CONTEXTS

Annual Report of the

Haffenreffer Museum
of Anthropology

volume 46
2023
ABOUT
The Haffenreffer Museum of Anthropology (HMA) is
Brown University’s teaching and research museum. A
resource across the university and beyond, we inspire
THE creative and critical thinking about culture by
fostering interdisciplinary understanding of the
MUSEUM material world.

We provide opportunities for faculty and students to

work with collections and the public, teaching
through objects and programs in classrooms, in our
campus gallery in Manning Hall, and at the
Collections Research Center in Bristol, Rhode Island.

Images are from the Haffenreffer Museum of Anthropology, Brown University unless otherwise noted.
Front cover exterior: Manning Hall, Gallery Open! (2023).
Front cover interior: Front Green at Night (Manning Hall). © Brown University (2008).
Back cover interior: Haffenreffer Museum Collections Research Center in Bristol, Rhode Island (ca. 2018).
Back cover exterior: Arpillera of appliquéd cotton and yarn depicting students protesting in front of an escuela (school), detail (2001-13-
52).

Contexts
Editor, Christina J. Hodge
Copyright 2023 Brown University
CONTENTS 1
Leadership / 01

2
Grants & Projects / 06

3
Teaching Highlights / 11

4
Exhibition Highlights / 15

5
Repatriation / 19

6
Programming Highlights / 22

7
Research / 30

8
Laboratory for Circumpolar
Studies / 41

9
Staff of wood and gold foil depicting seated men in
front of a table with a bowl of food , which is a
Collections & Archives / 46
metaphor for the power of the king, created by an
Akan person in Ghana (2004-15-83a-c). Currently 10
on display in the Manning Hall Gallery.
Acknowledgements / 55

HMA / ANNUAL REPORT VOL. 46, 2023

LEADERSHIP

From the Director

Robert W. Preucel, Director; James Manning Professor of Anthropology
The "big move" is happening! The American Graves Protection and
Haffenreffer Museum of Anthropology Repatriation Act (NAGPRA) compliance
(HMA) is moving from Bristol to and rebuilding capacity. We hold a small
Providence! collection of Native American ancestors
and grave goods, most of which were
President Christina Paxson proposed the collected by our founder, Rudolf F.
project to the Corporation in their May Haffenreffer. The museum has already
meeting and it was roundly approved. repatriated those that can be culturally
We will be moving the museum into a affiliated (for example, we were part of
Brown-owned building in the Jewelry the group of institutions that repatriated
District. The new location will facilitate Burr's Hill ancestors and grave goods to
increased use of our collections by our the Wampanoag Confederation). We are
students and faculty and offer greater now working to repatriate ancestors and
engagement with the city. Even grave goods, previously identified as
expedited, the project's timeline is five "culturally unidentifiable," using
years due to the need to renovate the geographical affiliation as our guide.
new space and the requirements of the
physical move.

We are making significant progress on

two other important fronts: Native

HMA Director Robert W. Preucel (2013).

HMA / ANNUAL REPORT VOL. 46, 2023 LEADERSHIP / 01

This work has been the responsibility of Council of Museum Anthropology. We
one staff member, Thierry Gentis, who is have hired James Whitney as manager of
both Head Curator and NAGPRA the Circumpolar Laboratory. He is a
Coordinator. Because he wears these specialist in Arctic archaeology and has
hats (and more), we have hired Jan served as the archaeology collections
Bernstein and Associates, a firm manager of the University of Alaska
specializing in NAGPRA compliance. Museum of the North. We have hired
Her team is assisting us with scheduling Jen Wicoff as our registrar/collections
consultations and facilitating manager. She comes to us from the New
repatriations. We have also received Jersey State Museum, where she was
approval to hire an Associate Curator to registrar for the Cultural History and
help with this important work. We Fine Arts Bureaus. Welcome all!
continue to collaborate with Robert King
and the Bureau of Land Management to As always, I thank you for your support
assist with the repatriation of Native of the museum. Please check out our
Alaskan ancestors and grave goods in website for our upcoming programs and
our Arctic collections. These collections follow us on social media.
were made by professors J. Louis
Giddings and Douglas D. Anderson for
the Department of Anthropology and
were officially transferred to the
museum in 2022.

Although we said goodbye to a number

of valued staff members during COVID,
we have made some wonderful new
hires. We have hired Christina Hodge to
be our new Associate Director. She
comes to us from Stanford University,
where she was curator and manager of
Archaeological Collections. She has just
been selected to be President-elect of the

HMA / ANNUAL REPORT VOL. 46, 2023 LEADERSHIP / 02

HMA by the Numbers

4,783
The # of people who were impacted by the HMA from July 2022
through June 2023 as students, researchers, correspondents, event
attendees, and gallery visitors.

Thousands more experienced our campus exhibits at the Rogers

Campus Center, John Hay Library, and Rockefeller Library.

Left: Professor Emeritus Douglas D. Anderson (left) and Justin Junge of the National Park Service (right) examining
collections in the Laboratory for Circumpolar Studies (2022). Center: Laurie Tamayo ('25), a student in
Anthropology in/of the Museum, holding the artifact she researched for the class exhibition (2023). Right: View of
the audience at Robin Wall Kimmerer’s Presidential Lecture, titled "Restoration and Reciprocity: Healing
Relationships with the Natural World," organized by Brown's Native American and Indigenous Studies Initiative and
cosponsored by HMA (2022).

HMA / ANNUAL REPORT VOL. 46, 2023 LEADERSHIP / 03

Meet the Associate Director
Christina J. Hodge, Associate Director; Adjunct Lecturer, Anthropology
As I gathered contributions for this Although I earned my PhD in historical
annual report, I was reminded why I archaeology, I have always been a
was so excited to join the HMA team museum anthropologist. I started
just over a year ago. HMA is one of the working at the Peabody Museum of
country’s most significant university Archaeology and Ethnology at Harvard
anthropology museums, distinguished University as an undergraduate, and I
by a longstanding commitment to continued there during and after
teaching, public engagement, and graduate school at Boston University.
community-centered scholarship. Our
global holdings create a diverse archive My undergraduate thesis was on an
of human resilience and creativity. archaeology collection (now repatriated)
from a Native American burial ground
Most importantly, every staff member in my hometown in Massachusetts.[1] I
strives to take excellent care of these knew nothing about this history until
collections and connect them with the my work in the Peabody’s Repatriation
people who care about them most. We Department, which included
are always learning how to be better conversations with Wampanoag tribal
stewards and advocates. HMA’s planned representatives. This experience
relocation to Providence represents a convinced me that museums matter,
historic step toward this goal, and I am whether their collections stay in the
privileged to be part of this institution or rightfully return home. My
transformation. archaeological training included
fieldwork, but I kept returning to
preexisting collections and questions of
memory, identity, and power in historic
New England.[2]

HMA Associate Director Christina J. Hodge

(2022).

HMA / ANNUAL REPORT VOL. 46, 2023 LEADERSHIP / 04

After many years at Harvard, I moved to These days, I am most interested in the
California in 2014 to head the Stanford institutionalization of anthropological
University Archaeology Collections, knowledge: where collections come
another global collection of from; what information and
anthropology, archaeology, and art. It relationships are lost and gained in the
had just returned to campus after process; how we can manage the
decades in inaccessible storage. I learned collections we’ve inherited to support the
so much through professionalizing its needs of people today.
care and revitalizing its use by campus
and community stakeholders. The These concerns will continue to shape
responsibility of running an academic my teaching, research, outreach, and
museum inspired me to recenter my everyday work here at HMA. I’m looking
scholarship from interpreting what is in forward to our next year of
university collections to investigating accomplishments.
how collections have been created,
documented, and used.[3]

[1] "Faith and Practice at an Early-Eighteenth-Century Wampanoag Burial Ground: The Waldo Farm Site in Dartmouth,
Massachusetts." Historical Archaeology 39, no. 4 (2005): 65–86.

[2] "A New Model for Memory Work: Nostalgic Discourse at a Historic Home." International Journal of Heritage Studies 17, no. 2 (2011):
116-35. "‘A Small Brick Pile for the Indians’: The 1655 Harvard Indian College as Setting." In Archaeologies of Mobility and Movement,
edited by Mary C. Beaudry and Travis G. Parno, 217–36. New York: Springer, 2013. Consumerism and the Emergence of the Middle Class
in Colonial America. New York: Cambridge University Press, 2014. "‘A Sharp White Background’: Enslavement and Privilege at
Eighteenth-Century Harvard College." Historical Archaeology 55, no. 4 (2021): 463–89.

