Tag: public outreach

Leaning Into Another Transition

rails to trailsI really dislike when blogs I read regularly just go away without explanation.  And, as I have become more absorbed by other processes, I have posted here a lot less regularly – so let me explain.  I am winding up this phase of my career as I get ready to retire later this summer as the Director of the C.H. Nash Museum at Chucalissa and an Associate Professor at the University of Memphis.  After some 300 posts over a six-year period, I will continue to post here but much less and possibly in different forms.  I am going to enjoy a number of new and continuing projects, some of which will include a lot of digital content.  Some of my ongoing stuff will include:

  • My colleague Beth Bollwerk and I just turned in the ms for an edited volume to Rowman and Littlefield Press that will hit the streets by November or so of this year.  The volume, Positioning Your Museum as a Critical Community Asset: A Practical Guide, will feature a substantive online resource guide to support the 20 plus chapters and case studies of the volume.  The resource guide will develop as a stand alone website and ideally evolve into a substantive online presence for engagement and co-creation of communities and their museums.
  • As the new President of the Advocates for Poverty Point, I will work to develop that organization’s website, blog, and newsletter, along with other tasks in support of the only prehistoric UNESCO World Heritage Site in the Southeast United States.
  • My colleague Elizabeth Cruzado Carranza and I are very excited about launching a public archaeology project on the north coast of Peru.  We anticipate developing a host of social media tools for this work as well.
  • I am also anxious to play a role in the community outreach projects of Whitney Plantation.  I am particularly interested in working with the Whitney staff to carry out applied archaeology projects along the lines of what we have done at the C.H. Nash Museum at Chucalissa over the past few years.
  • And, I am most excited to spend more time with my wife, Emma working in her shop, Uptown Needle & Craftworks on Magazine St. in New Orleans.  Stop by and visit!

So, I am certain that some of all that will turn up in this blog too, on an irregular basis.  I have thoroughly enjoyed writing this blog over the years.  The folks I have met in the virtual world, and for many of them, never yet in person, have been instrumental in my learning process over the past decade.  Thanks to everyone for reading, sharing, and providing me with so much good stuff to think and learn about!

A Truly Low-Tech and Innovative Archaeological Exhibit

wall

Excavation Trench representation in the Brister Archaeology Discovery Lab

On April 16, for our Spring Family Fun Day at the C.H. Nash Museum at Chucalissa, we unveiled our new Brister Archaeology Discovery Laboratory (BADLab), an upgraded version of our 2008 innovation, the Hands-On Archaeology Lab.  The upgraded configuration honors the lifelong contribution of Ron Brister to the Chucalissa Archaeological site.  Ron was first employed in 1966 at Chucalissa by Charles Nash, for whom the current museum is named.  After a 37-year career as the Collections Manager at the Pink Palace Museum in Memphis, in his retirement, Ron is once again back at Chucalissa lending his considerable expertise to a wide range of our museum practices.

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Photograph of Excavation Trench profile by Katie Maish

One of the innovations in our upgraded BADLab is the representation of the Chucalissa House Mound Excavation Trench on one of the rooms walls.

In the late 1950s archaeologists excavated a trench through a prehistoric ridge or mound at the Chucalissa site. When built nearly 1,000 years ago, the long ridge or mound was a place where the Native Americans built a variety of structures, including houses. Beginning in 1962, the archaeological excavation through the house ridge served as an entrance into the Chucalissa mounds and plaza. However, the trench is now closed to the public because of erosion and safety concerns. The new BADLab wall exhibit provides a summary of what archaeologists discovered when excavating the trench in the 1950s.

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Sediment Peel (left) and Photograph (right) of the same postmold from the Excavation Trench.

Our recent NCCC AmeriCorps Team painted a representation of the trench stratigraphy on the BADLab wall (In addition, the NCCC Team painted the rest of the room and laid the tile floor.)  Former C.H. Nash Museum Administrative Associate and photographer extraordinaire Katie Maish photographed features from the actual excavation trench that were then printed, mounted on foam core, and installed in their approximate location on the wall painted by the NCCC.

