This case study introduces a legacy collection of historic Indigenous Arctic watercraft from North America and Greenland, composed of ten kayaks and an umiak, that were originally at the Museum of the American Indian/Heye Foundation (whose collections now form the core collection of the National Museum of the American Indian) in New York City. The collection was formed in the early twentieth century, sold to the Kanawa International Museum of Canoes, Kayaks and Rowing Craft in the 1970s, and acquired by the Canadian Canoe Museum in the 1990s. The museum catalog cards that accompanied the transfer of the MAI collection contain information about provenance and location. This article examines the provenance information, archival documentation, and related primary sources to explore the background of some of the early-twentieth-century Arctic hunters and non-Indigenous explorers and adventurers associated with these heritage items.
{"title":"ARCTIC HUNTERS, AMERICAN EXPLORERS, ADVENTURERS, AND ANTHROPOLOGISTS: The ex-Museum of the American Indian Collection of Kayaks at the Canadian Canoe Museum","authors":"Sherry Brydon","doi":"10.1111/muan.12208","DOIUrl":"10.1111/muan.12208","url":null,"abstract":"<p>This case study introduces a legacy collection of historic Indigenous Arctic watercraft from North America and Greenland, composed of ten kayaks and an umiak, that were originally at the Museum of the American Indian/Heye Foundation (whose collections now form the core collection of the National Museum of the American Indian) in New York City. The collection was formed in the early twentieth century, sold to the Kanawa International Museum of Canoes, Kayaks and Rowing Craft in the 1970s, and acquired by the Canadian Canoe Museum in the 1990s. The museum catalog cards that accompanied the transfer of the MAI collection contain information about provenance and location. This article examines the provenance information, archival documentation, and related primary sources to explore the background of some of the early-twentieth-century Arctic hunters and non-Indigenous explorers and adventurers associated with these heritage items.</p>","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"42 2","pages":"71-88"},"PeriodicalIF":0.4,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/muan.12208","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46829078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines some significant yet little-known early anthropological achievements in Italy. These include the world's first museum of anthropology, founded in 1869 by Paolo Mantegazza (1831–1910) at Florence (Firenze), Italy, where that same year he also established Italy's (and the world's) first cattedra (university professorship) of anthropology. Mantegazza sought to develop a unified “science of man,” with a broad definition of the new discipline that brought together human physiological, ethnographic, and “comparative psychology” collections within his new anthropology museum, later complemented by a companion “psychological” museum. Even though Mantegazza's Florentine school of anthropology ended under Fascism, today the surviving Museum of Anthropology in Florence is still the repository of important ethnographic collections from early Italian traveler-explorers and other contributors. Their study was an important component of Mantegazza's science, which is receiving new attention by modern Italian anthropologists.
{"title":"PAOLO MANTEGAZZA'S VISION: The Science of Man behind the World's First Museum of Anthropology (Florence, Italy, 1869)","authors":"Paul Michael Taylor, Cesare Marino","doi":"10.1111/muan.12209","DOIUrl":"10.1111/muan.12209","url":null,"abstract":"<p>This article examines some significant yet little-known early anthropological achievements in Italy. These include the world's first museum of anthropology, founded in 1869 by Paolo Mantegazza (1831–1910) at Florence (Firenze), Italy, where that same year he also established Italy's (and the world's) first <i>cattedra</i> (university professorship) of anthropology. Mantegazza sought to develop a unified “science of man,” with a broad definition of the new discipline that brought together human physiological, ethnographic, and “comparative psychology” collections within his new anthropology museum, later complemented by a companion “psychological” museum. Even though Mantegazza's Florentine school of anthropology ended under Fascism, today the surviving Museum of Anthropology in Florence is still the repository of important ethnographic collections from early Italian traveler-explorers and other contributors. Their study was an important component of Mantegazza's science, which is receiving new attention by modern Italian anthropologists.