[3] "Decolonizing Collections-Based Learning: Experiential Observation as an Interdisciplinary Framework for Object Study." Museum
Anthropology 41, no. 2 (2018): 142–58. And Christina F. Kreps (editors), Pragmatic Imagination and the New Museum Anthropology.
New York: Routledge, in press.

HMA / ANNUAL REPORT VOL. 46, 2023 LEADERSHIP / 05

GRANTS & PROJECTS
Like most museums today, the HMA relies on external funding to support
innovative projects and address inherited challenges. This past year, the
generosity of grants and foundations has allowed us to enhance collections
care and documentation, share more collections online, and improve our
equipment and infrastructure for the long term.

Engaging the Americas, Andrew W.

Mellon Foundation
Jessica Nelson, Mellon Project Curatorial Assistant

The HMA wrapped up its multi-year

Engaging the Americas Project in March
2023. This Andrew W. Mellon
Foundation funded initiative improved
records and conditions for thousands of
American archaeological items that are
a component of HMA’s earliest
institutional collections.

The grant, awarded in April 2018,

allowed the museum to bring in staff
and resources to inventory, catalogue,
rehouse, and photograph a significant

A drawer of hammerstones after they

were catalogued and rehoused into
custom-made archival boxes as part of
the Engaging the Americas grant (ca.
2020).
HMA / ANNUAL REPORT VOL. 46, 2023 GRANTS & PROJECTS / 06
portion of our Americas collection. Its Close work with the collection prompted
largest component is projectile points us to re-estimate its size: an historic
from the Northeastern United States, but practice of duplicating object numbers
it also includes small stone tools, ground and incomplete cataloging led us to
stone tools, and projectile points from undercount this material. We now
other regions, including the Southeast estimate HMA’s archaeological
and Midwest, as well as some faunal collections from the Americas includes
material like animal bone, teeth, and some 60,000 objects, nearly one-third of
shell. which have been rehoused and
reprocessed as part of the Engaging the
When the grant was awarded, the Americas Project.
collection was estimated to include some
40,000 objects. After 5 years, 2 If you are interested in learning more
Collections Assistants, 4 Student about the Engaging the Americas Project
Collections Technicians, and a dedicated and process, check out Behind the
project photographer, we rehoused and Scenes: Engaging the Americas at the
catalogued just over 19,100 and HMA, a digital exhibition available on
photographed just over 17,000 artifacts, our website this fall.
taking a shot of the front and back of
each object!

A drawer of stone projectile points after

they were catalogued and rehoused into
archival bags with foam backing, stored
in numerical order as part of the Engaging
the Americas grant (ca. 2020).

HMA / ANNUAL REPORT VOL. 46, 2023 GRANTS & PROJECTS / 07

A tray of stone projectile points from North America before they were rehoused, catalogued, and photographed as
part of the the multi-year Engaging the Americas Project, which ended in March 2023 and was funded through the
generosity of the Andrew W. Mellon Foundation (ca. 2020).

HMA / ANNUAL REPORT VOL. 46, 2023 GRANTS & PROJECTS / 08

Transforming the Haffenreffer Museum,
Andrew W. Mellon Foundation
Jen Wicoff, Collections Manager/Registrar
In 2018, HMA sought and received a We have made significant progress with
four-year, five-million-dollar grant from the project over the last year, despite the
the Andrew W. Mellon Foundation for challenges COVID and staff turnover
the project of Transforming the presented. We have been restaffing the
Haffenreffer Museum. The funds project and look forward to hiring
support costs of inventorying the several term-limited positions, including
collections and transferring them from a Move Coordinator, Conservator, and
their current location in Bristol, Rhode two additional Collections Assistants
Island, to a renovated facility in (one of whom we are recruiting as I write
Providence (see “From the Director”). As this!). They will join our Curatorial
with many projects, however, COVID Assistant for the duration of the project
took its toll, delaying the work by several and our two Mellon Photographers for
years. With the generous understanding portions of it.
of the Mellon Foundation, however, we
recently secured more time to use these Meanwhile, we continue to focus on
funds. inventory, conservation, photography,
and rehousing. We have completed these
This grant enables us to establish needed efforts for almost a third of our
intellectual control over the collection, as archaeology collection and three
well as to prepare and move it to a quarters of our ethnographic materials.
renovated Brown property in In that vein, we are beginning to refine
Providence’s Jewelry District. A new design plans to ensure safe and efficient
space, purpose-built for storage, storage in the new space now that it has
exhibition, and use of collections, will been selected.
allow the museum to realize its potential
as a resource not only for Brown, but for Carts with pneumatic wheels, secure
the city of Providence and State of Rhode ladders, and other conservation and
Island as well—a truly transformative object handling equipment has been
effect for all involved. purchased and is already in service.

HMA / ANNUAL REPORT VOL. 46, 2023 GRANTS & T

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Rehousing materials, including acid-free care, enhance academic study, increase
paper and boxes, support foams, bags, public accessibility, and widen our
labeling supplies, and other practical engagement with Native American and
resources are being purchased and used other peoples whose belongings we
as project-dedicated staff work on steward. We look forward to the move
inventorying, stabilizing, and preparing into Providence and the diverse
objects for safe transport. We have also opportunities it will bring.
purchased special equipment to
photograph the roughly 1,000-piece
rolled textile collection during its
inventory, a major undertaking.
The Mellon grant funds we have received
will enable us to transform collections

Two stone projectile points after rehousing Pairs of Native American moccasins of hide,
into custom-made archival boxes with corner glass beads, and fur, rehoused into archival
bumpers, along with rehousing tools (2023). shoe-trays for safe storage and study (2023).

HMA / ANNUAL REPORT VOL. 46, 2023 GRANTS & PROJECTS / 10

TEACHING HIGHLIGHTS
HMA is a teaching museum that prioritizes hands-on engagement with
museum collections and practices. We enhance university education at Brown
and other Providence institutions by exposing students to people and societies
across time and space through material belongings and art. We also teach them
how to think critically about the ways we make sense of the world and our
places in it.

Anthropology 1901: Anthropology in/of

the Museum
Christina J. Hodge, Associate Director; Adjunct Lecturer, Anthropology

Students in Anthropology 1901 working with archaeological artifacts from the Dominican Republic, describing and
drawing the items and using their observations to generate research questions (2023).

HMA / ANNUAL REPORT VOL. 46, 2023 TEACHING / 11

HMA has offered Anthropology in/of the
Museum (Anthropology 1901) for
several years. The course always uses
anthropology to think about museums
and vice versa, but how changes with
every iteration. Spring 2023 was my first
time as instructor. I provided my favorite
type of course: a curatorial project that
engages students with museum practices
and critiques; improves our
understanding of collections; and creates
a platform to connect with people
interested in museum collections.
Thierry Gentis, HMA’s Head Curator,
joined our class almost every week as an
unofficial co-instructor.

The Fay family has donated a significant

collection of Caribbean archaeology to
the HMA over the years, most recently in
2022 (read more in the “Acquisitions”
section). These artifacts were created by
Indigenous people we now call “Taíno”
either before, or soon after, Spanish Celt/Manaya (“mah-nah-yah”)
Stone
colonization in the 1490s. I wanted our
Dominican Republic
class to learn more about this important
Taíno
collection and help raise awareness
900–1500 CE
about it and the people it represents.
While functional, this figural celt was likely
Students met in HMA’s Manning Hall
used for ceremonial purposes. An important
Gallery to research the new acquisitions. person, such as a kasike (leader), may have
That allowed us to work hands-on with carried it as a sign of rank.
the objects every week, except when we
were visiting other collections and Created by a Taíno carver, name not now
curators at the Brown Libraries or the known. Sold in the Dominican Republic to
RISD Museum. We were privileged also American Vincent Fay, a Peace Corps
to learn from Taíno cultural experts and volunteer, in 1967 or 1968. Gift of Alison Fay
scholars who generously shared time (‘99) and Tyson Hempel to the Haffenreffer
with us. Museum in 2022 (2022-11-8).

— Isabella Ferrera ('24)

HMA / ANNUAL REPORT VOL. 46, 2023 TEACHING / 12
HMA by the Numbers

16 The minimum # of classes* benefitting from HMA,

reaching at least . . .

240 . . . individual students.

*Not counting self-guided gallery tours that were

not scheduled with HMA.