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Sediment Peel and Photograph of a House Floor from the Excavation Trench.

The above tasks would have accomplished my initial plans for the exhibit.  However, Ron Brister suggested that we include “sediment peels” in the exhibit design.  When Ron first raised the idea, I was uncertain how the peels would work.  However, I have learned to stand back and let such initiatives unfold – and the result was outstanding.

A sediment peel is where you build a small frame, adhere it to an excavation profile, fill the frame with what I refer to as glop but Ron says is an expanding foam insulation.  You then let the insulation set and dry and then remove it from the excavation wall profile.  Adhering to the hardened insulation is a 2-3 mm “peel” of the profile “sediment” that can then be mounted and exhibited.  In this way, the excavation trench is literally brought into the exhibit, not as a replica, but as an actual archaeological feature.

R&R

(L-R) Robert Connolly and Ron Brister

Total price tag for materials – under $500.00.  All labor donated or Student/Graduate Assistant supplied.

Check back next week for a post on the entire BADLab upgrade process.

 

 

How You Can Help Curate Collections in Nivin, Peru

Nivin-Museum-entryI have posted before about the archaeological surprise that my colleague Elizabeth Cruzado Carranza and I experienced last summer in Nivín, Peru.   Elizabeth and I presented a paper at the 2015 Meeting of the Society for Amazonian and Andean Studies in Baton Rouge that discussed this project.

Our work in Nivín is a textbook example of co-creation.  Elizabeth and I traveled to Nivín at the invitation of Gustavo Valencia, director of the small museum in that rural community.  We asked about the museum needs and Professor Valencia immediately responded that he needed books on best practices for collections management in Spanish.  In a few weeks we were able to secure two state-of-the-art volumes and created a digital archive of over 50 files on the subject.

museum-exhibitWe will return to Nivín this June to discuss a long-term collaborative project with the community museum and school.  Thus far, based on our conversations with Professor Valencia and his colleagues, their expressed interests and needs in which we can take part include:

  • Launch a scholarly and community based research project of the archaeological sites surrounding Nivín.
  • Provide resources for English as a Second Language instruction  to enable residents to engage with anticipated visitors to the area.
  • Assist in instituting best practices in both the analysis and curation of cultural materials in the current museum.
  • Provide both formal and informal instruction on these best  practices in both the school and community.

What you can do to help this project . . .

. . . and this is where you can help to analyze and curate the archaeological collections of Nivín, Peru.  The basic materials for laboratory analysis are in very short supply in this rural community on the north coast of Peru.  Below is a list of materials we have identified with Professor Valencia that are of immediate need to launch the curation project this summer:

  • pocket loupes
  • plastic bags of all sizes
  • digital scale or triple beam balance
  • calipers – including OD for measuring ceramic vessels.
  • Sharpies for labeling bags
  • rapidiographs (or similar writing instruments) for labeling artifacts
  • osteological board
  • Munsell soil book
  • microscope
  • nested geological sieves
  • laminate sheet for estimating vessel size
  • other items?
cases

Display cases to be purchased for the Nivin Museum.

Does your academic department or CRM firm have some new or gently used items of the above that are not being used that you can donate to Professor Valencia and his students in Nivín?  Or would you like to make a financial contribution, large or small, that will be used to purchase the above items?  In addition to the listed materials we plan to buy at least two locking display cabinets for the museum.  The cabinets are available in the nearby Peruvian city of Casma for $350.00 each.

We ask that you consider supporting this exciting opportunity to empower a rural Peruvian community to present and preserve their cultural heritage through museum studies and archaeology.