</p>","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"42 2","pages":"109-124"},"PeriodicalIF":0.4,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/muan.12209","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41726555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Between April 2016 and February 2017, indelible images of police violence against protestors on tribal reservation and unceded lands in Standing Rock, North Dakota, circulated on the national news and social media. The American public bore witness to law enforcement using tear gas, rubber bullets, concussion grenades, and water cannons against protestors as winter temperatures in the region plunged below freezing. These images generated widespread public interest in Energy Transfer Partners’ proposed Dakota Access Pipeline (DAPL), a $3.8 billion, 1,172-mile-long pipe intended to carry 500,000 barrels of oil per day across the states of North Dakota, South Dakota, Iowa, and Illinois. In North Dakota, the construction plans aimed to extend the pipeline upriver from Lake Oahe, the Standing Rock Sioux Nation’s only source of drinking water. The DAPL proposal thus sparked serious concerns about the contemporary state of Indigenous sovereignty, settler colonialism, and environmental racism. Drone Warriors: The Art of Surveillance and Resistance at Standing Rock takes up these concerns by revisiting the actions of the Water Protectors, the Native and non-Native protestors who opposed the proposed DAPL. This informative exhibit highlights how photographic drone operators Myron Dewey, Sean Turgent, Dean Dedman Jr., Brooke Johnson Waukau, and dozens of others turned to drone technology as an innovative response to the pipeline and its defenders. They produced videos and photographs of the pipeline construction and the militarized encampments housing Morton County police, National Guard, and DAPL security forces to document political and environmental transgressions. At the same time, they created powerful images of the landscape and the #NoDAPL Movement to tell their own narrative of the events. Entering the gallery space through the museum’s glass doors, museumgoers are met with tracking shots of theMni Sose, or theMissouri River, on a flat screen televisionmounted on the wall at eye level. To the left, a series of Dewey’s aerial photographs lines the walls, capturing the beauty of “Lakota ancestral lands, herds of bison grazing in the prairie, and the linkages of waterways,” according to a nearby panel. These opening images establish the landscape’s relationship to Indigenous culture as well as its natural beauty. As one moves through the exhibit, a visual story unfolds of this natural world under threat. For example, on other televisions mounted nearby, museumgoers seated on stools can take in aerial video of the buffalo “surrounded by twenty foot deep trenches and razor wire.” To be sure, the narrative of the endangered Lakota lands is a deeply moving one. At the same time, opening the exhibit with images of unpopulated land risks re-inscribing a colonial perspective that ignores the Indigenous communities who inhabit it, seeing it instead as empty and ripe for resource extraction. Perhaps in an effort to dampen this effect, a glass case nearby showcas