Departments @ Brown: Departments @ Other Institutions:

Anthropology Anthropology
Center for Language Studies Digital Media
Chemistry Jewelry + Metalsmithing
History Teaching + Learning: Art + Design
Joukowsky Institute for Archaeology Theory + History: Art + Design
+ Music via individual MA thesis
research

HMA / ANNUAL REPORT VOL. 46, 2023 TEACHING / 13

Anthropology 2515: Material Matters
Robert W. Preucel, Director; James Manning Professor of Anthropology
I taught my Material Matters graduate Students wrote papers and gave
seminar (Anthro 2515) last semester. presentations on a broad range of topics
There were ten students enrolled, such as the agency and second lives of
including a RISD undergraduate musical instruments, the intersections of
student. The seminar is designed to science and technology in China in
encourage critical reflection upon the encounters with the West, the meaning
circulation of material culture and its of bodily fluids in ancient Egypt, and the
fundamental role in transforming our materiality of photography and
lives. The topics included the nature of digitization in representing the Near
material culture, gift exchange, object East.
biographies, entanglements,
assemblages, ontologies, perspectivism,
Traditional Ecological Knowledge (TEK),
repatriation, restitution, and
decolonization.

Decolonial E-Textiles
Thierry Gentis, Head Curator
In fall 2022, RISD faculty fellow Mariela Pinochet’s brutal military dictatorship.
Yeregui requested a CultureLab session They were sold to tourists and became a
on HMA’s Chilean arpilleras collection powerful expression of resistance,
for her Research Studio class Decolonial depicting protests against abuses.
E-Textiles. Arpilleras (“burlaps”) are Arpilleras are relevant to many
textile protest art. The HMA’s sixty- contemporary student concerns. HMA
seven arpilleras were donated in 2001 has loaned twelve arpilleras to the RISD
by Dr. Billey Fink in memory of Dr. Museum of Art for teaching and display.
Kenneth J. Smith-Aman, father of Julia
Smith-Aman, Class of 2001.

Arpillera of appliquéd cotton and yarn

Chilean women made the works between
depicting a protest against the defunding
1974 and 1986, during General Augusto
of public schools (2001-13-42).
HMA / ANNUAL REPORT VOL. 46, 2023 TEACHING / 14
EXHIBITION HIGHLIGHTS
The HMA has a vibrant exhibition program that features the creativity of
Brown University's students and faculty. Students are involved in every aspect
of the exhibition process—from concept initiation and development, through
object selection and conservation, exhibit design and label writing—working
with the museum’s professional staff and faculty advisors. The HMA's main
exhibition space is the Manning Hall Gallery with satellite exhibitions in
Faunce Hall, John Hay Library, Rockefeller Library, and the Joukowsky
Institute of Archaeology and the Ancient World.

"A Verry Drunk Hunters Dream"

Christina J. Hodge, Associate Director; Adjunct Lecturer, Anthropology

Brown University President Christina Paxson enjoying the fall 2022 opening of the exhibit "A Verry Drunk
Hunters Dream”: Modernist Expression in Africa, installed through spring 2024 in HMA's Manning Hall Gallery,
highlighting a full-size reproduction of the textile work A Verry Drunk Hunters Dream by Austrian-born artist
Susanne Wenger (2017-22-1).

HMA / ANNUAL REPORT VOL. 46, 2023 EXHIBITS / 15

 liberation and upheaval. They
combined modern, abstract Western
styles with ancestral techniques and
motifs. Antique sculptures and
textiles are exhibited alongside the
modern works, illuminating these
connections.

The exhibit may seem surprising for

an anthropology museum. But HMA
recognizes the continuity of cultural
expression, a need to break down
“A Verry Drunk Hunters Dream”:
boundaries between art and
Modernist Expression in Africa presents
anthropology, and a mandate to
late twentieth-century art from Ghana
showcase people surviving in the past
and Nigeria alongside related traditional
and thriving in the present.
objects. It celebrates a generation of
African artists who embraced a new
medium of expression, mapping an The exhibition was developed
engaging visual vocabulary cognizant of from a RISD class, Curating the
their cultural and historical pasts. Modern, in the Spring of 2022,
and represents a part of an on-
The 2022 exhibit represents the going collaboration between the
culmination of years of collaborative Haffenreffer Museum of
research between RISD professor Bolaji Anthropology and the Rhode
Campbell, Campbell’s students, and Island School of Design focusing
HMA’s Head Curator, Thierry Gentis. on the new and evolving field of
object-based teaching and
Campbell was inspired by the HMA’s research.
Renée-Paule Moyencourt and William C.
Mithoefer Collection, gifted by William — Bolaji Campbell, Department of Theory
C. Mithoefer a decade ago. It is a and History of Art and Design, RISD
remarkable group of mid- to late-
twentieth-century paintings by West Professor Bolaji Campbell, RISD, speaking
African artists made at a time of political about his co-curated exhibit and other
work in the Manning Hall Gallery (2023).

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Pandemic Journaling Project
Katherine A. Mason, Associate Professor of Anthropology
Sarah S. Willen, Associate Professor of Anthropology, University of Connecticut

Left: View of the PJP exhibit

case in the Robert '62 Campus
Center (2023). Right:
Reproduction of an image
submitted to the PJP project,
created by Juniper, age 4,
exhibited and used with
permission (2023).

In March 2023, HMA introduced The was created and to explore the
Pandemic Journaling Project: A innovations of PJP as public
Grassroots Collaborative Ethnography anthropology. The multimedia exhibit
at the Stephen Robert ’62 Campus features prints of fourteen digital
Center. The exhibit features the images, as well as a physical sketchbook
Pandemic Journaling Project (PJP), created by a long-term journaler in New
which we created in May 2020 with the York City, a painting by a teenage
goal of giving ordinary people a place to participant in Connecticut, and podcasts
chronicle and preserve their experiences created by young people in Mexico City.
of the COVID-19 pandemic. Participants The HMA exhibit is one of four
from around the world created a weekly Providence stops of Picturing the
record of their pandemic experiences in Pandemic, a traveling exhibition of PJP
writing, audio, or images. By May 2022, materials with additional stops in
over 1,800 people in 55 countries had Hartford, Connecticut, Heidelberg,
created nearly 27,000 journal entries— Germany, and Mexico City, Mexico. Each
including almost 3,000 images. stop puts visual materials from PJP into
conversation with local materials to
Our HMA exhibit draws upon explore how people around the globe use
participant-submitted images, video, images to tell their pandemic stories and
and audio to tell the story of how and to question, and critique, our changing
why the Pandemic Journaling Project world.

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Contextualizing Taíno Collections
Christina J. Hodge, Associate Director; Adjunct Lecturer, Anthropology

Attendees at the opening of the student-

curated exhibit Contextualizing Taíno
Collections, on view at the John Hay
Library from May 2023 through May 2024
(2023).

In the exhibit Contextualizing Taíno belongings to write their labels. They

Collections (through May 2024 at the contextualized them with historic
John Hay Library Reading Room), publications from the John Hay Library,
student curators put a new donation of which promulgated the false narrative
ancient Caribbean artifacts into cultural, that Indigenous people disappeared after
historical, political, and contemporary colonization. Contemporary perspectives
contexts for the Brown community (see from Taíno and non-Taíno artists and
the “Teaching” section). First Peoples of cultural experts show how important
many Caribbean islands developed ancient practices still are today.
shared beliefs and practices, which today
we call Taíno culture. People practicing The exhibit helps raise awareness about
this culture were historically erased from Caribbean people of Taíno heritage.
Caribbean stories through colonialism People in the Caribbean and its diaspora
and genocide. To make sense of Taíno are recuperating Taíno identity through
artifacts recently donated to Brown surviving cultural practices, language
University, students chose instead to revitalization, and engagement with
focus on Indigenous contexts. ancient artifacts like those cared for at
Brown.
Donor Vincent Fay purchased the
exhibited pieces during Peace Corps A digital version of this exhibit will be
work in the Dominican Republic in the released online in fall 2023.
late 1960s. Students researched these

HMA / ANNUAL REPORT VOL. 46, 2023 T EE X

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REPATRIATION
The HMA acknowledges the problematic history of anthropology. We are
working diligently to comply with the Native American Graves Protection and
Repatriation Act (NAGPRA) and repatriate all of the Native American ancestors
and grave goods in our collections. We are assisting the Bureau of Land
Management in their NAGPRA compliance for the Native Alaskan collections
we steward for the federal government and Native Alaskan Tribes. We regard
repatriation not only as a legal and moral responsibility, but also as a way to
build new and productive relationships with tribes as a step towards building a
more just and socially engaged anthropology.

