Special Theme: Cultural Heritage and Living Cultures
What is cultural heritage? At the National Museum of Ethnology, and inJapan as elsewhere, the recognition, utilization, preservation and transmission of cultural heritage are urgent issues in a world where economic andsocial changes are rapid and often global in scale. What values and kinds ofknowledge are embedded in cultural heritage and how can museums help
source communities reconnect with collections that represent their own cultural heritage? After a general introduction by Anthony Shelton, short essays
by our staff illustrate various ways in which Minpaku has been addressing
the cultural heritage of living cultures.

Anthony Alan Shelton

Overseas Visiting Fellow, University of British Columbia
Anthropology is by nature a highly collaborative discipline, but the relationshipbetween fieldworkers, communities and individuals, mediated by social,political and economic conditions and circumstances, unavoidably takes
different forms. Collaborative methodologies generally, refer to specific types ofrelationships which aspire towards parity or the subordination of disciplinary tocommunity-based knowledge systems. Methodologically, they form a continuum
that ranges from consultative,
dialogical to participant action
research, though all accept
Contents
mutually consensual, fair
Special Theme: Cultural Heritage andand open ethical engagement.
Living Cultures
Consultative relationships
imply formal agreement over
Anthropology, Reconciliation, andthe subject and nature ofCollaborative Methodologies
research, the methodologies
Anthony Alan Shelton...............................1
employed (interviewing,
surveys, participant
Reconnecting Source Communities withobservation, archival, libraryMuseum Collections: A Minpaku Infoor museum based research),
Forum Museum Project
ethical protocols, duration,
Atsunori Ito..............................................3
and the way results willor will not be mobilized;
Preservation of Cultural Heritage in a
dialogical methods understandChanging World
culture not as something
Naoko Sonoda..........................................6
external awaiting discovery
Negotiating Intangible Cultural Heritageand interpretation, but as
the product of a dialogue
Terada Yoshitaka......................................8that takes place between
researchers and artists,
Essay
traditional knowledge holders,
Fieldwork and History: Looking Back onother authorities, or specific
Anthropological Research in Yunnan
sectors within a community.
Hiroko Yokoyama..................................11
The product of research is a
result of the procedure itself
Exhibition.................................................13and includes the juxtapositionof different views akin in
Conference...............................................13style and performance toInformation..............................................14
conversation. One of the
New Staff..................................................15best and most detailed
documented examples of thisOverseas Visiting Fellows..........................15
method is Johannes Fabian’s
Publications..............................................16
Power and Performance.

Number 46
June 2018

MINPAKU
Anthropology Newsletter

Anthropology, Reconciliation,
and Collaborative Methodologies

National
Museum of
Ethnology
Osaka

http://www.minpaku.ac.jp/

2Anthony Shelton
is Director of
the Museum of
Anthropology andProfessor of Art
History,
Visual Art andTheory at the
University of
British Columbia,
Vancouver. He has
curatedeleven permanent
galleries andtemporary
exhibitions in
Canada, Portugal
and the United
Kingdom, and is theauthor of more than
160 publications on
Mexico and Latin
America,
critical museology
and cultural
criticism. He iscurrently writing
Theatrum Mundi:
Masks
and Matrices in
Mexico; the second of
a three volume work,
Writing From Sight,
and anedition of thecollected works ofthe great Spanish
museologist,
Fernando Estévez
González.

MINPAKU Anthropology Newsletter No 46
Ethnographic Explorations throughProverbial Wisdom and Theatre (1990),
on extemporization and audience
participation in Shaba community
theatre. Participant action researchas described by Michael Ames in his
influential article, How to Decorate A
House (1999), involves the deferral of
the anthropologist’s own agency tofacilitate a community or individual’s
research objectives. Frequently, thecollaborative relationship involves morethan one of these modalities dependingon the objectives and requirementsof the different stages of the research
process – never forgetting the primaryinterdiction that these are known
and agreed between the different
parties prior to implementation.
Communities on the North West Coastof Canada emphasise the importanceof striking formal, prior memoranda ofunderstanding, as part of the processof reaching agreement on appropriate
ethical protocols and the subject,nature, review, control, disclosureand dissemination of information.
Such agreements provide a path forestablishing relationships based onshared expectations, mutual respect,agreement and sharing of common
ethical standards and procedures.
Collaborative methodologies
are as Ames and Guillermo Bonfil
Batalla have insisted, essential
to the operation and viability of
ethnographic museums. In Mexico
Profundo. Una civilización negada(1987), Bonfil argued that despite
five hundred years of suppression,
exploitation and attempted
ethnocide, a distinctive Indigenous
civilizational model continues to exist
and challenge the dominant EuroAmerican model with which it uneasily
coexists. The acknowledgement of
the tense coexistence of alternativemodels of civilization within thesame geographical space, demands
clear individual and institutional
political commitment and alignment.
With this in mind, after being
director of the Instituto Nacional deAntropologia e Historia, Mexico’s
powerful, federally funded heritage
institution, in 1982 Bonfil founded
the Museo de Culturas Populares.
The museum was a non-collecting
institution, dedicated to working withother museums and agencies using
collaborative methodologies aimed
at reversing the power relations thatfavour metropolitan institutions likemuseums, over local community
organizations. It’s opening exhibition,
Nuestra Maize, involved researchers
working directly with knowledge
holders, subsistence farmers, and their

June 2018

wives in thirty Indigenous communities
across the country to jointly compile
information on the diverse beliefs
and rituals, farming techniques,
and cooking recipes related to thehistory, cultivation and preparationof this staple food. The exhibition,collectively curated, was mounted at
the museum in Coyoacán, while aposter board version, along with a twovolume publication was circulated tothe participating communities. This
first exhibition provided a model forfurther exhibitions in which the notionof collaborative research was deepened
by both museum and the communities
it served.
The cases of Canada and Mexico,
whose institutions could undergomuch further reform, nevertheless,testify to the need for a new contract
between museums and communities
that will promote and enable the wider
circulation and sharing of cultural
materials and expertise between them.
In settler countries like the USA,
Canada, South Africa, Zimbabwe,
Australia, New Zealand, Mexico andSouth America, this probably requires
the redistribution of roles and power
relations within and between museums
and communities. For those museum
in countries whose governments are
signatories to the United Nations
Declaration on the Rights of Indigenous
Peoples, it will require that the
responsibilities for the care, use
and interpretation of collections aredevolved to Indigenous curators andknowledge holders – the most radicalrenovation of the museums’ missions
since their foundation. Such reforms
could trigger a massive reorganizationof relationships between different
kinds of museums, enabling them tobetter share their resources to end
the cultural isolation that afflicts
many communities and transform anddemocratize the management, care anddeployment of cultural resources on anational scale. Some settler societies
including Canada, South Africa
and New Zealand have or are going
through a process of reconciliation
over former policies and practices
that have denigrated and attempted
to extinguish cultural diversity within
their borders. In these countries
policies should change in concert
with those aimed towards national
reconciliation. Directors and curators
in museums outside settler societies
are frequently concerned about losing
collections sequestered a long time ago,and research on collection provenance,as Germany has recognized, is urgently
required. In MOA’s experience, themuseum received far more objects

