q L N M A I E D I T I O N S I V I N G H O M E S F O l i v i n g h o m e s R C U L f o r c u lt u r a l e x p r e s s i o n T U R A L E X P R E S S I North American Native Perspectives on Creating Community Museums O N N M A I E D I T I O N S S M I T H S O N I A N ISBN 0-9719163-8-1 90000 E National Museum of the American Indian A N Smithsonian Institution 9 780971 916388 Washington, D.C., and New York q N M A I E D I T I O N S living homes for cultural expression North American Native Perspectives on Creating Community Museums KAREN COODY COOPER & NICOLASA I. SANDOVAL Editors National Museum of the American Indian Smithsonian Institution Washington, D.C., and New York 2006 ©2006 Smithsonian Institution. All rights reserved. No part of this book may be reproduced in any form without prior permission of the Smithsonian Institution and the National Museum of the American Indian. Library of Congress Cataloging-in-Publication Data Living homes for cultural expression : North American Native perspectives on creating community museums / Karen Coody Cooper and Nicolasa I. Sandoval, editors. p. cm. ISBN 0-9719163-8-1 (alk. paper) 1. Indians of North America—Museums. 2. Indian arts—United States. 3. Ethnological museums and collections—United States. 4. Minority arts facilities—United States. 5. Community centers—United States. 6. Community development—United States. I. Cooper, Karen Coody. II. Sandoval, Nicolasa I. III. National Museum of the American Indian (U.S.) E56.L58 2005 305.897’0075—dc22 2005016415 Manufactured in the United States of America The paper used in this publication meets the minimum requirements of the American National Standard for Permanence of Paper for Printed Library Materials 239.48-1984. National Museum of the American Indian Project Director: Terence Winch, Head of Publications Editors: Tanya Thrasher, Amy Pickworth, Duncan Primeaux, and Kate Mitchell Designer: Steve Bell The Smithsonian’sNational Museum of the American Indian works in collaboration with the Native peoples of the Western Hemisphere and Hawai‘i to protect and foster indigenous cultures, reaffirm traditions and beliefs, encourage contemporary artistic expression, and provide a forum for Native voices. Through its publishing program, NMAI’s Publications Office seeks to augment awareness of Native American beliefs and lifeways and to educate the public about the history and significance of Native cultures. NMAI’s Community Ser- vices Department is a cornerstone of the museum’s commitment to outreach, providing a vital link between our staff and collections and Native communities. For information about the Smithsonian’s National Museum of the American Indian, visit the NMAI website at www.AmericanIndian.si.edu. To support the museum by becoming a mem- ber, call 1-800-242-NMAI (6624) or click on “Support”on our website. Title Page: Roberta Kirk (Warm Springs) and Irvine Scalplock (Siksika Nation) examine a basket during a 1996 training workshop at the Museum at Warm Springs, Oregon. Photograph by Karen Coody Cooper. Table of Contents  FOREWORD Nicolasa I. Sandoval  PREFACE Karen Coody Cooper  Starting a Native Museum or Cultural Center Karen Coody Cooper  Road Map for Native Museum Exhibition Planning RichardW. Hill Sr.  Teaching Traditions: Public Programming at the Alutiiq Museum Amy F. Steffian  Creating Museums within a Tribal Government: A Look at the Hopi Tribe Susan Secakuku  Tribal Collections Management at the Makah Cultural and Research Center Jeffrey E. Mauger and Janine Bowechop  Tribal Museums and the Siksika Experience Irvine J. Scalplock  Building the Suquamish Museum Marilyn G. Jones  The Power of Self-Interpretation: Ideas on Starting a Community Museum Cuauhtémoc Camarena and Teresa Morales  Volunteerism and the Three Affiliated Tribes Museum Marilyn C. Hudson  Contributors  Appendix A: Bibliography about and for Native Museums  Appendix B: Directory of Native Museums and Cultural Centers  Museums and Cultural Centers in the United States  Museums and Cultural Centers in Canada  Museums and Cultural Centers in Mexico 6 NICOLASA I. SANDOVAL Foreword This assembly of stories—from an Alu- tiiq community on Alaska’s Kodiak Is- land to Hopi people in Arizona—speaks to the concerns and aspirations that unite indigenous peoples in the lands known now as the Americas. The wealth of knowledge brimming from these ac- counts informs and inspires those who havechosen a journey of great challenges and greater rewards—that of creating a tribal museum. The path of life knows no finite borders or clear maps. There are only moments in time through- out the journey where we find safe places to be who we are and to define ourselves in our own terms.The National Museum of the American Indian (NMAI) continues to play a vital role as both a haven and hub for many beautifully radiant forms of expression.The hemispheric scope of perspec- tives presented at the NMAI affirms its commitment to education and public service, which transcends boundaries and narrows distances between people. 