Repatriation Matters
Robert W. Preucel, Director; James Manning Professor of Anthropology
Thierry Gentis, Head Curator
Consultations
HMA is currently in discussions with the consultation process. The museum is
Narragansett Indian Tribe regarding the working with the tribe to resolve the
appropriate disposition of ten issue and assist in development of a
Narragansett ancestors and twenty-four Memorandum of Agreement outlining
burial goods. These discussions follow the formal relationships between the
upon the posting of a Notice of Inventory university and the tribe. The HMA is also
Completion (NIC) in the Federal consulting with other tribes and tribal
Register in 2018. This positing was collectives regarding the repatriation of
based upon a consultation that took "culturally unaffiliated" ancestors and
place in 1997 under a consultation grant grave goods. These are being repatriated
awarded to the museum by the National on the basis of geographical affiliation.
Park Service. As a result of inquiries Jan Bernstein and Associates is helping
from student journalists last spring, the schedule these consultations and provide
museum learned that the Narragansett advice on best practices.
Indian Tribe had concerns about the

HMA / ANNUAL REPORT VOL. 46, 2023 REPATRIATION / 19

Repatriations, HMA Collections
On June 23, 2022, HMA welcomed series of moves from New England to
Bonney Hartley, Tribal Historic Wisconsin (www.mohican.com/brief-
Preservation Manager, and Monique history/). Some historical sources claim
Tyndall, Cultural Affairs Director, for the that all Stockbridge-Munsee Indians left
Stockbridge-Munsee Tribe of Mohicans Stockbridge, Massachusetts by 1783 on
to the museum for the repatriation of their migrations westward. However, the
three pipes as objects of cultural fact that these pipes were purchased
patrimony. This repatriation was the from Stockbridge Indians in Stockbridge
result of a claim originally submitted in in the early twentieth century is evidence
2004 that had been revived. Leah that tribal members continued to live in
Hopkins (Manager of Museum the town. In 2021, the Stockbridge-
Education and Programs; Narragansett) Munsee Mohican Community opened an
and Tribal Councilman Jonathan James- exhibit in the Mission House Museum,
Perry from the Wampanoag Tribe of Gay offering an Indigenous perspective on
Head (Aquinnah), and longtime HMA their history.
friend, were tribal hosts, enacting
extended family relationships between
tribes. Repatriations, BLM Collections

The repatriation involved three objects- HMA stewards important Native

a complete pipe with its wooden stem Alaskan collections resulting from
and catlinite (stone) pipe bowl (78-45a, excavations conducted by J. Louis
b) and two catlinite pipe bowls (1/396 Giddings and Douglas D. Anderson,
and 1/397). HMA founder Rudolf F. Brown faculty and archaeologists, from
Haffenreffer purchased the complete the 1950s to the 1970s and conducted
pipe from William Everett Lincoln in under federal permits. The museum is
1928. The catalogue card records they assisting Robert King, NAGPRA
were “collected by William Everett Coordinator for the Bureau of Land
Lincoln from the Stockbridge Indians in Management, in repatriation efforts with
Massachusetts prior to 1928." The two Native Alaskan villages and
other pipe bowls were purchased around corporations.
the same time and are attributed to the
“Stockbridge Indians, Stockbridge In 2000, King oversaw the repatriation
Massachusetts.” of 49 ancestors, 397 associated funerary
objects and 302 unassociated funerary
The Stockbridge-Munsee Tribe of objects to the Native Village of Kotzebue.
Mohicans has a rich history involving a These ancestors and grave goods were

HMA / ANNUAL REPORT VOL. 46, 2023 REPATRIATION / 20

excavated by Giddings at the Battle Rock unidentifiable.” This summer, King
Site and the Choris Peninsula at Cape reached out to the Native Village of
Krusenstern from 1956–1961. The Ambler, the Native Village of Kotzebue,
museum's Circumpolar Laboratory Native Village of Shaktoolik, and the
inventory project funded by the National Native Village of Wales to inform them
Park Service has identified seven of our collections and their NAGPRA
unassociated funerary objects that could implications.
not be located in 2000. We immediately
contacted King and at his request He is in the process of publishing a NIC
returned them to Native Village of for the Native Village of Kotzebue and a
Kotzebue on May 16, 2023. Notice of Intent to Repatriate for the
Native Village of Wales as the legally
The inventory project has also identified required first step in the repatriation
a small number of additional ancestors process. The HMA will facilitate
and grave goods in the collections that repatriation thirty days after the
were initially listed as "culturally publication of the notices.

Bonney Hartley (left), Tribal Historic Preservation Manager, Monique Tyndall (second from left), Cultural
Affairs Director, for the Stockbridge-Munsee Tribe of Mohicans during the repatraition of three pipes,
with Director Robert Preucel (second from right) and Head Curator Thierry Gentis (right) (2022).

HMA / ANNUAL REPORT VOL. 46, 2023 REPATRIATION / 21

PROGRAMMING HIGHLIGHTS
The HMA provides public education through events, programming, and
workshops that serve our university and public communities. We create
platforms for scholars, artists, and culture keepers to reach a wider audience
and support creative, critical thinking about museums and global heritage.

Engaging our Publics

Leah Hopkins, Manager of Museum Education and Programs (Narragansett)

Fall 2022
The 2022–2023 Academic Year was Drunk Hunters Dream": Modernist
finally a return to in-person Expressionism in Africa, curated by
programming. HMA ventured back to in- Professor Bolaji Campbell (RISD) and
person programming with a hybrid Head Curator Thierry Gentis (see
model, using digital platforms and Exhibitions”). This event brought in
recording technology to continue to approximately one hundred guests to
expand our reach beyond campus and the gallery over the course of the
Rhode Island communities. It has been a evening, including President Christina
pleasure to see new and familiar faces Paxson who enjoyed the show along
back in the gallery and on campus, and with a lovely reception. Campbell
moving into the 2023–2024 academic offered opening remarks alongside
year, we will continue to offer both in- Gentis and provided a libation for the
person and virtual programs. ancestors and a welcome to the local
Yoruba community.
Fall 2022 was a busy semester. HMA
hosted five events, two of them being Campbell accompanied the exhibition
highlights of the academic year. We with a curatorial talk on Tuesday,
began on Thursday, September 15th October 18th entitled “Navigating the
with the exhibition opening of “A Verry Mysterious and the Exotic,” where he

HMA / ANNUAL REPORT VOL. 46, 2023 PROGRAMMING / 22

Professor Bolaji Campbell (RISD) speaking Workshop attendees making marigolds
at the opening of "A Verry Drunk Hunters out of tissue paper in the Manning Hall
Dream": Modernist Expressionism in Gallery (2022).
Africa (2022).

examined issues militating against On November 2, HMA partnered once

presentation and display practices of again with the City of Providence, North
African art in the West while focusing on Burial Ground, and Rhode Island Latino
exhibited materials in the Manning Hall Arts. Members of the Brown and Rhode
Gallery. This program was sponsored by Island communities came together at
the Friends of the Haffenreffer Museum. North Burial Ground to celebrate lives
of those who have passed on.
Also in October, we prepared for the
November celebration of Día de los The collaborative ofrenda contained
Muertos (Day of the Dead) by holding photographs of loved ones, food,
our annual cempasuchil­-making libation offerings and cempasuchil
workshop. Cempasuchil (known in flowers (both real and tissue paper from
English as marigolds) are integral to our workshop!). Family activities, a
celebrating the sacred holiday in musical procession around the
Mexican culture. Participants made cemetery, and memorial remarks
cempasuchil out of tissue paper in rounded out this event to support the
preparation for decorating an ofrenda community in their commemoration of
(altar).

HMA / ANNUAL REPORT VOL. 46, 2023 PROGRAMMING / 23

those that have departed for the Spirit lecture with Taíno scholar Erica
World. There were approximately one Neeganagwedgin, Associate Professor in
hundred participants in this year’s Critical Policy, Equity and Leadership
celebration, and it continues to grow. Studies at Western University’s Faculty
The Haffenreffer will partner again to of Education. Neeganagwedgin focused
continue the celebration on November 2, on contemporary Indigenous Caribbean
2023 at North Burial Ground. voices, and their lived experiences—
demonstrating that Taíno people and
Spring 2023 cultures are neither extinct nor fixed in
time. She explored how contemporary
Spring 2023 was a lighter selection of
Taíno people are regenerating their
programming as I was out on maternity
ancestral knowledge systems and
leave for part of the semester.
legacies as a way of remembering,
Programming began with the endowed
knowing, and retelling (see “Teaching”
Barbara A. and Edward G. Hail Lecture
and “Exhibits” for other Taíno-related
Series featuring Professor Christina
initiatives).
Kreps (see Hodge’s contribution below).