June 2018

MINPAKU Anthropology Newsletter No 46

and collections given by Indigenous
peoples, in recognition of the positive
relations established with families
and communities, than those lost to
repatriation.
Given the changes that are occurring
between museums and Indigenous
peoples, I would suggest it is time tostop treating the repatriation of cultural
materials independently of all the
relations museums and peoples share,and if they share no such relations,to ask why such institutions continue
to hold such collections. Cultural
materials can separate peoples,
communities and nations or they
can bring them closer together. The
repatriation of the G’psgolox Pole fromthe National Museum of Ethnology inStockholm to the Haisla community ofKitamaat, resulted in the carving and3

gifting of a copy of the pole back to theMuseum and the instigation of school
programs between the two nations.
The long-term project instigated by
the Haida Repatriation Committee
to return and lay to rest all theirancestor’s remains held by museums,
has created strong friendships andnetworks between Haida Gwaii andmuseums across Europe, Canada andthe United States and establishedtremendous, recognized expertizein these matters in the community.
Instead of looking at repatriation asa one-way, isolated and often divisive
process, we need to view it as part of afuller set of relationships that can bindmuseums closer together to Indigenous
peoples and contribute to the wider
goal of reconciliation that the UN
Declaration anticipates.

Reconnecting Source Communities with
Museum Collections: A Minpaku InfoForum Museum Project
Atsunori Ito

National Museum of Ethnology
In April 2014, the National Museumof Ethnology, Japan (hereinafter
Minpaku) started research aimed atcreating an ‘Info-Forum Museum for
Cultural Resources of the World’. As
previously reported by Kishigami (2017,
Minpaku Anthropology Newsletter
45:4-5), eighteen projects for databaseestablishment and improvement havealready been started, and some of them
have already been completed. Although
the objectives were separate for eachproject, the general aim of each project
was similar. Each was aimed at
improving the documentation anddigitization of collections and accessfor using collected materials throughinteractive database systems. These
efforts required academic and practicalcollaboration between researchers,
museums, and members of the source
communities (makers and users ofmaterials and their descendants). Here,I describe a project carried out from
June 2014 to March 2018, look backon implementation of the project, anddiscusses the effectiveness of using
video to document artifacts and source
community responses. The project‘Documenting and Sharing Information

on Ethnological Materials: Working
with Native American Tribes’ involved
about 2,200 collected items belonging
to the collections of fourteen museums
and a private collection in Japan, theUnited States, and the United Kingdom.
The source community in this casewas the Hopi people (population: about
12,000) in the southwestern part of theUnited States. Twenty-two individuals
have participated in collections review
to date.
‘Collections review’ is an important
approach for research on museum
materials, it is not merely viewing an
exhibition. Participants were asked
to explain each item along withthe local cultural context, to grouprelated items, to describe them forthe collection catalogue, and to relate
personal experiences and memories.
Main topics for each item included thememory of use, precautions for making,how to obtain source materials,
design interpretation, local name, themaker and the descendants, and therelated past and present community.
Description errors in the collection
catalog were also corrected (but notdeleted) and relationships to items

Ito is an associate
professor at
Minpaku. He
specializes in cultural
anthropology,
museumanthropology,
and IndigenousIntellectual Property
Rights. He is theeditor of Collections
Review on the
Katsina Dolls Labeled‘Hopi’ in the National
Museum of Ethnology:
Reconnecting Source
Communities with
Museum Collections
1 (SER 140, 2017),
Re-Collection andSharing Traditional
Knowledge,
Memories,
Information, andImages: Challenges
and the Prospects on
Creating Collaborative
Catalog (SER 137,
2016) and supervisorof RECONNECTING
Source Communities
with Museum
Collections (ifm.
minpaku.ac.jp/hopi)(2018).

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MINPAKU Anthropology Newsletter No 46

June 2018

Discussion mediated bymaterials is not particularly new as amethod for exchange with the source
community in ethnology museums.
Discussion and information sharing
have been conducted frequently to
select materials and confirm drawings
in the process of planning exhibitions.
In the United States, consultations tonegotiate the repatriation of humanremains, funerary accessories, sacredobjects, and objects of cultural
patrimony have become common in thelast quarter of a century, and are basedon the federal Native American Graves
Protection and Repatriation Act, which
was enacted in 1989 and 1990.
There are also systems to
combine the reconnection of a source
community with collected materials
through the production of art works.
Artist-in-residence Programs are often
seen in museums in Europe and theUnited States. Indigenous artists, may
be invited for a short or long-term visits
to provide opportunities for collection
review and an environment for creative
activities. Such programs have been
operated for a long time by the Indian
Arts Research Center of the Schoolof Advanced Research in Santa Fe,
New Mexico, United States, and the
National Museum of Ethnology of theNetherlands. A visit might be positioned
in the process of material collection or
donation or integrated with the draftingof an exhibition plan. Another example
of an Artist-in-residence Program is
the Ainu Association CraftsmanshipTraining program for training outside
Hokkaido. This has been accepted by
Minpaku at request fromthe Ainu Association of
Hokkaido.
Some institutions add
records of such exchanges
to their collection
database. For example,
the Burke Museum
and the associatedBill Holm Center inSeattle, Washington,
United States, enter thereview date, name ofparticipants, and opinionof participants as textual
data. Unfortunately,
many institutions keep norecord of a reconnection
at all. The author has
always thought that roomremains for improvementin the responses ofmuseums － which tend
to be no more than notes
and snapshots － to theIndirect review for the silver jewelry collections of the National Museum of the American Indiansrare opportunities forat the silversmith’s studio in the Hopi Reservation, AZ, USA (Ito, 2017)reconnection of the people
collected by other museums were also
noted.
Direct and indirect approaches
were used for collection review.
For direct review, people from thesource community were invited or
sent to museums to handle actual
materials. Sometimes this wasdifficult because of budget limitations,
temporal restrictions imposed by
local ceremonies or busy seasons inagriculture, and the health conditionsof participants. In such cases, I,
visited the holding institutions andphotographed the collections. Later
I visited the participants to set up
monitors in their community centersor studios for indirect review using
digital images. For two museums,
the National Museum of Scotland
and Portland Art Museum, indirect
review was conducted using images
shown on their websites. Althoughparticipants were unable to touch thematerials during indirect review, there
was a benefit with operations such as
magnification on the screen, which canbe performed easily using the digitaltechnology. However, most people fromthe source community welcomed direct
review except for materials such as
burial accessories with which contact is
culturally avoided. Truly, the meaningof nature materials can be understood
more intuitively when checking texture
and weight by touch, and using thesenses of smell and hearing. Direct
review also saved them the trouble ofgiving directions to an operator for fast
forwarding and magnification of imagedata.