2016年4月至2017年2月，北达科他州Standing Rock部落保留地和未开垦土地上警察对抗议者施暴的不可磨灭的画面在全国新闻和社交媒体上流传。随着该地区冬季气温骤降至零度以下，美国公众目睹了执法部门对抗议者使用催泪瓦斯、橡皮子弹、震荡手榴弹和高压水枪。这些图像引起了公众对能源转移合作伙伴提出的达科他州接入管道（DAPL）的广泛兴趣，这是一条耗资38亿美元、长1172英里的管道，旨在每天在北达科他州、南达科他州和爱荷华州输送50万桶石油。在北达科他州，建设计划旨在将管道从瓦河湖向上游延伸，瓦河湖是Standing Rock Sioux民族唯一的饮用水来源。因此，DAPL的提案引发了人们对当代土著主权状况、定居者殖民主义和环境种族主义的严重担忧。无人机战士：Standing Rock的监视和抵抗艺术通过重新审视反对拟议DAPL的水保护者、原住民和非原住民抗议者的行动来解决这些问题。这场信息丰富的展览突出了摄影无人机操作员Myron Dewey、Sean Turgent、Dean Dedman Jr.、Brooke Johnson Waukau和其他数十人如何将无人机技术作为对管道及其捍卫者的创新回应。他们制作了管道建设和莫顿县警察、国民警卫队和DAPL安全部队军事化营地的视频和照片，以记录政治和环境违法行为。与此同时，他们创造了强有力的景观和#NoDAPL运动的图像，讲述了他们自己对事件的叙述。通过博物馆的玻璃门进入画廊空间，博物馆观众会在墙上与眼睛齐平的平面电视上看到Mni Sose或密苏里河的跟踪镜头。在左边，一系列杜威的航拍照片排列在墙上，捕捉到了“拉科塔祖先的土地、在大草原上放牧的野牛群以及水道之间的联系”的美丽，据附近的一个小组介绍。这些开放的图像确立了景观与土著文化及其自然美景的关系。当人们在展览中穿行时，一个视觉故事展现了这个受到威胁的自然世界。例如，在附近安装的其他电视上，坐在凳子上的博物馆观众可以拍摄水牛“被20英尺深的战壕和铁丝网包围”的空中视频。可以肯定的是，关于濒危的拉科塔土地的叙述是一个感人的故事。与此同时，以无人居住的土地图像作为展览的开场白，可能会重新塑造一种殖民主义的视角，忽视居住在那里的土著社区，反而认为那里是空的，资源开采的时机已经成熟。也许是为了抑制这种影响，附近的一个玻璃盒子展示了DAPL抵抗运动产生的丰富多样的文物。其中包括拉科塔视觉艺术家Gilbert Kills Pretty Enemy III的几张海报，以及Jesus Barraza和Melanie Cervantes的丝网印刷图案，画中一名年轻的土著妇女与一排保护者站在一起，右臂举起反抗。第二个案例的主角是Standing Rock Pueblo营地的水保护者制作的捕梦者，他们巧妙地将执法部门用来将保护者卷起来的手风琴线重新用作拉紧捕梦者织带的环箍。也许展览中最引人注目的部分是它对#NoDAPL运动的视觉记录。伊丽莎白·胡佛（Elizabeth Hoover）现在的标志性照片《保护者》（Protectors）在回水桥（Backwater Bridge）路障对峙期间的剪影将观众放在地上（图1），而展览的大多数图像都使用无人机的空中视角从上方讲述行动的故事。一张引人注目的照片捕捉到了保护者和莫顿县警察在海龟岛的对峙，这是监视和反监视的复杂相互作用：而执法人员则穿着博物馆人类学的衣服
{"title":"Drone Warriors: The Art of Surveillance and Resistance at Standing Rock. Exhibit at the Haffenreffer Museum of Anthropology. Providence, RI: Brown University. May 11, 2018–April 30, 2019.","authors":"J. D. Schnepf","doi":"10.1111/muan.12206","DOIUrl":"10.1111/muan.12206","url":null,"abstract":"Between April 2016 and February 2017, indelible images of police violence against protestors on tribal reservation and unceded lands in Standing Rock, North Dakota, circulated on the national news and social media. The American public bore witness to law enforcement using tear gas, rubber bullets, concussion grenades, and water cannons against protestors as winter temperatures in the region plunged below freezing. These images generated widespread public interest in Energy Transfer Partners’ proposed Dakota Access Pipeline (DAPL), a $3.8 billion, 1,172-mile-long pipe intended to carry 500,000 barrels of oil per day across the states of North Dakota, South Dakota, Iowa, and Illinois. In North Dakota, the construction plans aimed to extend the pipeline upriver from Lake Oahe, the Standing Rock Sioux Nation’s only source of drinking water. The DAPL proposal thus sparked serious concerns about the contemporary state of Indigenous sovereignty, settler colonialism, and environmental racism. Drone Warriors: The Art of Surveillance and Resistance at Standing Rock takes up these concerns by revisiting the actions of the Water Protectors, the Native and non-Native protestors who opposed the proposed DAPL. This informative exhibit highlights how photographic drone operators Myron Dewey, Sean Turgent, Dean Dedman Jr., Brooke Johnson Waukau, and dozens of others turned to drone technology as an innovative response to the pipeline and its defenders. They produced videos and photographs of the pipeline construction and the militarized encampments housing Morton County police, National Guard, and DAPL security forces to document political and environmental transgressions. At the same time, they created powerful images of the landscape and the #NoDAPL Movement to tell their own narrative of the events. Entering the gallery space through the museum’s glass doors, museumgoers are met with tracking shots of theMni Sose, or theMissouri River, on a flat screen televisionmounted on the wall at eye level. To the left, a series of Dewey’s aerial photographs lines the walls, capturing the beauty of “Lakota ancestral lands, herds of bison grazing in the prairie, and the linkages of waterways,” according to a nearby panel. These opening images establish the landscape’s relationship to Indigenous culture as well as its natural beauty. As one moves through the exhibit, a visual story unfolds of this natural world under threat. For example, on other televisions mounted nearby, museumgoers seated on stools can take in aerial video of the buffalo “surrounded by twenty foot deep trenches and razor wire.” To be sure, the narrative of the endangered Lakota lands is a deeply moving one. At the same time, opening the exhibit with images of