Exhibition-related programming
continued on Tuesday, May 2, featuring
Peter Probst, Professor of Art History
and Anthropology at Tufts University.
His talk, entitled “Keeping the Goddess
Alive: Susanne Wenger, and the
Dynamics of Nigerian Modernism,”
situated Austrian-Nigerian artist
Susanne Wenger (1915–2009) in the
context of debates on African
modernism, heritage politics, and
postcolonial theories. This program was
supported by generous donors to the
Jane Powell Dwyer Memorial Fund.
Professor Peter Probst (Tufts) (left) with
Professor Bolaji Campbell (RISD) (right)
Finally rounding out the year’s at Probst's talk about the artist Susanne
programming, HMA hosted a Zoom Wenger and her legacy (2023).

HMA / ANNUAL REPORT VOL. 46, 2023 PROGRAMMING / 24

HMA by the Numbers

22
The # of workshops, public talks, exhibit openings,
and other events HMA originated (12) or
participated in with institutional partners (10),
which welcomed . . .

764 . . . people, plus at least . . .

3,625 . . . visitors to our Manning

Hall Gallery on campus.

HMA program
totals by type,
June 2022
through June
2023.

HMA / ANNUAL REPORT VOL. 46, 2023 PROGRAMMING / 25

Nawa Ibrahimy ('25.5), Visitor Student Voices:
Services Coordinator
Programming
My name is Nawa Ibrahimy (’25.5) and
I am from Afghanistan. I am going to
my second semester as a sophomore at
Brown University and I am considering
a double concentration in Public Health
and Visual Arts or in the
Entrepreneurship certificate program.

My interest in museums began with my

deep appreciation for the visual arts.
Working for the HMA has given me the
opportunity to communicate and
socialize with visitors to the Providence
region, which I really enjoy.

The highlight of my semester was a day

Nawa Ibrahimy (’25.5) out and about on
when we had a group of young visitors campus. Courtesy Nawa Ibrahimy (2023).
from Korea, and I was able to learn
about their homeland. We exchanged
contact information and keep in touch
through social media. I really enjoy
engaging with our visitors at the
Haffenreffer Museum.

HMA / ANNUAL REPORT VOL. 46, 2023 PROGRAMMING / 26

Gather. Make. Sustain.
Leah Hopkins, Manager of Museum Education and Programs (Narragansett)

Beginning in spring 2020 with the Indigenous artists, cultural workers,

pandemic, Education staff thought it was and land-based practitioners as they
critical to bring programming to the gather materials from the Natural
HMA that was joyful and a celebration of World, make meaning through art and
endurance and traditions. Thus, the cultural work, and sustain traditional
series Gather. Make. Sustain. was knowledge systems. Gather. Make.
created. This series celebrates Sustain. has brought thirteen speakers

A capacity crowd filled Pembroke Hall in late fall 2022 for the Gather. Make. Sustain. panel discussion,
"Celebrating Indigenous Land-Based Practitioners," organzied by HMA's Programming Department and cosponsored
by the Native American and Indigenous Studies Initiative (2022).

HMA / ANNUAL REPORT VOL. 46, 2023 PROGRAMMING / 27

over the course of ten programs to the meaning through art and cultural work
public through virtual and in-person and sustain traditional knowledge
programming supported by generous systems.
donors to the Barbara Greenwald
Memorial Arts Program Fund. The audience engaged with the
knowledge that was shared by each of
Our final program of the fall 2022 the panelists. Their interest in seed
semester was a highly successful and keeping and plant knowledge shone
well attended panel discussion hosted in through during the question-and-
Pembroke Hall, maxing out the room answer portion of the program, where
capacity of over 100 guests. The program attendees related their own experience
was entitled “Gather. Make. Sustain: An of gardens on campus and sought advice
Evening Panel Discussion Celebrating from the panelists on how to create a
Indigenous Land-Based Practitioners.” path towards healing social injustices
The panel featured 2022 MacArthur and colonization through planting.
Fellow and New York Times bestselling Visitors traveled from over two hours
author of Braiding Sweetgrass, Robin away to engage with the panel
Wall Kimmerer (Citizen Potawatomi), discussions, as the reach far exceeded
2023 National Endowment for the Arts the campus community.
Heritage Award recipient, Elizabeth
James-Perry (Aquinnah Wampanoag), The event was catered by James Beard
Keely Curliss (Nipmuc Nation), and Foundation Award Winner of 2023 Best
Rashad Young (Mashantucket Pequot Chef in the Northeast, Sherry Pocknett
Tribal Nation). It was moderated by (Mashpee Wampanoag) and featured a
Bathsheba Demuth, Dean’s Associate tasting of traditional foods such as wild
Professor of History and Environment rice, venison skewers, butternut squash
and Society at Brown. frybread, and sassafras tea.

The discussion regarded their work and This event was supported by generous
expertise in the fields of ethnobotany donors to the Friends of the
(Kimmerer), fine arts (James-Perry), Haffenreffer Museum and cosponsored
seedkeeping (Curliss), and language by Native American and Indigenous
revitalization (Young). This evening was Studies at Brown University.
a celebration of their efforts to make

HMA / ANNUAL REPORT VOL. 46, 2023 PROGRAMMING / 28

The Barbara A.
and Edward G.
Hail Lecture by
Prof. Christina
Kreps

The HMA welcomed distinguished

anthropologist Christina Kreps to give
Christina J. Hodge, Associate Director;
our 2023 Hail Lecture, supported by
generous donors to the Barbara A. and Adjunct Lecturer, Anthropology
Edward G. Hail Lecture Series fund.
Kreps is Professor of Anthropology and
the Director of Museum and Heritage
Studies at the University of Denver. Her
research focuses on the cross-cultural,
comparative study of museums and
decolonization in the Netherlands,
Indonesia, and the United States. In a
lecture titled "Curating across Art and
Anthropology," Kreps explored affinities
and frictions across anthropology, art
history, and art practice as expressed in
contemporary museum curation and
exhibition. Kreps is a globally-known Professor Christina Kreps (left) touring
scholar who embodies many of HMA’s the HMA’s Collections Research Center in
own values and vision for our field. Bristol with Head Curator Thierry Gentis
(right) (2023).

HMA / ANNUAL REPORT VOL. 46, 2023 PROGRAMMING / 29

RESEARCH HIGHLIGHTS
HMA holds a total collection of around a million objects from the world's
cultures, along with multi-media archival holdings. This breadth makes it an
extremely valuable research resource for faculty, students, and external
scholars. Today, issues of decolonization and restitution are in the public
consciousness more than ever. The museum is engaging with and reimagining
these concepts while helping scholars do the same. The research impact of the
museum will only grow with our future relocation to Providence.

Featured Scholarship: Maya Gorgets,

Elite Gatherings, and Novel Identities
Stephen Houston, Professor of Anthropology
Nicholas Carter (AM ‘10, PhD ‘14), Assistant Professor of Anthropology, Texas State
University
Katharine Lukach, Independent Scholar
Simon Martin, Associate Curator, Penn Museum
The benefit of small things is that they dramatic shifts in population and social
can travel far and wide. If widely shared, organization, along with the widespread
they can also communicate novel ideas passage of objects across cultural or
and, if worn in personal display, shape linguistic borders.
or affirm new identities. An especially
revealing example consists of the One of these gorgets or pectorals is in
engraved gorgets found throughout the collections of the Haffenreffer
Mexico and Guatemala and dating to Museum of Anthropology. It was cut
what is known as the “Terminal Classic” from the lip of Caribbean conch (Aliger
period (810–900 CE)—a time of gigas), yielding an interior surface

HMA / ANNUAL REPORT VOL. 46, 2023 RESEARCH / 30

 Top: Shell Gorget (chest ornament) with
added scale, created by a Maya person ca.
550–900 CE in what is now Guatemala or
Mexico, collected in 1959 or 1960,
anonymous gift to HMA in 2012 (2012-25-
2). Bottom: Drawing of HMA’s inscribed
Shell Gorget showing scene of two elite
men (2012-25-2). Courtesy Nicholas Carter
(2023).