June 2018

MINPAKU Anthropology Newsletter No 46

from a source community and museum
collections. In light of this shortcoming,
the process of collections review in thepresent project was recorded using
video to film the reconnection.
Audiovisual (video) documentationis also significant for people such as
the descendants of participants, andresidents in distant places who cannot
sit at the reviewing table because of
temporal and spatial distance. Theirexperience of the review is madepossible. At the same time, suchrecord keeping can also be used for
security or risk aversion of a kind- e.g.,
as evidence of what was said (or notsaid) about which material, so thatparticipants shall not be suspected
later of leaking religious knowledgeof high secrecy (an important pointof cultural sensitivity among theHopi) to outsiders, by other membersof the source community. In otherwords, significance and effectivenessfor both the source community andthe museum were sought. This was
not merely as a project record for theaccepting institution, but also as anunprecedented effort for the collection
and presentation of information oncollected materials.
Unique and colorful ‘comments’by participants from the source
community have been filmed for about
2,200 items over a total of almost
eighty days, since the first collection
review in October 2014. People in thesource community are of course nothomogeneous: diversity is observedin their knowledge and experiencein the materials depending on theirgender, birthplace, clan, age, childhood
environment (e.g. city or reservation),
proficiency in indigenous languages,
and frequency of participation in
ceremonies. Their comments included
humor, poetic expression, gesture,and the rise and fall of voice. The
films have reached some 640 hours induration; they are not merely valuable
as supplementary materials (secondary
materials) related to existing museum
materials- they can be regarded as
precious ethnological records (primarymaterials) in their own right, since theyrecord diverse interpretations by thesource community in the 2010s.
In this project, the film data
are to be shared with collaborative
institutions that provided opportunities
to handle or photograph materials
in their collections. Moreover, allcomments recorded in movie data havebeen transcribed, and the contents
were confirmed with participantsfrom the source community throughcollaborative editing. Parts that
required consideration for cultural

5

Minpaku is developing an ‘Online Collaborative Environment’ (databasesystem) for future use by the source communities, holding institutions,academic professionals, and the general public. Screenshot of the tentative
database, ‘RECONNECTING Source Communities with Museum Collections’(ifm.minpaku.ac.jp/hopi)

sensitivity were edited or deleted.
Versions appropriate for exhibition
will also be provided to collaborating
institutions. Reconnection movies
from this project were displayed at
the Minpaku’s Special Exhibiton A‘Tower of the Sun’ Collection: Expo ’70
Ethnological Mission (March 3 - May
29, 2018) and the Tenri University
Sankokan Museum’s 81ST Feature
Exhibition Respect for the Great Nature:
Traditional Cultures of Indigenous
Peoples in North America (April 4 - June4, 2018)
Previously, all the collaborating
institutions had hoped for active
utilization and reanimation of materials
by the source community, but there
was little chance of putting the hopeinto practice because of difficulties inbudgeting and human resources. For
this reason, they were very interested
in the plan for direct and indirect
review. Ethnology museums lackan interactive database such as the‘Catalogue raisonné produced in art
museums, which combines a list of
all works with the exhibition records,
interpretations by critics, and more, foreach artist. The present ‘reconnection’and film data are expected to help fillthis gap, or to have greater impact.

6

MINPAKU Anthropology Newsletter No 46

June 2018

Preservation of Cultural Heritage in a
Changing WorldInternational Symposium, October 7- 8, 2017

Naoko Sonoda

National Museum of Ethnology
The international symposium‘Preservation of Cultural Heritage ina Changing World’ was held at the
National Museum of Ethnology, Osaka(Minpaku) on October 7 and 8, 2017.
It was supported by Minpaku and theGrant-in-Aid for Scientific Researchon Innovative Areas - Platform for
Integration and Sophistication of Image
Information on Area Studies, andwas the first symposium organized
for the museum’s academic forum
series ‘Research Trends Round-table’,and was organized by members of
the Department of Advanced Human
Sciences. English-Japanese andJapanese-Japanese sign language
simultaneous interpretation wasprovided in collaboration with the Sign
Language Linguistics Research Section(SiLLR), National Museum of Ethnology.
The preservation of cultural
heritage is guided and constrained
not only by social and cultural
factors, but also by environmental
and technological factors. In the last
thirty years, our society has begun

to face new challenges. One is theoverwhelming environmental issue ofworldwide climate change. Another isa technological challenge: the dramatic
shift from analog to digital media– which continues to be a primaryconcern.

New environmental challenges
At first glance, environmental issues
may seem to be irrelevant to thepreservation world, but they affectvarious aspects of the preservationand management of cultural heritage.
For example, global warming demands
efforts to reduce carbon footprints andnecessitates rethinking of the museum
environment. In addition, protection of
the ozone layer has a great influenceespecially in Japanese museums, wherea fundamental review of insecticidal
measures led to adoption of Integrated
Pest Management (IPM).
The Symposium introduction wasgiven by Jim Reilly, founder and former
director of the Image PermanenceFirst day of the International SymposiumJune 2018

MINPAKU Anthropology Newsletter No 46

Opening remarks given by Kenji Yoshida, DirectorGeneral of Minpaku

Institute, Rochester, USA: ‘Theory andpractice of sustainable preservation’.
He discussed the research andexperience of this Institute informulating sustainable preservation
using science-based environmental
management techniques, appropriate
building design, and testing theinfluence of enclosures on theequilibrium of temperature andhumidity.
In the following session‘Museums in a new era’, keywords
were sustainable preservation andenvironment improvement for that.
Examples of large-size museums inJapan were introduced. One was a
museum designed and built whileconsidering environmental needs ofthe 21st century － the Kyushu National
Museum (presented by Mitsuko
Honda, researcher emeritus of the
Kyusyu National Museum). The otherwas environment-friendly collection
management in the 1970s building at
Minpaku, and was presented by theauthor.
In the next session ‘Sustainable
preservation measures’, two examples
demonstrated that sustainable
preservation is possible even whenequipment, personnel and budget
are limited. Martin Juergens from
Rijksmuseum, the Netherlands,presented a case study on thepreservation of photographic materials
in Luang Prabang, Laos. An insecticidal
treatment that can be used in smallsize facilities or museums was shownby Shingo Hidaka, Minpaku.
After a break, visitors were taken
behind-the-scenes to see a storage
room with visitors’ viewing window andinsecticidal treatment facilities. Our
main exhibition area and the special
exhibition Revisiting Siebold’s Japan
Museum were also visited.