unpopulated land risks re-inscribing a colonial perspective that ignores the Indigenous communities who inhabit it, seeing it instead as empty and ripe for resource extraction. Perhaps in an effort to dampen this effect, a glass case nearby showcas","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"42 2","pages":"150-152"},"PeriodicalIF":0.4,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/muan.12206","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42463504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this essay, we analyze the museum scripts and exhibitions at the two southernmost museums in the world: Museo del Fin del Mundo (MFM, Ushuaia, Argentina) and Museo Antropológico Martín Gusinde (MAMG, Puerto Williams, Chile). The research focuses on the representations of Fuegian Indigenous peoples who inhabited (and still inhabit) Tierra del Fuego. To this end, comparative analyses are based on (a) the Indigenous societies represented; (b) the types of materials exhibited (archaeological, ethnographic, contemporary); (c) the uses of oral/written/photographic information; and (d) the types of museum displays used in each display case. The analyses aim to identify and discuss the different underlying anthropological discourses about the Indigenous Fuegian societies, their associations with past and present, prehistoric and historical events in Chile and Argentina, their visibility as “subjects” and/or “agents” within the contemporary local Fuegian communities, and their involvement in the formation of the museum's exhibitions.
在本文中，我们分析了世界上最南端的两个博物馆的博物馆脚本和展览:Museo del Fin del Mundo (MFM，乌斯怀亚，阿根廷)和Museo Antropológico Martín Gusinde (MAMG, Puerto Williams，智利)。研究的重点是在火地岛居住(和仍然居住)的土著人民的代表。为此目的，比较分析是根据(a)所代表的土著社会;(b)展出的材料类型(考古、人种学、当代);(c)使用口头/书面/摄影资料;(d)每个陈列柜中使用的博物馆展品类型。分析的目的是确定和讨论关于土著Fuegian社会的不同潜在人类学话语，他们与过去和现在的联系，智利和阿根廷的史前和历史事件，他们在当代当地Fuegian社区中作为“主体”和/或“代理人”的知名度，以及他们参与博物馆展览的形成。
{"title":"Fuegian Museums and Anthropological Discourses: A Comparison of the Representations of Indigenous Societies from Tierra del Fuego in the Two Southernmost Museums in the World (Museo del Fin del Mundo, Argentina, and Museo Antropológico Martín Gusinde, Chile)","authors":"Danae Fiore, Ana Butto","doi":"10.1111/muan.12212","DOIUrl":"10.1111/muan.12212","url":null,"abstract":"<p>In this essay, we analyze the museum scripts and exhibitions at the two southernmost museums in the world: Museo del Fin del Mundo (MFM, Ushuaia, Argentina) and Museo Antropológico Martín Gusinde (MAMG, Puerto Williams, Chile). The research focuses on the representations of Fuegian Indigenous peoples who inhabited (and still inhabit) Tierra del Fuego. To this end, comparative analyses are based on (<i>a</i>) the Indigenous societies represented; (<i>b</i>) the types of materials exhibited (archaeological, ethnographic, contemporary); (<i>c</i>) the uses of oral/written/photographic information; and (<i>d</i>) the types of museum displays used in each display case. The analyses aim to identify and discuss the different underlying anthropological discourses about the Indigenous Fuegian societies, their associations with past and present, prehistoric and historical events in Chile and Argentina, their visibility as “subjects” and/or “agents” within the contemporary local Fuegian communities, and their involvement in the formation of the museum's exhibitions.</p>","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"42 2","pages":"125-144"},"PeriodicalIF":0.4,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/muan.12212","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43639475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Guided by the notion that posterity is now, this is a call to take seriously the experiences of museum staff working in collaboration and consultation with Native peoples and to reorient the purpose of the museum to the values embedded in these interactions. Namely, this statement recognizes that heritage work in museum collections is not only about cultural identity and the past, but more often it is oriented toward the present and future of Indigenous communities to benefit their health and well-being.