smoothed for incised designs. Two holes spoken. Most are known from
drilled near the top edge allowed archaeological sites in Mexico
suspension on a cord. Like most of the (Dzehkabtun, Itzamkanac, Oxtankah,
Vista Alegre), Guatemala (Ceibal, Tayasal,
other gorgets, the scene incised on the
Uaxactun), and Belize (Rancho San
HMA ornament depicts elite men
Lorenzo). However, four, including the
holding conference—in this case, two HMA example, are unprovenienced.
seated men facing one another, with the
left-hand figure holding a bundle of The designs on the gorgets are remarkably
feathers, a feathered fan, or a scepter. consistent. All but one depict gatherings
Both figures wear bands around their of men. At the center are two opposed
figures, presumably of highest rank in
thighs and fringed mantles hoods, all
these groupings, sometimes flanked by
apparently made of jaguar or ocelot
males of lower status. Curiously, the dress
skin. As on the other gorgets, the two tends not to be Maya, and their bodies
sides appear to be of equal status. have stippled dots or parallel lines that
may express color or texture. The
These gorgets are typically found in linework is angular, the noses pointy, the
areas where Mayan languages were body paint and evident scarification

HMA / ANNUAL REPORT VOL. 46, 2023 RESEARCH / 31

unlike earlier Maya images. The many of the pectorals are broken
archaeologist A.V. Kidder, an early giant vertically. Was this because of the
of Maya archaeology, commented that weakness introduced by drilling for
the gorgets he saw at Uaxactun and that suspension? Or does it reflect a ritual in
from near Puebla “were the handiwork which such pieces were ceremonially
of a single craftsman” or at least broken before burial? Literally, and
“products of the same school.”[2] perhaps figuratively, the snapping of the
shells marked a break in social unions.
The pectorals may well depict historical
figures. Hieroglyphs are absent, The HMA pectoral testifies to an
however, so that guess cannot be extraordinary moment in the
confirmed. We do know the people were Mesoamerican past. Of unusually wide
probably warriors. Some have head dispersal, the gorgets hint at the
ornaments with two feathers and balls of importance of social gatherings or
down, used in later Mexican sources to conferences between near equals.
identify that role. A few individuals hold Communities across the Maya region--
up objects, almost like inverted and sometimes beyond--reveled in the
trapezoids with dangling cloth or paper. gatherings depicted on the gorgets and,
These may also be equipment, in a still- for reasons still unknown, adorned their
enigmatic way, for meetings and persons with visual records of them.
conversations. To an intriguing extent,

[1] Nicholas Carter and Katherine Lukach, “Terminal Classic Conch-Shell Gorgets from the Maya Region and Central Mexico.” Ancient
Mesoamerica (2023): 1–15. https://doi.org/10.1017/S0956536122000360. Stephen Houston and Simon Martin,“Foreign Intimacies:
Terminal Classic Shells, Novel Identities, and Gathered Elites.” Paper presented the 88th Annual Meeting of the Society for American
Archaeology, Portland, Oregon, 2023.

[2] Alfred V. Kidder, The Artifacts of Uaxactun, Guatemala. Publications No. 576. Washington, D.C.: Carnegie Institution of
Washington, 1947.

HMA / ANNUAL REPORT VOL. 46, 2023 RESEARCH / 32

HMA by the Numbers

45
The # of researchers from Brown and
beyond who worked on HMA Collections last
academic year, whose needs ranged from
email inquiries to a six-week residency.

Geographical
areas of
research
projects at
HMA, June 2022
through June
2023.

HMA / ANNUAL REPORT VOL. 46, 2023 RESEARCH / 33

Moose Creek
Pictograph Site
Martin Gutoski, Independent Scholar
I have been searching for the
photographs and tracings made by J.
Louis Giddings in June 1940 as reported
in American Antiquity 7, no. 1 (1941)
since I was an undergraduate student in
anthropology at the University of Alaska
Fairbanks in 1992. When I began my
master’s degree, I had to content myself
that these were not available.[1]

I sent a request into the Haffenreffer in

March 2023 to see if the archives
contained Giddings’ rock art
photographs. Rip Gerry replied that he
had slides and negatives of the Fairbanks
site from Giddings in 1940. To my
surprise, in July, he reported he also had
located the original tracings and
drawings.

I will be applying the program D-Stretch

and other graphic enhancement software
to render the digitized images for Giddings’ 1940 photograh of Army Flood Control
comparing with the sketches in the 1941 Project workers preparing to blast Moose Creek
American Antiquity report to present Bluff, showing a pictograph just above the tunnel
entrance (faint darkened area) (Neg. MCB1v). Inset:
the results at the Society for American
Gidding’s drawing of that pictograph, identified as
Archaeology April 2024 conference in
the being Yaachox from Athabascan creation stories
Louisiana.
(HMA Archives).

[1] Martin Gutoski, “Yaachox’ Bluff: An Examination of a Rock

Art Site in Interior Alaska and Local Oral History.” MA thesis,
University of Alaska Fairbanks, 2011.
HMA / ANNUAL REPORT VOL. 46, 2023 RESEARCH / 34
Identifying a Glyph through Photographs
John Justeson, Professor Emeritus of Anthropology, University at Albany (SUNY)
I became aware of the Herbert Spinden Dozens of orthostats at Monte Alban
Photographic Archive, with over 20,000 have an image of a hill above either an
images and documents related to Central inverted head or, more rarely, above
American archaeology and ethnography inverted hieroglyphs; these inverted
from the early twentieth century, during images and glyphs have long been
a 1994 meeting of Mesoamericanist interpreted as references to captives.
archaeologists working in the Northeast. Many of the images were interpreted by
Its documentation of Zapotec Ignacio Bernal, one of the excavators of
hieroglyphic texts at Monte Alban, Monte Alban, as individuals from
Mexico was eye‑opening. I revisited the Chiapas—i.e., epi-Olmecs. The inverted
collection in June of 2018, working with symbol on this cloak is an epi‑Olmec
Spinden’s 1920 photos of these texts and glyph.
of epi-Olmec monuments at Cerro de las
Mesas, Mexico.

The photograph of an orthostat (stone

block) from Monte Alban is especially
interesting (shown at right). It depicts a
seated figure wearing elaborate
headgear. In Zapotec hieroglyphic texts
accompanying such images, being seated
is associated with rulership. Inside the
ruler’s cloak on this monument is the
image of a hill, with an epi-Olmec
hieroglyphic, inverted, below it.

Photograph of an orthostat at Monte

Alban, Oaxaca, Mexico, showing a seated
figure (head upper left), taken by Spinden
ca. 1935 (SP51-74).

HMA / ANNUAL REPORT VOL. 46, 2023 RESEARCH / 35

J. Louis Giddings’ Photographs from St.
Lawrence Island, Alaska: A Haffenreffer
Hidden “Trove”
Igor Krupnik, Curator of Circumpolar Ethnology, Smithsonian Institution

In June 2016, on my visit to Brown photographs were in most cases

University, I had a chance to see an unknown.
exhibit called Northern Visions: The
Arctic Photography of J. Louis Giddings With the help of Rip Gerry and Tony
(1909–1964) at the Haffenreffer Belz, then archivist, we filtered out
Museum of Anthropology. A few halls in photos that were clearly not from St.
the museum’s main gallery were filled Lawrence Island or not from 1939. Rip
with black-and-white photographs taken scanned the remaining sample of about
by Giddings on his many trips to the fifty photos to be shared with my Yupik
North, primarily various places in partners on the next visit to the Island to
Alaska. Some faces on Giddings’ photos identify people and landscapes featured
reminded me of the Yupik people from in Giddings’ images. In January 2017, I
St. Lawrence Island. mailed paper prints of Giddings’
photographs to Charlene Apangalook
As I learned from Kevin Smith, then (Sukarewaaq), retired Yupik language
HMA Deputy Director, several dozen teacher in Gambell. I took another set of
photos in Giddings’ massive prints with me on my visit to Gambell
photographic collection originated from and the other island community,
his short visit to St. Lawrence in summer Savoonga, in February 2017.
1939. Giddings noted on the back of a
few photos that they were “1939 St. Thanks to local Elders, Anders
Lawrence” or “Gambell,” but that was, Apassingok (Iyaaka, 1932–2023), Job
unfortunately, all provenance (Naywaaghmii, 1946) and June
documentation available. The collection Koonooka (Taviluk, 1950), Chester
records at HMA showed no names of Noongwook (Tapghaghmii, 1933–2020),
people featured in Giddings’ pictures; Clement (Awaliq, 1937) and Irma
even the year and the place of Ungott (Enlegtaq, 1945), and Willis

HMA / ANNUAL REPORT VOL. 46, 2023 R

TES
A ECAHRI N
CGH // 03 X
6
Photograph of Avalak (b. 1918), Photograph of Napaagghutaq (b. Photograph of Aghnakuma (b. 1922),
taken by J. Louis Giddings on St. 1893), taken by J. Louis Giddings on taken by J. Louis Giddings on St.
Lawrence Island, ca. 1939 (JLG- St. Lawrence Island, ca. 1939 (JLG- Lawrence Island, ca. 1939 (JLG-
077). 224). 202).