New media challenges
We also focused on image collections
and the way analog and digital

7

Behind-the-scenes visit to the storage room viewing area

technologies contribute to accessibility
and the preservation of images, while
also presenting new conservation
concerns. The images considered here
include still and motion pictures.
An introduction was given by Nora
Kennedy, from the Metropolitan
Museum of Art, New York, USA.
Recently, the role of photographconservator has changed. New
challenges arose with the need topreserve huge print-based photographs,
conceptual art, digital photographs andtime-based media artworks (TBMA). In
addition to having the corresponding
technical expertise, conservators are
now expected to have the ability tocommunicate with people in otherfields.
In the session ‘Preservation ofimages’, influences brought by
the digital era to the preservationof photographs were examined by
Bertrand Lavédrine, from Centre derecherche sur la conservation/Museum
national d’histoire naturelle, France,and visiting professor at Minpaku at
the time of our symposium. As a resultof shifting from a photographic prints
culture to a digital imaging culture,what is to be preserved and how topreserve it have been questioned.
Katsuhisa Ozeki (National Film Center,
the National Museum of Modern Art,
Japan) dealt with the preservationof films from a technical aspect andexplained the use of photographic films
for preserving digitized movies.
In the session ‘Access and use ofimages’, Yuzo Marukawa described‘Creation of the Japanese AnimatedFilm Classics Database’, Itsushi
Kawase spoke on ’The creative useof archival films: Cases from theEncyclopedia Cinematographica’ andTaku Iida introduced ‘An academic
platform of images from the 20th
century’. Examples of the use of images
in Minpaku exhibitions completed
the session: ‘Info-Forum Museum for
Regional Cultures of China Gallery’ by
Hiroko Yokoyama, ‘The Videotheque:

Naoko Sonoda isa professor andcurrently directorof Department ofAdvanced Human
Sciences at Minpaku.
She specializes inconservation scienceand especiallyin preventive
conservation. She
is an editor of New
Horizons for Asian
Museums andMuseology (Springer,2016), National
Museum of Ethnology
International
Symposium - New
Horizons in Paper
Conservation (SER53,
2004), Synthetic
Materials and theMuseum Object(SER36, 2003),
and one of editorsof Asian Museums
and Museology
2014 – International
Workshop on
Museology inThailand – (SER129,
2015), Asian
Museums andMuseology 2013
– International
Research Meetingon Museology in
Myanmar- (SER125,
2015), andResearch on Paperand Papermaking– Proceedings ofan International
Workshop (SES85,2013).

8

MINPAKU Anthropology Newsletter No 46
Past, Present and Future’ by Yasunori
Yamamoto, ‘The Use of Images in theMusic Gallery’ by Shota Fukuoka, and‘Utilizing video data for introducing thelanguages of the world and the worldof language’ by Ritsuko Kikusawa. All
these examples represented attempts tocreate new ways communicating withimages.The symposium with seventyfive participants on the first day andeighty-one on the second, reaffirmedthat changes in environment havemade sustainability, a key issue for all
aspects of the preservation of cultural
heritage, and that changes in media

June 2018

beyond the photography or film making
have created new concepts of ‘image’.
Regarding the conservation andutilization of cultural heritage inthe 21st century, we will pursue
Minpaku’s Inter-University Research
Project ‘Conservation science researchon the establishment of sustainable
collection management and museum
environment’, which began in October
2017. The present symposium canbe considered as a starting point forrethinking the role of preservation in
our changing world.

Negotiating Intangible Cultural Heritage
International Symposium, November 29-December 1, 2017

Terada Yoshitaka

National Museum of Ethnology
Terada Yoshitaka(PhD inethnomusicology,
University ofWashington, 1992)
is Professor in theCenter for Cultural
Resource Studies at
the National Museumof Ethnology. He
specializes in music
cultures of Asia
and Asian America,and has conducted
fieldwork in the
India, Philippines,
Cambodia, Japan,
and North America.
Since 1999, hehas produced
ethnographic films onmusic from diverse
locations, manyof which deal withthe music cultureof marginalized
communities. He
is currently theeditor of Film/Video
Review section of
the Yearbook for
Traditional Music.

The safeguarding of intangible
cultural heritage (ICH) has been oneof the most urgent issues in studies
of culture, an issue to which scholarsof anthropology, ethnomusicology
and related disciplines have paid
increasing attention in recent years.
However, what is known today as
ICH, or heritage in general, is not at
all self-evident to local communities,
and can only be identified as suchthrough complex processes. Theinternational symposium Negotiating
Intangible Cultural Heritage was heldat Minpaku, to address such questions
as how some aspects of culture are
selected over others to be defined andre-contextualized as heritage, andhow the UNESCO definition of ICH
has been negotiated in communitybased efforts to preserve andinvigorate culture. Organized jointly
by Minpaku and the International
Research Centre for Intangible
Cultural Heritage in the Asia-PacificRegion (IRCI), the symposiumfeatured thirteen presenters from ninecountries (Australia, China, India,
Japan, Malaysia, Papua New Guinea,
Philippines, Slovenia and USA).
In his keynote speech, Svanibor
Pettan (University of Ljubljana) firstpresented surveys of narratives on
heritage in ethnomusicology andethnochoreology, and describedmajor trends and projects in applied
ethnomusicology that have dealt
specifically with heritage safeguarding.

Pettan then drew examples fromhis own research on central andsoutheastern Europe, providing
a comparative reference set for
subsequent discussion during the
symposium. He also cautioned against
limitations of the UNESCO definitionof ICH, which, based on the national
principle, excludes transnational andother minorities as well as those who
inhabit the areas with no UN status.
In Session 1 (Re-contexualizationof Heritage and Community), three
anthropologists problematizedintangible cultural heritage as a prioriconcept. William Nitzky (California
State University, Chico) demonstrated
how national and regional policies
on heritage could re-contextualize
local perceptions and practices,comparing official state, academic,
and local discourses on heritage in
relation to both cases from bronze
drums and a community museum
project, southwestern China. VicenteDiaz (University of Minnesota, Twin
Cities) mulled over the inclusionof Carolinian seafaring in current
narratives on intangible cultural
heritage and proposed a concept of‘extreme tangibility’ in order to show
due and full appreciation of the highly
multi-sensorial and visceral nature ofseafaring culture. Analyn SalvadorAmores (University of the Philippines,
Baguio) analyzed the process inwhich the touristic hype of a 90year old Kalinga tattoo practitioner