{"title":"Posterity Is Now","authors":"Jen Shannon","doi":"10.1111/muan.12201","DOIUrl":"10.1111/muan.12201","url":null,"abstract":"<p>Guided by the notion that posterity is now, this is a call to take seriously the experiences of museum staff working in collaboration and consultation with Native peoples and to reorient the purpose of the museum to the values embedded in these interactions. Namely, this statement recognizes that heritage work in museum collections is not only about cultural identity and the past, but more often it is oriented toward the present and future of Indigenous communities to benefit their health and well-being.</p>","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"42 1","pages":"5-13"},"PeriodicalIF":0.4,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/muan.12201","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47574330","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Yakuglas’ Legacy: The Art and Times of Charlie James. Ronald W. Hawker. Toronto, Buffalo: University of Toronto Press, 2016.","authors":"Christopher W. Smith","doi":"10.1111/muan.12193","DOIUrl":"10.1111/muan.12193","url":null,"abstract":"","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"42 1","pages":"51-52"},"PeriodicalIF":0.4,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/muan.12193","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46079161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Fabricating Power with Balinese Textiles. Exhibit at the Bard Graduate Center Gallery. New York, NY, USA. February 26–July 8, 2018.","authors":"Susan Rodgers","doi":"10.1111/muan.12198","DOIUrl":"10.1111/muan.12198","url":null,"abstract":"","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"42 1","pages":"47-48"},"PeriodicalIF":0.4,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/muan.12198","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46059175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Collecting, Ordering, Governing: Anthropology, Museums, and Liberal Government. Tony Bennett, Fiona Cameron, Nélia Dias, Ben Dibly, Rodney Harrison, Ira Jacknis, and Conal McCarthy. Durham, NC: Duke University Press, 2017.","authors":"Diana E. Marsh","doi":"10.1111/muan.12190","DOIUrl":"10.1111/muan.12190","url":null,"abstract":"","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"42 1","pages":"49-50"},"PeriodicalIF":0.4,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/muan.12190","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41823606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Naamiwan's Drum: The Story of Contested Repatriation of Anishinaabe Artefacts. Maureen Matthews. Toronto, Buffalo, and London: University of Toronto Press, 2016.","authors":"Blaire Kristine Topash-Caldwell","doi":"10.1111/muan.12189","DOIUrl":"10.1111/muan.12189","url":null,"abstract":"","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"42 1","pages":"53-54"},"PeriodicalIF":0.4,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/muan.12189","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43318717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"House of Eternal Return. Exhibit at Meow Wolf. Santa Fe, New Mexico. 2016–Ongoing.","authors":"Lillia McEnaney","doi":"10.1111/muan.12199","DOIUrl":"10.1111/muan.12199","url":null,"abstract":"","PeriodicalId":43404,"journal":{"name":"Museum Anthropology","volume":"42 1","pages":"42-43"},"PeriodicalIF":0.4,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/muan.12199","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45699607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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