(Kepelgu, 1925–2017) and Nancy insightful window into people’s life on

Walunga (Aghnaghaghniq, 1927–2020), St. Lawrence almost eighty-five years
we were able to identify practically all ago. Each person photographed by
people in Giddings’s photos. Elders also Giddings has their own history. Many
added comments regarding pictures of have direct links to today’s descendants,
the nearby landscapes, village and who would love to see faces of their
hunting scenes. Altogether, forty-five deceased family members. We look
photographs received new captions from forward to HMA sharing this heritage
Elders’ comments. “trove” from its collections by providing
high quality copies of Giddings’ photos
In spring 2023, I returned to the HMA to the descendant families on the Island.
facility in Bristol. Rip and I pored over
Giddings’ old prints and negatives and
were able to identify a few more pictures
taken on St. Lawrence Island. The
modest “Giddings Collection” is an

HMA / ANNUAL REPORT VOL. 46, 2023 RESEARCH / 37

Student Voices: Noah Howard (’25), Student
Collections Technician
Research
Last academic year, I became interested
in a Brazilian funerary urn in the
HMA’s collection. Amazonian peoples
created ceramic funerary urns like this
one for more than a thousand years,
until the period of Spanish colonialism.
These vessels were used for secondary
burial and placed in caves or interred
underground in shaft tombs.[1]

Archaeological materials from the

Brazilian Amazon are not common in
American museum collections. Of the
objects that are held by American
museums, many can be traced to a
handful of naturalists and
anthropologists who undertook
collecting exhibitions to Brazil in the
1910s and 1920s.

Curious as to the origins of the HMA’s

urn, I reached out to Head Curator
Thierry Gentis. Thierry informed me
Figural ceramic urn created by a person that the vessel had been given to the
from what archaeologists call the Cupixi museum in 2006 by an anonymous
tradition in what is now Amazonian Brazil, donor. According to museum records,
ca. 1000–1250 CE (2006-22-1). Acquired
the urn left Brazil in 1929 and
by Jean Lyons in 1929, the year it left
Brazil. Purchased by Mr. Geiger from Jean eventually found its way into a Swiss
Lyons, date unknown. Sold at Christie's in collection.
2003, donated to Brown anonymously in
2006. [1] Editorial note: There are no known cultural restrictions on
researching or showing these works.
HMA / ANNUAL REPORT VOL. 46, 2023 RESEARCH / 38
 Reading Thierry’s email, I wondered if I
could trace the object’s provenance to
an early twentieth-century
anthropological expedition. As I looked
further, I found more ambiguity in the
object’s biography than either of us had
appreciated.

I’m currently trying to piece together a

more complete provenance for this
object using auction catalogues and
records from other museums. While
this research is unlikely to provide
definitive answers, I hope it might
better illuminate the object’s probable
trajectory from Brazil to Europe.

Noah Howard ('25) examining a Taíno

artifact at the HMA's Manning Hall Gallery
and CultureLab (2023).

Three Diné textiles, which RISD curator Sháńdíín Brown (Diné), Henry Luce Curatorial Fellow for Native American
Art at the RISD Museum, researched in preparation for her fall 2023 exhibit Diné Textiles: Nizhónigo Hadadit’eh at
the RISD Museum, which will include textiles loaned by HMA (see the "Collections" section).

HMA / ANNUAL REPORT VOL. 46, 2023 RESEARCH / 39

Diné artist Eric-Paul Riege (left) and Sháńdíín Brown (right; Diné), Henry Luce Curatorial Fellow for Native
American Art at the RISD Museum, viewing Diné silver jewelry at HMA in preparation for Riege’s 2025 exhibition at
Brown University’s Bell Gallery, curated by the Bell's Associate Curator Thea Quiray Tagle.

HMA / ANNUAL REPORT VOL. 46, 2023 RESEARCH / 40

LABORATORY FOR
CIRCUMPOLAR STUDIES

The HMA’s Laboratory for Circumpolar Studies is home to a federal

archaeology collection of global importance. It documents thousands of years
of cultural history in the Alaskan Arctic from the end of the last Ice Age to the
present. It also represents the foundation of professional and community-
involved archaeology in Alaska and at Brown University itself. The National
Park Service has funded two projects to enhance knowledge of these materials.
The first ended, and second began, this past year.

Arctic Activities
James Whitney, Circumpolar Laboratory Inventory Project Manager

National Park Service Cooperative Agreements

I joined HMA in July 2022 as the predecessor Annalisa Heppner and I
Laboratory for Circumpolar Studies inventoried all LCS collections, including
(LCS) Inventory Project Manager, taking artifacts and associated documentation.
over an ongoing inventory of collections Douglas D. Anderson, Emeritus
totaling around 800,000 items. The Professor of Anthropology and LCS
effort is funded by the National Park Director, excavated many of these
Service (NPS) through two Cooperative collections and is an important
Agreements. We completed our first in contributor to this work. LCS artifacts
March 2023, then initiated the second are now associated with specific sites
Cooperative Agreement project to build and research publications. I am writing
upon that work. collection-level descriptions of each
assemblage. I also inventoried extensive
Under the first agreement, my collections of faunal remains in

HMA / ANNUAL REPORT VOL. 46, 2023 LCS / 41

 Top: Lovely new
storage cabinets
(2023). Bottom: NPS
visitors and HMA staff
examining LCS
collections (2022).

NPS visitors Molly Conley (left), Kelsey Lutz

(center), and Justin Junge (right) examine an
Arctic watercraft model at the RISD Museum
(2022).

preparation for our second NPS

Cooperative Agreement, which will September 2022. We reviewed the LCS
evaluate these collections to ensure the collections and toured HMA’s Arctic
absence of human skeletal remains. ethnographic collections, as well as
Arctic collections at the RISD Museum.
NPS funding also allowed HMA to NPS staff met with Jill Pipher, Brown’s
purchase four new museum-quality Vice President for Research, to discuss
metal storage cabinets. Brown University the significance of the LCS collection.
undergraduate Sophie Rockwell (’26) is They presented her with a letter for
helping rehouse artifacts into the new President Christina Paxson emphasizing
cabinets from overcrowded and outdated the impact of the collection to the NPS,
wooden cabinets. The inventory, researchers, and Alaska Native tribal
collection descriptions, and cabinets all members.
work toward a shared goal of improving
access to the collections for researchers The visit provided a valuable
and Alaska Native communities. opportunity for NPS staff to see the
collections in situ, as well as to evaluate
Our NPS partners from Alaska, Kelsey ways to improve management and
Lutz (Senior Curator, Interior Region interpretation of these materials. We
11), Molly Conley (Curator, Western also discussed the significant impact
Parks), and Justin Junge (Archeologist, such work will have, given the potential
Western Parks), visited the HMA in of these collections for research and
education.

HMA / ANNUAL REPORT VOL. 46, 2023 LCS / 42

 Sophie Rockwell (’26), Student
Student Voices:
Collections Technician
Laboratory for
After my first year at Brown studying
Circumpolar Archaeology, working with the HMA
collection seemed like the perfect job. I

Studies work in the Laboratory for Circumpolar

Studies, which houses the federal
Alaskan Arctic archaeology collection.
These items were excavated primarily
by Brown archaeologist J. Louis
Giddings in the mid-twentieth century.
There are several different site
collections in the LCS, but I am working
on Cape Krusenstern. My job is to
rehouse and re-catalog each piece. As
the collection includes more than 8,000
objects, this project presents quite the
challenge. However, I had a plan.

I started with the Excel spreadsheet

that contains information on each
object—close to 250,000 cells.
Unfortunately, the data comes from so
many sources that the information for
each object doesn't always line up. So
my first project was to reorganize the
spreadsheet, which involved a lot of
“how to . . . in Excel” Googling.

Sophie Rockwell ('26) rehousing

Once the spreadsheet was workable, I
artifacts in the Laboratory for
began working with the artifacts. I
Circumpolar Studies (2023).
compare each artifact to its spreadsheet

HMA / ANNUAL REPORT VOL. 46, 2023 LCS / 43

entry and catalog card (if there is one)
and fix mistakes or inconsistencies.
Then, if the object is fragile or without
proper storage, I rehouse it in archival
materials and move it to its new storage
location. All I need to do is to repeat
this step about 8,000 times.