June 2018

MINPAKU Anthropology Newsletter No 46

Symposium participantsin northern Philippines created what
she terms a ‘tattoo pilgrim.’ This
unexpected external interest led to
the re-contexualization of a previously
stigmatized tattoo practice, thereby
creating renewed awareness among
Kalinga people of their ethnic identityand pride.
Session 2 (Defining Heritage
Locally) focused on appropriation or
imposition of the ICH concept by or
to the communities, and the ideas,
strategies and conflicts involved.
Local communities may conform to
the prevalent concept of ICH andremodel their activities because it isfrequently difficult to maintain cultural
heritage without external support,
be it technical, financial, political,
or moral. Inspired by the ‘heritage
regime’ concept (Regina Bendix et al.),Fukuoka Shota (Minpaku) advanced
a notion of ‘cultural property regime’
to analyze the community-based
strategy to safeguard a local dance
form (natsume-odori) in TokunoshimaIsland, in southern Japan in relation to
the government’s initiative to revitalize
local communities by supporting
cultural properties. Calling attention
to the two aspects of heritage basedon the place of origin (allochthonousand autochthonous), Mohd Anis
Md Nor (Nusantara Performing Arts
Research Center) explored the multilayered and politically-manipulated
negotiations between local, state andnational definitions of heritage, withtwo concrete examples (Mak Yongand Malay Zapin) to illustrate his
point. Don Niles (Institute of Papua
New Guinea Studies) recounted
governmental efforts to safeguard theperforming arts in Papua New Guinea
since 1974, presenting a rare case inwhich UNESCO’s ICH concept has
made little impact, despite the PNG
government ratifying the UNESCO
convention in 2008.
Building on the issues ofappropriation and imposition in
the previous session, Session 3(Collaboration and Intervention)
examined the negotiation
between local communities andexternal organizations. M. D.
Muthukumarasamy (National Folklore
Support Centre) reported on acommunity empowerment project by
the National Folklore Support Centre
with Narikuravar, one of the mostneglected communities in South India.

9

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MINPAKU Anthropology Newsletter No 46

Whang-ud, a renowned 90-year old tattooist in Kalinga, northern Luzon
Philippines (Analyn Salvador-Amores, 2013)

The Tavur Festival (Institute of Papua New Guinea Studies, Kimbe, West New
Britain Province, Papua New Guinea, 2015)

The project revealed a new identityand pride of the community createdaround the notion of heritage, which
has slowly empowered the community.
Verne de la Pena (University ofPhilippines, Diliman) described two
projects for community engagement
and empowerment conducted by the
University of the Philippines Center
for Ethnomusicology: one to repatriate
audiovisual records collected since the1950s to source communities, and theother to transfer skills and resourcesfrom national cultural agencies tolocal community by training andJune 2018assisting a local cultural organization.
Terada Yoshitaka (Minpaku) focusedon the taiko communal drumming
among a marginalized community inJapan. This is not yet conceived as acultural heritage but is increasingly
viewed by the community as having
significance to its cohesion. He argued
that continuous collaboration witha community to document activities
allows an investigation of heritage as it
evolves.
The continuation of intangible
heritage can be severely threatenedby various forces including politicalregime, warfare, and natural calamity
as well as Westernization andmodernization. Session 4 (Museum and
Revival of Culture) focused on museums
and other organizations that work
toward reviving or reinvigorating local
heritage and examined their efforts tocollaborate, with local communities.
Gream Were (University of Queensland)
explored the potential of digitaltechnologies to realize a participatory
museology. Based on his collaborative
project in Papua New Guinea, heobserved that digital technologies
facilitate access to museum collections
and support the transmission of
intangible heritage for those who are
typically excluded from the museum.
Saito Reiko (Minpaku) described how
the museum has maintained themutually beneficial relationship with
the Ainu, with annual implementationof the Kamuinomi rite to ensure proper
storage of its Ainu collection and anannual program to invite the Ainu
artisans to examine artifacts stored
at the museum. Xiao Mei (Shanghai
Conservatory of Music) explored therelevance of ‘engaged anthropology’(as described by Michael Herzfeld) byreviewing two case studies in China:
one related to a provincial museum
which has reinvigorated the Han
Opera with documentation and public
performances and the other concerning
an archival project to revive a recently
lost Mongolian epic tradition.
The symposium gathered a widearray of concrete case studies fromthe Asia-Pacific region, which served
as the basis for analytical comparisonon the nature of complex negotiations
between various stakeholders (source
community, government agencies,
academic community and external
public organizations such as museums,archives, and research institutes and
UNESCO). Negotiations among all thesegroups determine the contours of how
cultural practices are safeguarded.
A collection of essays based on the
symposium is expected to be publishedin 2019.

June 2018

MINPAKU Anthropology Newsletter No 46

11

Essay

Fieldwork and History: Looking BackOn Anthropological Research in Yunnan
Hiroko Yokoyama

National Museum of Ethnology
Since 1984 I have carried out
anthropological fieldwork in Yunnan,
China. Here I describe someexperiences from the beginning of thiswork, and look back on how the workand my approach developed.
When I left Japan for Beijing on the
30th of September, 1983, I was not yetvery sure whether I could do fieldwork
in Yunnan. However, I was very lucky
to be able to stay in a village of the Bai
people in Dali to start my research.
For this opportunity in the People’s
Republic of China (PRC) in the first halfof 1980’s, I was especially indebted toChie Nakane and Fei Xiaotong, andtwo supervisors: Song Shuhua at theCentral Institute of Nationalities in
Beijing, and Ma Yao at the Yunnan
Institute of Nationalities.
Even after PRC opened up in theearly 1980’s, in-depth anthropologicalfieldwork by foreign researchers
remained rare. While waiting in Japanfor an opportunity to visit, I studied
literature on ethnic minorities in theregion from southwestern China to themainland Southeast Asia, expanding
my basic study and also learning aboutthe Han Chinese. All this helped leadme to study of one of the most Sinicizedethnic minorities in China.
When I successfully moved from
Beijing to Kunming in January of
1984, I listed nine ethnic group names
in my fieldwork proposal, hoping toreceive permission to study any oneof those groups. The Naxi were at the
top of this list, as the writings of Rock,Jackson, and others had stimulated
my interest greatly. However, theYunnan government’s decision was tolet me choose one of two groups, theBai in Dali or the Sani (a subgroupof the Yi) in Shilin. I chose the Bai
because I knew of two anthropologicalbooks published on the Bai, based onfieldwork in 1930’s: C. P. Fitzgerald’s
The Tower of Five Glories (1941) andFrancis Hsu’s Under the Ancestors’
Shadow (1948).
Soon the local government selecteda Bai village in the Dali Basin for me.
I had no other choice, but did not care
too much about this, as I was delighted

to be able to do fieldwork at all. Since
the Tang dynasty, the Dali Basin has
been the center of an area inhabitedby people related to the present Bai
ethnic minority. The former capitalsof the Nanzhao and Dali kingdoms
and the present government of Dali
Bai Autonomous Prefecture are all
located in the basin. In contrast toother ethnic minorities in Yunnan, Bai
people have had a long history of close
relations with Chinese civilization.
These circumstances are reflected in
the topics and methods of my researchon the Bai.
In the first step, my fieldwork wasconcentrated on kinship and family.
Was ancestor worship and kinshiporganization in my survey village similar
to that of the Han Chinese? Francis
Hsu had insisted that the Minchia (aChinese name formerly used for the Bai
people before 1956) in his ‘West Town’
were ‘Chinese in culture’ and presented
his book as ‘a look at the pattern of lifeof a Chinese rural community’.
In Social Anthropology (1982),
Edmund Leach regarded Hsu’s accountas ‘a syncretic blend’ of Hsu’s personal
experience since childhood and what
he learned about the Minchia in
his fieldwork, noting that Minchia
peculiarities in local culture were
‘hardly ever mentioned’. Leach preferredFitzgerald’s work, which tells more
about the Minchia in relation to thehistorical geography of Yunnan. As alater fieldworker in the same basin, I
find that these works are very different
in their academic purposes andmethods, and thus complementary inmany ways.
Through my study in a village 7 km
from Hsu’s West Town, I was persuadedthat Hsu’s record of the situation
there in his time was basically good,
but lacked comparison of West Town
inhabitants with Han Chinese andother Bai.
Here I would like to introduce theexample of Bai uxorilocal marriage,
which Hsu described in West Town,
reporting more than 30% occurrence
among all marriages, with a boy moving
into the future bride’s home usually