Please contact me directly at rcnnolly@memphis.edu for more information or to find out if the materials you have available are suitable for the Nivín project.  Elizabeth or I can also take delivery of any items at the SAA meeting in Orlando this April.  As well, you can make financial contributions to the PIARA website that will be used exclusively for the Nivín Project.  (Note “Nivín” in the description box on the contribution form.)

Elizabeth, Gustavo and I thank you for your consideration.

 

Distance Learning in Texas Archaeology

C.Crav1I first learned of Candice Cravins’ excellent work in Distance Learning at the Institute of Texan Cultures from a post on the Public Archaeology Interest Group’s Facebook Page.  A quick tour of their Distance Learning site shows that Candice and the Texas folks are doing some very impressive work.  She generously agreed to an interview to talk a bit more about her experience and perspective on Distance Learning.

Could you tell us a bit about yourself and your responsibilities at the Institute of Texan Cultures?

I received my M.S. degree in Archaeology and Cultural Resource Management from Utah State University in 2014, where my thesis research explored object- and STEM-based strategies for teaching archaeology to children in a museum setting. Prior to my arrival at the Institute of Texan Cultures in October 2014, I served as the Educational Programs Manager at Utah State University’s Museum of Anthropology.

As an Educational Specialist for the Institute, I wear many hats! I am primarily responsible for developing and leading distance learning programs for K-12 students, writing and coordinating online educator resources, developing and posting content for department web and social media pages, and planning and leading professional development workshops and family programs. I also assist with school group tours and community outreach events.

How do you see online education opportunities as a bridge between formal education curricula and museums?

Online education opportunities can serve to enhance the classroom learning experience by connecting the intangible with the tangible, providing real-world experiences that help bring textbook concepts to life. As funding for field trips dwindles and emphasis is placed more on developing math and reading skills than on social studies and the arts, museum professionals and K-12 educators alike are looking for new ways to bring the museum experience to the classroom. Virtual field trips, online exhibits, Google chats with experts, games, and other online learning opportunities provide the means for teachers to access museum resources without ever having to leave their classrooms. Museums are well-suited to provide these hands-on learning opportunities that teachers need while at the same time support classroom learning standards and objectives.
C.Crav2What do you consider your most successful recent efforts in public outreach and community engagement?

I consider one of my most successful recent efforts in public outreach to be the launch of our new TexEdventures distance learning programs – virtual tours designed to bring the museum experience to the classroom. When I arrived at the Institute in October 2014, I was tasked with producing and implementing a new distance learning plan designed to bring engaging learning experiences to K-12 students throughout the state of Texas. Prior to my arrival, the Institute had been delivering distance learning programs using IP H.323 protocol videoconferencing technology. Equipment and services were costly to maintain, and programs could only be booked and delivered with the service and support of a technology service provider housed out of a regional Education Service Center – rural, Title 1, or nontraditional students and their teachers often had limited to no access to these programs. In moving forward with new programs, I first wanted to be sure all students and their teachers would have better access to our programming. To me, this meant that programs would need to be free of charge, require minimal technology (i.e., a computer or tablet device with speakers and an Internet connection), and be easy to set up and maintain by a team of one here at the Institute. My main goal for the program was to take things that were already successful onsite and deliver them in a virtual way. I wanted distance learning sessions to be live, individualized, and interactive, giving students the chance to direct their own learning experiences.

We piloted our first new distance learning program, Can You Dig It? Adventures in Texas Archaeology last May using Adobe Connect web conferencing software and an iPad on our exhibit floor. It was a hit with teachers and students both near and far. We have since expanded our offerings and now feature programs on Native American lifeways and how to use primary and secondary sources in the classroom. We plan to further expand our offerings to feature one-time only webinars on special events and even take the technology outside to incorporate some of our outdoor living history exhibits! More information on our programs can be found at www.texancultures.com/distancelearning.

Any recommendations for the cultural heritage professional looking to begin online learning projects?