7 Community-based museums and cultural centers strengthen the bonds that connect generations. We remember ourselves in these places and dream about who we want to be. At their best, these places are homes for cultural expression, dialogue, learning, and understanding. They serve the commu- nities and people who initiated them, as well as wider audiences, by stimu- lating cultural activism and continuity that endures for the sake of all our children. While listening to stories of individuals who have assumed signif- icant roles in the development of a museum or cultural center, we may rec- ognize the familiar. In her piece on volunteerism and its role in maintain- ing museums, Marilyn C. Hudson recalls the generosity of Helen Gough, an Arikara member of the Three Affiliated Tribes, whose bequest initiated a heritage center for the Mandan, Hidatsa, and Arikara people more than forty years ago. As in many other communities, the essence of giving and commitment to subsequent generations continues to light our path. The voices in this compendium speak of the celebration and struggle that emergefrom sustaining and expanding community-based museums and cultural centers. In her description of public programs development at the Alutiiq Museum, Amy F. Steffian recounts the deliberate, but difficult, choice to invite external partnership. Given the systemic wresting of cultures, lan- guages, and lives from Native peoples that followed for centuries after Con- tact, it is understood that, for indigenous people, decisions to include agen- cies and institutions as collaborators do not come without careful consideration and willingness to believe that a new history may begin to un- fold. Community-based museums and cultural centers areplaces where we may bear witness to this transformation. The spirit of generosity unfolds in these pages. Each of the writers freely shares the wealth of his or her unique experiences. They are the mothers and fathers who have borne and nurtured these places known as tribal mu- seums, raising them for the benefitof their respectivecommunities and for all of us who are invited to learn the wisdom imbued in their stories. 8 KAREN COODY COOPER preface If two words were to describe the mission of the National Museum of the American Indian, they would be “cultural continuance.”What makes our efforts unique throughout mainstream museum work is that our exhi- bitions and programs are grounded in the authority of the Native perspec- tive. Part of our ongoing outreach efforts—and the one that we hope this book will address—is assisting Native communities as they interpret, col- lect, and care for their own collections, thereby making Native voices heard by the museum community at large. There are about 200 Native community museums in Canada, Mexico, and the United States. It is important to note that the terms “Native com- munity museum”or “tribal museum”used in this book do not simplyrefer to museums with a collection of Native American materials. We have looked, rather,to the type of authority that governs these museums as a way to more accurately define them. Museums that retain Native authority through di- rect tribal ownership or majority presence, or that are located on tribally controlled lands, or that have a Native director or board members are the institutions that meet our criteria. Tribal museums are a relatively new museum category. Three tribal mu- seums were founded before 1940, and two more opened in the decade that followed. In the 1950s, six opened; in the 1960s, fifteen; and in the 1970s, the forty-five that opened more than doubled the total number of Native- managed museums in the Western Hemisphere. In the 1980s, another thirty- 9 Karen CoodyCooper (front row, second from right) and NMAIcurator Emil Her Many Horses (far left) with Sicangu Heritage Center staff on the Rosebud Sioux Reservation in Mission, South Dakota. Photograph by Jill Norwood. five museums opened, and the 1990s saw at least forty more. In the com- ing years, hundreds of new community-based museums could potentially open their doors. Eager to tell their stories, Native communities are no longer entrusting non-Nativeinstitutions to define who they are. As a result, Native commu- nity museums have encouraged self-awareness within the larger museum field—evaluating relations with their respectiveaudiences as well as recon- sidering their conditioned approach to handling material culture. In fact, manytribal cultural institutions refuse to use the term “museum,”reinforc- ing the message that for some Native people the word carries negative con- notations and strong associations with the egregious treatment Native com- munities received (and, in some instances, still receive) at the hands of museums. We anticipate that this book marks the beginning of a long-term collaboration between the National Museum of the American Indian and Native communities. If you wish to contribute comments or additional in- formation about this important topic, please contact me at [email protected]. 10 Albuquerque’sIndian Pueblo Cultural Center represents nineteen Pueblo tribes of New Mexico with museum, performance, and meeting spaces; sales outlets; and a restaurant. Photograph by Karen Coody Cooper.