LEADER 03834nam 2200613 450 001 9910153744203321 005 20200520144314.0 010 $a1-77199-039-2 035 $a(CKB)4330000000019378 035 $a(Au-PeEL)EBL4697964 035 $a(CaPaEBR)ebr11277393 035 $a(CaONFJC)MIL957490 035 $a(OCoLC)931152005 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/62277 035 $a(VaAlCD)20.500.12592/kmpx95 035 $a(MiAaPQ)EBC4697964 035 $a(EXLCZ)994330000000019378 100 $a20161019h20152015 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aVisiting with the ancestors $eBlackfoot shirts in museum spaces /$fLaura Peers and Alison K. Brown 210 $cAthabasca University Press$d2016 210 1$aEdmonton, Alberta :$cAU Press,$d2015. 210 4$dİ2015 215 $a1 online resource (231 pages) $cillustrations 311 $a1-77199-037-6 311 $a1-77199-038-4 320 $aIncludes bibliographical references. 330 $a"In 2010, five magnificent Blackfoot shirts, now owned by the University of Oxford's Pitt Rivers Museum, were brought to Alberta to be exhibited at the Glenbow Museum, in Calgary, and the Galt Museum, in Lethbridge. The shirts had not returned to Blackfoot territory since 1841, when officers of the Hudson's Bay Company acquired them. The shirts were later transported to England, where they had remained ever since. Exhibiting the shirts at the museums was, however, only one part of the project undertaken by Laura Peers and Alison Brown. Prior to the installation of the exhibits, groups of Blackfoot people--hundreds altogether--participated in special "handling sessions," in which they were able to touch the shirts and examine them up close. The shirts, some painted with mineral pigments and adorned with porcupine quillwork, others decorated with locks of human and horse hair, took the breath away of those who saw, smelled, and touched them. Long-dormant memories were awakened, and many of the participants described a powerful sense of connection and familiarity with the shirts, which still house the spirit of the ancestors who wore them. In the pages of this beautifully illustrated volume is the story of an effort to build a bridge between museums and source communities, in hopes of establishing stronger, more sustaining relationships between the two and spurring change in prevailing museum policies. Negotiating the tension between a museum's institutional protocol and Blackfoot cultural protocol was challenging, but the experience described both by the authors and by Blackfoot contributors to the volume was transformative. Museums seek to preserve objects for posterity. This volume demonstrates that the emotional and spiritual power of objects does not vanish with the death of those who created them. For Blackfoot people today, these shirts are a living presence, one that evokes a sense of continuity and inspires pride in Blackfoot cultural heritage."--$cProvided by publisher. 606 $aSiksika Indians$xClothing 606 $aCultural property$zAlberta 610 $acolonialism 610 $aTruth and Reconciliation 610 $aaboriginal peoples 610 $amuseum studies 610 $afirst nations 610 $amuseology 610 $aheritage items 610 $asacred objects 615 0$aSiksika Indians$xClothing. 615 0$aCultural property 676 $a971.2004973 700 $aPeers$b Laura$0855105 702 $aBrown$b Alison K. 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910153744203321 996 $aVisiting with the ancestors$91909257 997 $aUNINA