Think big, but start small! First take a look at what museums, cultural institutions, and other nonprofits are doing in your region and state. What appeals to you most about their online learning programs? Could you and would you want to do something similar for your organization, and how would new online learning projects help fulfill your organization’s mission and meet outreach goals? Have a clear plan in mind for your project from the very beginning – it’s very easy to get overwhelmed by all the technology out there, so narrowing in on exactly what you wish to accomplish is key. Do you want to build a website or start a blog? If you work in a museum, do you wish to recreate the field trip experience for K-12 students online? Do you want to build an online course for adults interested in archaeology? Once you decide what you’d like to do, determine whether or not you have the staff and funding to accomplish your project. Develop a plan and timeline for your project. Don’t be afraid to experiment and try new things, and don’t think that your project needs to be something completely new and groundbreaking – simple is often better to start, especially for those who have limited experience working with technology, work with small budgets, and often juggle multiple projects at the office. Much of what I know now about educational technology and online learning was learned on the job – Google really is your best friend!

One of the first “smaller” projects I tackled when I arrived at the Institute was developing a plan to manage our department’s social media pages. Spending a bit of time each day developing and sharing new educational content on Facebook or Pinterest does wonders for increasing community interest and engagement – if used correctly, social media platforms can be powerful tools for online learning. Take advantage of free online tools, such as Canva, to help you create eye-catching images for your social media posts, and don’t overlook the subtle power of an iPad in creating engaging video content! The possibilities for what you can do for free are endless.

 

For more information, contact Candice at Candice.Cravins(at)utsa.edu

Prehistoric Earthworks of the Mississippi Valley

PEMA new website recently launched that promotes the Prehistoric Earthworks of the Mississippi Valley from Iowa to Louisiana.  I have been thinking about the need for such a website or piece of promotional material for several years.  As the Director of the C.H. Nash Museum in Memphis, I regularly meet visitors heading north or south along the Great River Road or  I-55 corridors.  When I ask, “Are you interested in other prehistoric sites along your route?” most often the response is affirmative.  In the past, there was no single piece of information I could provide to guide that visitor.  In fact, because the various prehistoric earthwork venues are scattered across several states, and typically, state agencies do not cross-promote, there was no single website devoted to these sites of American Indian cultural heritage either.

Although intuitive, survey data confirm that cultural heritage tourists overwhelmingly select their venues for visitation via mobile/web resources and/or word of mouth. Unfortunately, today the only mobile resource that truly synthesizes museum venues is Wikipedia but not in a manner conducive for planning travel.  Individual states such as Louisiana have developed, or in the case of Mississippi, are developing prehistoric mounds trail tours. However, these projects, without exception, are restricted to intra-state sites, again ignoring many cultural heritage venues that are nearby but in adjoining states.

A single regional, or even national resource to promote prehistoric venues is a first step in addressing the problem. An ideal organizational form is based not on geopolitical boundaries but on natural or cultural parameters. For example, recent Civil War and Civil Rights trails follow sets of historic events that cross state borders. Given the north/south travel along the I-55 corridor and proximity to the Great River Road, coupled with extant prehistoric earthwork sites, the Mississippi River drainage is a useful natural and cultural feature on which to organize an interstate prehistoric mounds trail.

To put the idea into practice I involved students in courses I teach at the University of Memphis in applied anthropology and museum studies. Students in my classes always create some product that will live real-time in an area museum or digital space.  For several years I suggested a student take up the task of creating a brochure that promoted the prehistoric earthworks along the Mississippi River.  In my Applied Archaeology and Museums class in the Spring of 2014, a student took up the challenge and created the brochure.  This past year, we applied for and received the Southeastern Archaeological Conference Public Outreach Grant to expand the brochure, print and distribute copies to the venues listed, and create a digital presence for the information.  The Prehistoric Earthworks of the Mississippi Valley website and linked brochure are a result of that process.  The hard copy of the brochure is an 11 x 17 front and back six-fold that will be available at all the listed venues within the next two weeks.  (If you are a venue or cultural heritage agency that would like copies of the brochure, please drop me a note.)