Hiroko Yokoyama
is a professor
emeritus of Minpaku.
Her researchinterests include
ethnic boundaries,
representation ofculture, culturalchange, andpreservation ofculture. Recent
publications include‘Preservation ofCultural Heritage
and Participation
by Community
Residents: The Caseof Tondabayashi
Jinaimachi
Preservation District
for Groups of Historic
Buildings in Japan’in Xing Long and
Xu Qiexun (eds)
Anthropology and
Loess Civilization (inChinese, Heilongjiang
People’s Publishing,2015), and ‘Museum
and Preservation
and Development
of City Cultural
Heritage’ in Qiao Jianand Wang Huaimin(eds) A Bright Spotof Loess Civilization:
Discussion ofPreservation andDevelopment ofCultural Heritage in
Jiexiu (in Chinese,
Airiti Press, 2014)

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MINPAKU Anthropology Newsletter No 46

June 2018

and groomof uxorilocal
marriageusuallyexchanged theirparents’ houseson the wedding
day to retain
the orthodox
ceremonial styleof welcoming
the bride into
the groom’s
home. To
understandBai uxorilocal
marriage, I also
visited a nearby Han Chinese
village that hadoriginated as anarmy settlement
during the Ming
dynasty, andfound theircustoms weresimilar to thoseof the Bai. Their
A bride in uxorilocal marriage dressing at the groom’s natal house on her wedding day
genealogies also
before the age of twelve several years
revealed the occurrence of uxorilocal
before the wedding ceremony, changing
marriage in the past.
his surname and forename according to
The Bai traditionally place thethe generation rule of his new lineage
tombstones of husband and wife sidegroup, and acquiring full membershipby side. When Fitzgerald saw suchin his father-in-law’s family. But Hsu
tombstones with the same surname,
did not discuss how distinctive these
he took this as evidence that marriage
practices were, or attempt to explain
by individuals with the same surname
them, though he did note that they were
was not avoided among the Bai (sincerarely seen among the patrilineal Han
in China generally, married couples do
Chinese.
not change surnames after marriage).
Uxorilocal marriage in my survey
He saw this as clearly dividing the Bai
village in 1980’s was similar to whatfrom Han Chinese. The traditional Bai
Hsu had described. The practicecustom allowed the marriage betweenof a boy moving early had started
the same surname of different lineages,
decreasing, but it still existed, so thatbut was not very common. I would
I sometimes mistook a future husband
rather think that many couples buried
for the elder brother because he waswith the same surname had lived inoften introduced as the eldest child.
uxorilocal marriages.
An important feature of Bai
In well-documented Bai genealogies
uxorilocal marriage in my observationof eminent lineages in my survey village,
was its flexibility. A husband held full
I could see an influence of the Han
membership in the lineage of his wife’s
Chinese norm of marriage being avoided
family, with his acquired surname andif the same surname is shared. To avoid
forename, yet could claim membershipthe appearance of such a marriage,in his lineage of birth according toa different character with the same
situation. For ancestor worship, he wassound was sometime used to write theexclusively his father-in-law’s successor,
wife’s surname (e.g. 陽 or 羊 insteadbut on other occasions such as the lifeof the husband’s name of Yang, 楊).
cycle ceremonies of his natal family, he
Bai practices exist at the edge of themight attend as patrilineal kin using his
influence of Han Chinese culture.
original surname and forename.
Looking back at my research in Dali,
Through fieldwork I could also
combining fieldwork and the study of
confirm that the status of a Bai
historical records brought me deeper
uxorilocal husband was not so muchinsights than either could provide
looked down on, as among the Hanalone. This is an approach that I am
Chinese. The son of a fairly wealthy
determined to continue.
family with many sons might marry out
to another affluent family. The brideJune 2018

MINPAKU Anthropology Newsletter No 46

Exhibition

Reichel-Dolmatoff (1912-1994)
in Columbia and Duaohyon,
Lee (1924-2013) in Korea, also
supported EEM members in
the field.
More than 1500 items weredisplayed at the exhibition of
Taiyo no Tou without signs
show to names, collecting
places or ethnic association.
Masks were hung from theceiling and statues were tied tothe pillar. In the other words,
the displays were far removed
from their ethnographic
contexts. After the closing ofExpo ‘70, the collection was
donated to Manpaku.
Our special exhibition
displayed 645 objects according
to regional context and across-cultural viewpoint.
We introduced the collecting
activities by EEM members
in each area. Relevant letters,
business documents andphotographs were displayedwith the objects. The processof collecting material culture
reflected the world at the timeof collection.
We also consideredcurrent issues in museum
anthropology. The EEM
collection includes masks andstatus from North America.
These belong culturally toindigenous groups, andtheir cultural sensitivities
informed our decision not todisplay some of them. The
collection led us to discuss therelationships between source
communities and museums inpractice.
The Expo ’70 Ethnological
Mission influenced the creationof Minpaku. Collecting in
the field, using information
management techniques
to record and organize
information about the collectedmaterials, and using an
exhibition style that allows
visitors to approach exhibits as
closely as possible were special
and subversive approachesof Minpaku when it wasestablished in the mid-1970s.
It is also significant that
the EEM included Japanand Europe as collecting
areas. Though Japan andEurope might be positioned
as ‘civilization’, the EEM tried
to see them from the same
viewpoint of ‘culture’ as used
for other countries and areas.

