Categories: archaeology, archives and museums, material religion, Native American religions, race and religion, Sarah Dees's posts, teaching
Posted by Sarah E. Dees
Posted by Sarah E. Dees
Sarah E. Dees
This semester I developed a new course, "Religion, Race, and Ethnicity: Exhibiting Race and Religion," which has focused on the role of historical and contemporary cultural exhibition and museum practices in promoting ideas about race, ethnicity, culture, and religion. The course grows out of my research on historical American anthropologists' examinations of Native American religions as well as my interest in contemporary collaborative museum practices. Broadly, I’m concerned with historical museum practices that sought to reinforce notions of essential human difference as well as contemporary efforts to decolonize museum spaces—as members of the communities once on display now articulate their history, culture, and identity on their own terms.
I chose readings that would offer a theoretical framework for the categories we would be examining and a historical overview of exhibition practices beginning in the nineteenth century, including “human zoos,” international expositions, world’s fairs, and museums. At the beginning of the course, we discussed essays on the categories “religion,” “race,” “ethnicity,” and “culture” from a few edited volumes: Mark Taylor’s Critical Terms for Religious Studies, Philip Goff and Paul Harvey’s Themes in Religion and American Culture, and Willi Braun and Russell McCutcheon’s Guide to the Study of Religion.
Finally, we read texts that would help us understand more recent and local exhibition practices. I paired the introduction to Amy Lonetree's Decolonizing Museums with a chapter from Peter Nabokov’s Where the Lightning Strikes: The Lives of American Indian Sacred Places, which describes how the Tennessee Valley Authority (TVA), a federally owned corporation, built numerous dams that flooded archaeological sites sacred to the Cherokees and other Southeastern Native nations. Prior to the flooding of these sites, archaeologists conducted numerous digs to preserve significant artifacts, which were handed over to the McClung Museum of Natural History and Culture at the University of Tennessee for safekeeping. The TVA is (ironically?) a primary financial supporter of the McClung Museum's permanent exhibition on Southeastern Native history and culture, "Archaeology and the Native Peoples of Tennessee."
Throughout the semester, students went on three museum visits to the McClung Museum: two were led by museum staff and one was self-guided. For the first museum visit toward the beginning of the semester, a member of the curatorial staff gave us an introductory tour of the museum, focusing on two exhibitions: one dedicated to ancient Egyptian culture and another to artistic objects from numerous cultures. Students completed an assignment requiring them to describe the two exhibitions, analyze an object from each, and compare and contrast the two exhibitions—one which presents numerous items from one culture, and another that displays items from cultures in a single room. After we’d had an opportunity to read about and discuss historical museum practices, students returned to the museum and completed another writing assignment that asked them to compare what they saw at the museum with historical exhibition practices described in their readings. Finally, at the end of the semester, we had another museum visit that included an in-depth tour of the “Native Peoples of Tennessee” exhibit. The curator offered the class information about the history and development of the exhibition, including the ways in which the museum worked with representatives from Cherokee Nation of Oklahoma, the United Keetoowah Band of Cherokee Indians, also of Oklahoma, and the the Eastern Band of Cherokee Indians of North Carolina to design an exhibit that presents Cherokee history accurately and in accordance with Cherokee perspectives.