In the coming months we will evaluate the traffic on the website, visitor comments, and check-in with the museums and prehistoric sites included in the brochure to get their feedback.  We will then incorporate their recommendations into the website and a further revision of the brochure.

I will appreciate your comments on this project.  Note that the website is specifically designed for viewing on mobile devices.  What works?  What does not work?  What suggestions do you have to make the website or brochure a more effective resource for information about the prehistoric earthworks along the Mississippi River?

Co-Creation and Public Archaeology

AAP coverIn August of this year my colleague Elizabeth Bollwerk and I published a special thematic issue of the Society for American Archaeology’s  Advances in Archaeological Practice titled Co-Creation and Public Archaeology.  The practice of co-creation has proven a guiding force in my professional practice over the past few years.  I initially came across the concept in Nina Simon’s synthesis and elaboration of an ongoing discussion in the museum community over the past couple of decades.  Since that time I have developed my own understanding of the co-creative practice that prioritizes addressing the community’s expressed needs.  In 2012, along with Natalye Tate, Elizabeth and I co-edited a volume of Museums and Social Issues on the co-creative theme.  As someone who has worked as an archaeologist for the better part of my professional career, I am very pleased with the publication of this new peer-reviewed volume on the subject of co-creation by a leading organization of professional archaeologists in the United States.  I believe an application of the co-creative practice will be key to the future of the discipline.

Below is the abstract to the Introduction Elizabeth and I co-authored with a true leader in the field of public archaeology, Carol McDavid.

This paper serves a dual purpose. First it is an introduction that aims to frame a set of papers that describe and discuss the process of co-creation in a variety of archaeological projects. We discuss the challenge of community engagement in public archaeology and offer co-creative practice as a method for improving our relationships with descendant communities and the general public. We begin by providing a definition of public archaeology and a brief overview of its evolution over the last few decades. Second, we discuss co-creation’s origins and utilization in the museum and business sectors, where the process is applied to address challenges similar to those archaeologists face. We then demonstrate how co-creation fits into the public/applied archaeological framework. We argue that co-creation must be both co (that is, share power in some way) and creative (that is, not just do the same things better, but do something new). Within this framework, we discuss how co-creation aligns with and informs current trends in public archaeology practice drawing from the case studies included in this issue. We conclude that co-creation has an important place on the collaborative continuum and can help our discipline become more responsive to the needs of our many publics.

And here is the table of contents for the volume that includes studies from throughout the Americas.  I hope that you will find these articles helpful as you go about your professional practice.

  • Co-Creation as a Twenty-First Century Archaeology Museum Practice
    pp. 188-197.  Robert Connolly.
  • Survivance Stories, Co-Creation, and a Participatory Model at the Mashantucket Pequot Museum and Research Center pp. 198-207.  Kimberly Kasper and Russell G. Handsman.
  • Making the Past Relevant Co-Creative Approaches to Heritage Preservation and Community Development at Hualcayán, Ancash, Peru pp. 208-222. Rebecca E. Bria and Elizabeth K. Cruzado Carranza.
  • Co-Creation’s Role in Digital Public Archaeology pp. 223-234.  Elizabeth Bollwerk.
  • Promoting a More Interactive Public Archaeology Archaeological Visualization and Reflexivity through Virtual Artifact Curation  pp. 235-248. Bernard K. Means.
  • Co-Creation of Knowledge by the Hopi Tribe and Archaeologists pp. 249-262.  T. J. Ferguson, Stewart B. Koyiyumptewa, and Maren P. Hopkins.
  • Sleeping with the “Enemy” Metal Detecting Hobbyists and Archaeologists  pp. 263-274.  Matthew Reeves.
  • Cemeteries as Participatory Museums: The Cemetery Resource Protection Training Program across Florida pp. 275-290.  Sarah E. Miller.
  • Building Capacity for Co-Created Digital Moviemaking through Youth Programs pp. 291-300. Teresa S. Moyer.
  • Turning Privies into Class Projects pp. 301-312. Kimberley Popetz