A ‘Tower of the Sun’
Collection: Expo ’70
Ethnological Mission
Special Exhibition (Minpaku
40th anniversary special event)March 8- May 29, 2018
Forty years have passed
since the National Museum of
Ethnology (Minpaku) opened
to the public. As a 40th
anniversary special exhibition,
we prepared “A ‘Tower of theSun’ Collection: Expo ’70
Ethnological Mission” in the
Spring of 2018.
Part of the Minpaku
collection was exhibited in
the basement of the ‘Towerof the Sun’ (Taiyo no Tou) at
the Japan World Expositionin 1970. Expo ’70 was thefirst World Exposition in Asia
and Japan. It had more than
64,000,000 visitors and wasliterally the nation’s greatest
event.
Taiyo no Tou was the main
theme pavilion of Expo ’70.
The tower was designed by
Okamoto Taro (1911-1996)
a distinguished artist andchief producer of the theme
exhibition during Expo ’70. He
intended to show ‘Kongen’ inthe basement of Taiyo no Tou.
The Japanese word ‘kongen’is composed of two Chinesecharacters meaning ‘root’ and‘origin’.
Okamoto asked
anthropologists Izumi Seiichi(1915-1970), professor at
the University of Tokyo, andUmesao Tadao (1920-2010),
associate professor at Kyoto
university, to collect objects
for the exhibition. They
organized a group to collectobjects all over the world. The
group was named ‘Expo ’70
Ethnological Mission (EEM)’.
The group had about twenty
members including young
anthropologists, archaeologists,
a newspaper writer, and acivil engineer. They went to
47 countries or areas andcollected about 2500 objects
including masks, statues anddaily necessities from 1968 to
1969. Prominent researchersat that time, such as Gerardo

13This conception of the world
by EEM was unique, andtheir collection activities wereperhaps the most expansive forthe time, among museums of
the world.
The special exhibition was agood opportunity to recognize,in the 21st century theimportance of this collection of
the previous century.
Atsushi Nobayashi
National Museum of Ethnology

Conference
Human Relationships
with Animals andPlants: Perspectives ofHistorical Ecology
International Symposium
March 19- 21, 2018
The conservation of
biological diversity andsustainable utilization ofliving things are key issues
for discussion of relationships
between modern civilizationand environment. As aSpecial Research Project(2016-2018) of the National
Museum of Ethnology, weare exploring relationships
between humans and living
things from prehistory to thepresent, from the perspectiveof historical ecology. In this
symposium, we focused on thehistory of human impacts indiverse environmental contexts,
namely the cold zone (Arctic),
ocean (Tropical America),
desert (Central Asia), forest(Amazon, Borneo, Congo Basin,
and Japan), and inland waters
in a peri-urban area (China).
To begin, William Baléeof Tulane University, USA,compared cultural landscapesin the Amazon and Japan,
suggesting a general approach
to classifying humaninteractions with land andplants that can be appliedin very different physicaland cultural environments,and extending even to the
traditional gardens and bonsai
found in Japanese cities.
Topics in the following sessions
were ‘Asian Perspectives
in Historical Ecology’, with

14

MINPAKU Anthropology Newsletter No 46

June 2018or domestication ofwild species wereconsidered along with
the integration or lossof traditional cultivatedplants in the modern
world. Maintaining
a balance between
nature, culture andcivilization – andsustaining local culturesand biodiversity ineach region – is more
important than ever.
Discovering andexplaining cultural andecological interactions
that have achieved
dynamic yet sustainablebalance is anindispensable goal forhistorical ecology andrelated research fields,
in any language.

Excursion to a mixed rural and urban landscape nearby

examples from East Asia
and Southeast Asia, and‘Comparative Perspectives
in Historical Ecology’, with
examples from South America,
Africa and other areas.
Comparisons were also madebetween the tropical regionsof Africa, Asia, and America,and between South, Central
and North America. The
symposium concluded withpresentations that introduced
an ancient oasis city in Central
Asia, located on the Silk Road
route, and a museum thatuses exhibitions to encourage
visitors to think about the basic
questions of human existence
and our relationships with theworld: the Museé de L’Hommes
in Paris. These presentations
provided historical andcontemporary perspectives
on globalization and humanrelationships with environment.
In historical ecology, do
we need universal conceptual
categories, or is it better toattempt translation between
local categories that havedeveloped in relation to specificenvironments and cultures?
William Balée and otherwriters have seldom referred toJapanese academic traditions
in environmental and culturalresearch in their writing. The
present symposium was anopportunity to consider theconcepts of satoyama andyamazato in Japan, alongsidethe ‘cultural forests’ referred
to in English-speaking
countries. A great range ofterms exist in both languages,
and perhaps it is safest to saythat phrases such as ‘cultural
ecology’, ‘ecological history’,‘environmental history’ and‘historical ecology’ and so on
all have a place in Englishlanguage discourse, but
are difficult to equate withJapanese terms, despite themingling of academic traditions
across linguistic boundaries.
In this symposium, we also
considered examples ofarchaeological and historicalresearch in different regions,and the difficulties inherent
in attempting to compare
observations made acrossdifferent time scales andgeographical scales.
Specific relationships
between humans and plants(taro, banana, and bamboo)
or animals (whale, cormorant,
sea turtle, boar and gayal)
were also discussed in the
symposium. Pathways andincentives for cultivation

Kazunobu Ikeya andPeter J. Matthews
National Museum of
Ethnology

Information
Awards
Saucedo Segami Daniel
Dante
Overseas Visiting Fellow
Received a Recognition for
Peruvians Living Abroad by
the Ministry of Foreign Affairsof Peru for his contribution
on the diffusion of theculture of Peru through his
research on archaeological
heritage studies andanthropological studies on
Nikkei communities, and forhis support of the Peruvian
Association of Students andGraduates in Japan (APEJA).
(December 27, 2017)

National Museum of
Ethnology: Guidebook
Published November 8, 2017
Japan Catalogue Award
2018, presented by theJapan Federation of Printing
Industries.

June 2018

MINPAKU Anthropology Newsletter No 46

New Staff

grade mathematics and having
no idea how to become thesecond, I studied anthropology
at Hull and Oxford. I approachanthropology as a discipline
partially dedicated to thecomparative study of ideas my M.Litt. thesis focused on
the concept of time while my
D.Phil. was on space, time andbeauty among the Wixarica ofnorthwest Mexico. I have morethan satisfied my frustrated
intention to become an interior
designer by having been acurator at the British Museum
and the Brighton and Horniman
museums, while my intellectual
imagination has been similarly
satiated by having been aprofessor at Sussex and
Coimbra universities. Currently,
I am director of the Museum of
Anthropology and professor ofart history at the University of
British Columbia.

Yuriko Yagi
Assistant Professor, Departmentof Advanced Human Sciences
Yagi specializes
in Andeanethnology, andhas carriedout several
fieldworkseasons with
communities
in thesouthernhighlands of Peru. Her maininterest is contemporary
Andean religion, especiallytransformations of the cultsof Catholic saints. Her bookAndean Catholic Devotion to
the Saints: A study of culturaldynamics generated by theinteraction between ruralsociety and urban immigrantcommunity was published in2015. Currently she is studying
the commercialization andtransmission of religious objects
such as the statues of Catholic
saints and votive offerings.
She previously studied cultural
anthropology at The Graduate
University of Advanced Studies(doctoral studies program at
Minpaku) and received her
PhD in September 2012. She
then worked as a researcher
and adviser at the Embassy ofJapan in Peru (2012-2014) andas a research fellow at Minpaku(2015-2017).

