenes created by artists from the town of Pujulí. In one example, an overcrowded bus, piled high with the personal belongings of the passengers, waits for its driver who stands poised on the front bumper to lean under the bus's hood. Purely decorative, these small sculptural pieces of dollhouse scale are crafted with amazing details that tell much about daily life in Ecuador. The modern examples of traditional pieces allude to the popularity and current market demand for Ecuadorian

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pottery that is pre-Hispanic in appearance. According to Museum Director Dr. Douglas Sharon, "Ecuadorian Pottery and Textile Traditions provides an incredible opportunity to learn about contemporary Ecuadorian pottery within an historical context. We are delighted to be able to augment the display of ceramics from the San Diego Museum of Man exhibition with fine examples of textiles from our friends, the Vitales, in order to provide a broader understanding of these artistic traditions." In conjunction with Ecuadorian Pottery and Textile Traditions, the Phoebe A. Hearst Museum of Anthropology will be presenting a series of lunchtime lectures, including three lectures co-presented with UC Berkeley's Archaeological Research Facility (ARF). A Family Day (September 28) will combine Ecuadorian music and dance traditions with craft-making opportunities for all ages. Please see the calendar in this newsletter for more details. CREDITS The exhibition was curated by Douglas Sharon, Ph.D., based on the exhibition Ecuadorian Pottery Traditions curated for the San Diego Museum of Man by Grace Johnson, curator of Latin American ethnography, with guest curators Richard Burkett, professor of ceramics at San Diego State University, and Joe Molinaro, professor of ceramics at Eastern Kentucky University. Ecuadorian Pottery and Textile Traditions at the Phoebe A. Hearst Museum of Anthropology is made possible by the generous support of the Museum's donors and members. ECUADORIAN FIGURE MADE BY THE VÀSCONEZ SISTERS QUITO, ECUADOR, SAN DIEGO MUSEUM OF MAN COLLECTION, PHOTOGRAPH BY THERESE BABINEAU

LOCATION The Phoebe A. Hearst Museum of Anthropology is located in Kroeber Hall at the corner of of Bancroft Way and College Avenue on the UC Berkeley Campus.

HOURS/ADMISSION The Museum is open from 10:00 a.m. to 4:30 p.m.Wednesday through Saturday and noon to 4:00 p.m. on Sunday. Admission is $4 for adults, $3 for seniors, $1 for students age 13 and above; free admission to Museum members, UCB students, faculty, staff, children 12 and under; free to all on Thursdays. The Museum is wheelchair accessible.

VICE CHANCELLOR FOR RESEARCH BETH BURNSIDE AND PAHMA DIRECTOR DOUG

TRANSPORTATION AND PARKING

SHARON DISCUSSING AT THE WIZARD'S

Campus is served by the following AC Transit bus routes: 7, 40, 51, 52, 64. The Museum is a 15minute walk east from the Berkeley BART station. Metered parking is available on streets near the Museum. Paid public parking is available at Berkeley Public Parking, 2420 Durant Avenue (west of Telegraph), and after 5 p.m. and on weekends in the parking structure adjacent to the Museum.

TABLE–CONTEMPORARY PERUVIAN SHAMANISM, A SPECIAL LECTURE GIVEN BY THE DIRECTOR FOR MEMBERS AND FRIENDS.

MEMBERSHIP

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he Phoebe A. Hearst Museum of Anthropology serves the community through exhibitions, educational programs, and research opportunities that promote understanding of the history and diversity of human cultures. Membership is a great way to get involved and provides a valuable source of unrestricted operating funds to sustain our programs. Join, renew, or give a gift of membership and enjoy the benefits below. Call 510-642-3682 or email [email protected].

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Free admission to the Museum 10% discount on most items in the Museum store Free admittance to public programs and lectures Subscription to semi-annual PAHMA News Advance notice of all Museum events and activities

M EMBERSHIP CATEGORIES ■ $30.00 Student/Senior/Disabled ■ $35.00 Individual/Dual Senior ■ $40.00 Family (two cards provided) Valid Student ID requested Senior is age 55 and above

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M USEUM A SSOCIATES Enjoy all the benefits of membership plus invitations to Director's special events. Two cards provided for all Associates.

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Your membership at all Member and Associate levels is fully tax deductible Thank you!

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ECUADORIAN POTTERY AND TEXTILE TRADITIONS OPENING SEPTEMBER 12, 2003

ALSO ON VIEW THROUGH FEBRUARY 2004 The World in a Frame: Photographs from the Great Age of Exploration, 1865–1915, which features Native American portraits, wilderness landscapes of the American West, images of ancient ruins of the Southwest, monumental architecture in Lebanon, Syria, and Egypt, and hand-painted photos of Japan. All works are by founders of documentary photography including Felice Beato, Maison Bonfils, Edward S. Curtis, John Hillers, William Henry Jackson, Frederick Monsen, Timothy O'Sullivan, and Carleton E. Watkins.

ONGOING Beginnings: The Phoebe Hearst Era (1901–1920), the founding collections of the Museum, including Egypt, Peru, Ancient Mediterranean, and Native Alaska. Native Californian Cultures, a visual storage exhibit BUS SCENE, PUJILÍ, SAN DIEGO MUSEUM OF MAN COLLECTION, PHOTOGRAPH BY THERESE BABINEAU

PHOEBE A. HEARST

MUSEUM OF ANTHROPOLOGY UNIVERSITY OF CALIFORNIA, BERKELEY 1 0 3 K R O E B E R H A L L # 3 7 1 2 ◆ B E R K E L E Y, C A 9 4 7 2 0 - 3 7 1 2

of California Indian artifacts from throughout the state.

Nonprofit Org US Postage PAID University of California