Survey on Archaeology Blogs

fleurFleur Shinning from Leiden University in the Netherlands is conducting graduate research focused on the use of blogs and social media and how they contribute to the accessibility of archaeology.  Her intended result of the project is to make archaeology more accessible to a wider public.  She is soliciting input for her research in the form of a survey from readers of several blogs in the UK and USA.   The survey is well-organized, reasonably painless, and can be completed in less than 10 minutes.  I encourage you to click on this link and complete the survey, with the possible payoff of winning a subscription to Archaeology magazine and knowing that you are contributing to a project that focuses on expanding public access to archaeology.

Thanks,

Robert

A Co-created Independence Day Celebration in Hualcayán, Peru

For a Spanish language version of this post, click here

July 28th is Independence Day in Peru – and the day we presented the community copies of La Historia de Hualcayán: Contada Por Sus Pobladores the volume written by Elizabeth Cruzado Carranza based on oral histories collected by Hualcayán high school students in late 2014. I have blogged before about the project origins. In preparation for the event, Elizabeth and I thoroughly cleaned the courtyard area of the archaeology research complex and set out a long row of tables and chairs. The night before we peeled 72 kilos of potatoes and Sheyla Nuñuvero and her assistants prepared 15 chickens, salad and quite a few gallons of chicha morado.

foodThe event was a success. Eli and I were particularly happy that Leodan Abanto Alejo Valerio, who was responsible for launching the project, was able to attend and preside over the celebration. Consistent with being an outstanding educator, Leodan spoke eloquently and passionately about why such projects are important. He particularly focused on the educational role for the student oral historians in developing a sense of identity and pride in their community in both the Spanish and Quechua languages.

Leodan2

Leodan Abanto Alejo Valerio (center) with Hualcayán students

I spoke about the co-creative process. I noted that although Elizabeth and I had performed the technical publishing tasks and secured donations to fund the project, the essence of the volume was locally produced. That is, without the history verbally passed down over the years from community members, and passing that along to the student interviewers, the book would not have been possible. I also noted the uniqueness of the project – there is no other book of which we were aware in the Ancash region that tells a community’s history “contada por sus poladores.” The Hualcayán project is already viewed as model in one U.S. and two other Peruvian communities.

Elizabeth discussed her experience writing the book and presented a copy to every family in attendance. She noted that most of the copies would be placed in the school library consistent with Leodan’s expressed need for a classroom educational resource for students on their community history.

interviewees

Elizabeth Cruzado and Robert Connolly with two of the oral history project interviewees

Several community residents spoke and expressed their thanks to the Hualcayán students who created the project and to Leodan for the original concept. Elizabeth and Rebecca Bria’s (Co-Directors of PIARA) friendship and long-term commitment to the community was also recognized by all of the residents who spoke. For example, even though pressed for time as she gathers data for her M.S. Thesis on a set of Hualcayán excavations, Elizabeth welcomes community children into the research complex every afternoon from 3:00 – 5:00 PM to watch videos on a laptop, draw, or other activities. She has spent many days, weeks and months over the past several years working in Hualcayán on archaeological and community based projects.

Here are some of my takeaways from the oral history book experience:

  • The process worked. In a rural agricultural community like Hualcayán, where everyone works 7 days per week to sustain their existence (including on Independence Day) the oral history project is a small, but important contribution. “Importante” was the word most commonly used by the residents who spoke at the Independence Day event. They followed that statement up with examples on why knowing a community history is of value.
  • We had a great discussion with Professor Abanto after the event and confirmed plans and responsibilities for completing another volume by next summer for the community where he is now assigned to teach – Huallanco. Leodan is one of several Ancash residents we encountered in the last year who collect oral histories – in some cases for many years. We view the Hualcayán volume not as a completed project, but as an example of the ongoing logistical support we can provide if a community has that expressed need. We have informally discussed with cultural heritage professionals and educators in the region the possibility of establishing something like an Ancash Region Oral History Program. That may happen one day, but the impetus for moving on the project will come from the Ancash communities.
  • Oral history is something we are prepared to support at the museums Elizabeth and I visited in both Nivín and Caraz this summer. However, an expressed need in both of these museums was for Spanish language documents on collections management – not part of our initial plan. Within 48 hours we were able to use our resources and networks to acquire an abundance of these materials.
  • As cultural heritage professionals, in this way we can create value in a co-created relationship. At the museum and site at Nivín, Professor Valencia’s interest is less in our organizing field crews to excavate the Nivín site and find cool stuff for the museum. Rather the need Professor Valencia clearly stated was to train the Nivín students in the proper methods for curating materials and preserving a site that is of little apparent interest to the professional archaeological community but is being impacted by both agricultural and looting activities.

The above lead me to my “go to” snippets for what I mean by co-creation and applied archaeology:

Learn what aid the community needs: fit the museum to those needs. John Cotton Dana, The New Museum, 1917  

 . . . the act of engagement with others who are trying to make decisions related to particular heritage resources. Erve Chambers 2004:194

 Working together or diversifying audiences is not enough. What is needed are reciprocal, co-created relationships that connect the assets and purposes of organizations. Elizabeth Hirzy 2002

 To give voice and be responsive to the needs and interests of local community members; to provide a place for community engagement and dialogue; and to help participants develop skills that will support their own individual and community goals. – Nina Simon 2010:187

 

To this end, our field season this year in Peru is going quite well.

sheyla

 

An Archaeological Surprise at Nivin, Peru

Nivin-sign(For a Spanish language version of this post, click here.)

 

This past week, my colleague Elizabeth Cruzado Carranza and I visited Nivín Arqueologia about 25 km from Casma, on the north central coast of Peru.  We were not really certain what to expect.  We had corresponded via the PIARA and Nivín Facebook pages with Gustavo Valencia Tello a professor in the Nivín k-12 school of 50 students.  We knew that Professor Valencia established a museum connected to the school.  We also knew that Nivín is located in an archaeologically rich part of Peru’s north coast.  We knew that over the past five years Professor Valencia had convinced many area residents to donate their “looted” collections to the school’s museum.  Finally, Professor Valencia had noted that there was little interest from the professional archaeological community in the sites at Nivín.  That is pretty much what we knew about Nivín when we arrived in Casma this past Sunday.

Nivin-Museum-entry

Nivín Archaeology: Searching for our identity

On Sunday evening Professor Valencia invited us to his home for dinner and conversation.  We agreed on a schedule of going to Nivín on Monday morning to tour the museum and school and returning on Tuesday to visit the nearby archaeological sites and meet with the other Nivín teachers.

On Monday morning we headed toward the outskirts of Casma and turned onto an unpaved road for the 25 km bouncing ride to Nivín.  I have to admit that I began to wonder what Eli and I had gotten ourselves into.  Except for the town of San Rafael about half-way in, the landscape was dotted with the occasional cane thatch house, agricultural fields, scattered grazing livestock and not much else.  I wondered what kind of museum could be at the end of this road?

museum-exhibit

Exhibits in the Nivín Museum

After a one hour ride, we came to a sign that read “NIVIN” with nothing else in sight.  We then continued around the bend in the road and came upon what I can best describe as an oasis in a dusty desert.  The Nivín school is a manicured space that stands out from the landscape.  Here is what we saw:

  • the museum that Professor Valencia painstakingly put together over a five-year period.  The materials are donated by area residents who looted/collected the materials over the years, often from their own agricultural lands.  Professor Valencia uses these materials in his classes to explain everything from ceramic production techniques, cultural identity, osteology, culture change and more.  Eli and I had gone to Nivín to discuss how we might assist Professor Valencia in his project.   We quickly realized that we were the students that learned much from him during our brief visit.  The school in Nivín better incorporates archaeological methods into teaching natural and social sciences than any k-12 school I have experienced in the U.S.
  • Mango