Overseas Visiting Fellows
Anthony Alan Shelton
Director, Museum of Anthropology(MOA) / Professor, University of
British Columbia, Canada
I have lived
an accidental
life. By chance
I was born
English; bysentiment I
am European,
and by choice
I am about
to becomeCanadian. My first choice of
career was to become either
a geologist or an interior
designer but failing school(January 4-June 29, 2018)
Jennifer C. Post
Lecturer, University of Arizona
Trained asan ethnomusicologist(MA, PhD,
University of
Minnesota,
Minneapolis)
and archivist(MS Simmons
College,
Boston), with professional work
as educator, archivist andmuseum curator, Post studied
Hindustani music in South Asia
and was later drawn to study
musical practices in Central
Asia, including those of Kazakh
peoples in western Mongolia.
There her primary interest has
been in the impact of climatechange and other sources ofenvironmental degradation on
lifeways of mobile pastoralists,
including their music andsound production. This
interest in ecomusicology has
also been applied to musicalinstrument study as she
considers the impact of forest
loss, degraded materials,
and local, national, andinternational environmental
protection strategies onmusical instruments andon musical sound in local
and global contexts. Her

15

ecological concerns havealso led to collaborative workwith ecologists to identify
ways to address intractableenvironmental problems. At
Minpaku, Post is contributing
to an exhibition with Y. Terada
that will link the stringed
musical instruments of South,Central and West Asia.
(April 9-June 8, 2018)
Rossella Ragazzi
Associate Professor in Visual &Museum Anthropology, Tromsø
University Museum (The Arctic
University of Norway)
Ragazzi received her PhD in
2005 atthe Dublin
Institute ofTechnology,
Ireland.
Her mainresearchfoci aretranscultural
cinema,visual and media
anthropological methods,
childhood, migration;indigeneity, and museums as‘contact-zones’.
Her prize-winning
anthropological films
include La Mémoire Dure(France,2000), At Home in
the World (Sápmi,2003), andFirekeepers (Sápmi,2007), andher publications include themonograph The Transcultural
Experience of Migrant Children
Entering Europe in the Years
2000 (2009), and Perceiving
Children: Media, Education andMuseum in an Anthropological
Perspective (forthcoming, coedited with P.I.Crawford).
She currently studies theempowerment of indigenous
Saami people of Scandinavia
through art and activism
in museums and paramuseums. At Minpaku, shewill work together with Y.
Terada and I. Kawase on avisual anthropological studyof mobility and acculturation
among Minorities.
(April 17-June 27, 2018).

16

MINPAKU Anthropology Newsletter No 46

Forthcoming

June 2018

Traveling Exhibitions(from Minpaku)

Thematic Exhibition

Thematic Exhibition

Special Exhibition

The World of Amish
Quilts: Seeking
Ways of Living,
Weaving the World

Traveling Music:
The String
Instruments ofSouth Asia

Transmitting Art andCraft— JapaneseIndustrial Design
Originating in Tohoku

Beads in the World

Late 2018

Early 2019

Sep. 13 - Nov. 27, 2018

Okayama Orient Museum

Amish Crib Quilt

Vichitra Vina

Sep. 22, 2018 - Nov. 25,
2018Jewelry Box
Image: Tohoku History Museum
Human Figure

Publications
Bulletin of the National
Museum of Ethnology 42
Issue 2: S. Uda, ‘Why did
a Japanese Cormorant Lay
Eggs on Cormorant Fishingof Uji River?: A Comparative
Study of Capture Techniquesand Breeding Methods’, and
S. Takezawa, ‘The Making
of Yanagita Kunio: From a
Romantic Poet and Liberalist
Bureaucrat to the Founder ofJapanese Folklore Studies’.
Issue 3: A. Nakano, ‘ReExaming the Bride-Wealth
Marriage in North India: A Case
Study of Affinal Relationships
among the Jogis in Western
Rajasthan’, and K. Ikeya, N.
Kishigami, S. Sasaki and M.
Toda, ‘The Trends of HunterGatherer Studies: Informationfrom the Eleventh International
Conference on Hunting andGathering Societies (CHAGS11)’.
Senri Ethnological Studies
No.95: K. Ikeya, (eds.)
Sedentarization among Nomadic
Peoples in Asia and Africa.
344pp.
No.96: M. Mio, K. Fujita, K.
Tomozawa and T. Awaya. (eds.)
Structural Transformationin Globalizing South Asia:
Comprehensive Area Studies
for Sustainable, Inclusive, andPeaceful Development. 220pp.
No.97: M. Han and Y. Se, (eds.)
Anthropological Perspectives on
History, Culture and Museum:
Theoretical Practice in Japan and
China. 383pp.
No.98: R. Kikusawa and L. A.
Reid, (eds.) Let’s Talk about
Trees: Genetic Relationships ofLanguages and Their Phylogenic
Representation. 171pp.
Senri Ethnological Reports
No.143: A. Hamada and M.
Toda, (eds.) How Do Biomedicines
Shape People’s Lives, Socialites
and Landscapes? 211pp.
No.144: H. Kawai and Z. Liu,
(eds.) Food Culture and Daily
Life in China under the Socialist
System. 175pp.
No.145: N. Yamamoto, (eds.) A
Study of the Special Exhibitionof Latin American Music andMusical Instruments in the
National Museum of Ethnology.
203pp.
No.146: L. A. Reid, (eds.)
Satawalese Cultural Dictionary.
371pp.
Exhibition catalogue
K. Ikeya, (eds.) Beads in theWorld. (English edition) 136pp

MINPAKU Anthropology Newsletter

The Newsletter is published inJune and December. ‘Minpaku’is an abbreviation of theJapanese name for the National
Museum of Ethnology (Kokuritsu
Minzokugaku Hakubutsukan).
The Newsletter promotes
a continuing exchange of
information with former visiting
scholars and others who havebeen associated with the museum.
The Newsletter also provides aforum for communication with awider academic audience.
Available online at:minpaku.ac.jp/ publications
General Editor: Kenji Yoshida
Editor: Peter Matthews
Editorial Panel: Hatsuki Aishima,
Kazunobu Ikeya, Ritsuko Kikusawa,
Yoshitaka Terada
Address for correspondence:
The Editor
MINPAKU Anthropology Newsletter
National Museum of Ethnology
Senri Expo Park, Suita, Osaka
565-8511, Japan
Tel: +81-6-6876-2151
Fax: +81-6-6878-8479
E-mail: nletter@idc.minpaku.ac.jp
Signed articles represent viewsof the authors, not necessarily
official viewsof the National Museum of
Ethnology.
© National Museum of Ethnology
2018. ISSN 1341-7959
Printed byGeneral Department,
Mainichi Newspapers