    Young mango tree in the school garden.

    a suite of gardens maintained by the students, teachers, and the community members.  The gardens grow subsistence crops of mangoes, corn, passion fruit, chilies, alfalfa sprouts and more and are completely organic.  There are also smaller vegetable and medicinal plant gardens.  Besides providing food for the Nivín community, the gardens are meant as an instructional tool for the students, the next generation of agriculturalists in the area.  Other schools in the region are studying the Nivín model.

  • sparsely supplied but impeccably clean and well-maintained classrooms and a basketball court/soccer field.  We also saw large banners that reported the awards the school had received from the Ministry of Education.
arch-site-at-Nivin

A small portion of the archaeological site at Nivín.

On Tuesday morning we were back in Nivín with Professor Valencia for our tour of the nearby archaeological site.  Over the next 3.5 hours we hiked, walked through agricultural fields, waded across a river (this gringo was not able to negotiate the single log bridge), and traversed a rocky landscape similar to what one might expect of a lunar surface.  Here is what we saw:

  • a multi-sector and massive archaeological site that spanned the Formative through the Late Intermediate periods.  The site is not registered as an official archaeological site.
  • The site is slowly being encroached on by agricultural expansion along with huaqueros or looters.  The cemetery areas of the site contain many looter pits with broken ceramic vessels and scattered human bone.
  •  The architectural forms include domestic rooms, cemeteries, 30 m high mounds, and my favorite a boulder some 3.5 m in diameter fashioned into a metate, with multiple grinding depressions and one mano laying nearby.  Christian, a Nivín high school student, whose house is on the archaeological site recalls as a youth that there were eight manos laying on/around the metate boulder.
Eli-examine-sherd

Elizabeth Cruzado Carranza examines broken ceramics and human bone from a looters pit.

After visiting the site we returned to the school and met with several of the teachers to discuss possible collaborations.  We gave the school a laptop computer (from Rhodes College in Memphis) and a flip camera (from the WriteMemphis literacy program) to help launch an oral history program in the village and school.  The program will complement other oral history projects we have worked on such as those carried out in both Hualcayán, Peru, and Memphis, Tennessee, US.

After discussing with the teachers possible collaborative/co-creative efforts and mutual needs, on Tuesday evening Eli and I met again with Professor Valencia and agreed to pursue the following projects over the next year:

  • Partnering the C.H. Nash Museum at Chucalissa in Memphis, TN and the Municipal Museum in Caraz, Peru, with the Nivín Museum around oral history projects.  The three institutions are at different stages in their oral history processes and can learn from each other.  We will seek additional funding to support this work.  (An Engaged Scholarship Research Grant from the University of Memphis funded a portion of our oral history work in Caraz and Hualcayán, Peru this summer.)
  • Gustavo

    Professor Gustavo Valencia Tello with some of his teaching materials.

    Elizabeth Cruzado and Gustavo Valencia will co-author a book chapter for a recently contracted volume on museum/community collaboration efforts to be published in the Summer of 2016 by Rowman and Littlefield Press.

  • We will discuss forming an expanded range for the type of collaborative projects now carried out by PIARA.  This will ideally allow for greater collaboration among Ancash cultural heritage projects and expand access to resources.
  • We will investigate returning to Nivín in July or August of 2016 to provide instruction to students in the best practice cataloguing and curation of the collections in the Nivín Museum. (Any museum studies students fluent in Spanish interested in an internship?)

Elizabeth and I have commented several times that we certainly covered a lot of ground and lined up several co-creative projects in just a couple of days!  We are excited both about learning from and working with Professor Valencia, his colleagues, students, and the Nivín community in this model program.

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