I actually quite enjoy the work and I

find many of the objects interesting,
such as a brow band fragment with two
whale tails on it and the barbed lures Antler Brow Band fragment with inscribed
decoration (60-2751) (left) and bone Fish
carved into fish with inlaid eyes.
Lure with ivory inlaid eyes (60-2792)
(right), both excavated from House 25 of
the Thule culture settlement at Cape
Krusenstern, Alaska, 1300–1400 CE.

Research Highlight: Constance Thirouard

Constance Thirouard, PhD student from
Université of Paris 1-Panthéon Sorbonne,
visited the LCS in spring 2023 and spent
six weeks studying collections from the
Kobuk River, Alaska, for her dissertation.
Thirouard researches the settlement
patterns and changes in Thule culture in
Northwest Alaska from 1200 to 1850 CE.
Her analysis of LCS artifacts adds
invaluable information to the study of
Iñupiat cultural history. She also assisted
Researcher Constance Thirouard (front) with an inventory of J. Louis Giddings’
examining HMA's ethnographic Arctic dendrology collection, a unique resource
collections with James Whitney, LCS
for information on the cultural and
Inventory Project Manager (back) (2023).
environmental history of Northwest
Alaska.

HMA / ANNUAL REPORT VOL. 46, 2023 LCS / 44

Grant Proposal Professor Anderson’s
Publication
HMA submitted a grant proposal to the
Council on Library and Information
Resources (CLIR) Recordings at Risk
program to digitize and preserve 16mm
film recordings made by J. Louis
Giddings, Brown faculty and founding
director of both LCS and the HMA. The
films document his archaeological
research in the 1960s.

The rare film footage captures Giddings’

excavations in cooperation with Alaska
Native partners at Cape Krusenstern on
the Bering Sea, as well as at the newly
discovered site of Onion Portage on the
Kobuk River. The final edited film
Douglas D. Anderson, Emeritus
debuted at the Society of American
Professor of Anthropology and Director
Archaeology meetings in 1964 and
of the Laboratory for Circumpolar
provides a unique and irreplaceable
Studies, published his new book in May
source of data on Alaskan archaeology,
2023, entitled The Iñupiat of Northwest
as well as historic documentation
Alaska over the Past Millenium (Borgo
important to Alaska Native
Publishing). This much-anticipated
communities.
publication provides a synthesis of the
last 1,000 years of Iñupiat cultural
The proposal was not funded, but
history based on the archaeology of
strategies to preserve this important
northwest Alaska. The book draws on
film move forward.
decades of work by Anderson in
cooperation with Alaska Native
communities. Many of the featured
archaeological collections are curated
here at the LCS.

Douglas Anderson reviews his published

site report to compare a photographic
plate of stone tools from the oldest level
of the Akmak site at Onion Portage with
originals stored at the LCS (2022).
HMA / ANNUAL REPORT VOL. 46, 2023 LCS / 45
COLLECTIONS & ARCHIVES
When Brown University received Rudolf Haffenreffer's private museum from
his family in 1955, its collections included 60,000 objects from the Native
cultures of the Americas. Under Brown's stewardship, the non-federal
collections have grown to roughly 150,000 items through fieldwork, donations,
and strategic acquisitions that reflect the research interests of Brown faculty
and students and enhance our ability to serve stakeholder communities.

Meet the Collections Manager/Registrar

Jen Wicoff, Collections Manager/Registrar
Coming to the HMA from New Jersey, I learned to catalogue, number, and
am happy to return to my roots in house objects for storage; install and
anthropological collections. While maintain exhibits; and perform
pursuing my BA in anthropology at research, editing, and desktop
Seton Hall University, I began working publishing for books about Lenape
with their Archaeological Research people and culture.
Center, which housed collections largely
focusing on the archaeology of New I earned my MA in anthropology with a
Jersey, eastern Pennsylvania, concentration in forensic anthropology
southeastern New York, and northern at the University of Tennessee at
Delaware—the region known as
Lenapehoking, home of the Lenape.

Though unaware at the time, I was

preparing for my future career as I

HMA Collections Manager/Registrar Jen

Wicoff (2023).

HMA / ANNUAL REPORT VOL. 46, 2023 COLLECTIONS / 46

Knoxville, where I expanded my skillset by their ability to stand up to the fading
by cataloguing ancestral remains into an effects of ambient light. Which begs the
electronic database. I credit pure question: how do museum objects get
accident for my entry into the museum
seen?
world. Seeing the role of Collections
Manager for a nearby museum listed on
a job board, and how closely it aligned One of the ways museums fulfill their
with my experience, I applied for and got missions that is not often considered by
the job, quickly fell in love, and the public is by lending to/borrowing
embarked on a twenty-plus year career from other institutions. Loans provide
in collections management. curators in other cultural heritage
institutions means to broaden their
resources for exhibitions and are helpful
to both borrower and lender. The
Loans borrower is able to add depth and
nuance to their exhibition, while the
Jen Wicoff, Collections Manager/Registrar lender is not only able to contribute to
and strengthen the exhibition, but also
Museums are like icebergs, and large to introduce itself to new audiences in
ones at that. Typically, when you visit a other parts of the world through objects
museum, you see a small fraction of its from its collection.
collections—anywhere from
approximately two to ten percent! That In so doing, the lender potentially opens
can be a surprising and somewhat itself up to new inquiries and
bewildering fact; after all, what’s opportunities for individuals to connect
happening to the remaining ninety to with a collection they may have been
ninety-eight percent? unaware of previously. Additionally, the
interaction between borrower and
Well, most institutions have limited lender often leads to lasting
gallery space, preventing us from placing relationships between institutions,
all our collections on view. Even if we benefiting both by expanding personal
had unlimited space, however, the and professional networks; and both
preservation needs of objects often have creatively engaged in working
dictate their rotation on- or off-view: toward their missions.
works on paper, for example, are limited

HMA / ANNUAL REPORT VOL. 46, 2023 COLLECTIONS / 47

The HMA holds a large collection of RISD Museum: One Assiniboine
ethnographic and archaeological objects headdress, one Narragansett splint
that can illustrate the lifeways of peoples basket, and six Narragansett/Choctaw
the world over. We maintain an active
cornhusk dolls for the exhibition Being
outgoing loan program that enables us to
and Believing in the Natural World:
continue working toward our mission “to
educate Brown University students and Perspectives from Mediterranean,
the general public . . . about cultural Asian, and Native American Art
differences and human similarities” even
when we don’t exhibit items in our own Portland State University
Manning Hall Gallery. We are proud to Anthropology Department: Fifty-
continue serving our constituencies and
one ceramic and faunal objects from the
local cultural institutions by lending
Laboratory for Circumpolar Studies for
objects from our collection.
research purposes (loan extension)
Our loans this past year included the
following (chronological): RISD Museum: Twelve Chilean
arpilleras (folk art textiles) for study in
their teaching textile gallery

State of Rhode Island: One lithic

ax/adz for the Charter Museum
exhibition, on continuing view (loan
extension)

Rockefeller Library, Brown

University: Fourteen objects from
South America, Africa, and
Northwestern Europe made from stone,
tin, and aluminum

Eagle Feather Headdress, made by an RISD Museum: Two Navajo/Diné

Assiniboine person, gifted to the donor blankets for the upcoming exhibition
Paul Lee by Willard Sweeny (Fort Peck
Diné Textiles: Nizhónigo Hadadit’eh
Assiniboine) in 1948, loaned to the RISD
Museum for the exhibit Being and Believing
in the Natural World (91-151).

HMA / ANNUAL REPORT VOL. 46, 2023 COLLECTIONS / 48

 Orci varius natoque penatibus et magnis dis
parturient
Corn husk dolls by artist Dawn M. Spears (Narragansett, montes,
Choctaw), nascetur
which HMA ridiculus
loaned tomus.
theQuisque
RISD
elementum enim sapien, sed tincidunt
Museum for the exhibition Being and Believing in the Natural World: Perspectives from sapien
laoreetfrom
Mediterranean, Asian, and Native American Art (clockwise nec. top left: 2013-8-1; 2013-8-4;
2013-8-2; 2013-8-3).
HMA / ANNUAL REPORT VOL. 46, 2023 COLLECTIONS / 49
HMA by the Numbers

162
The # of artifacts and art objects
acquired through 9 new donations from
generous individuals and allied
museums.

70
The # of museum objects HMA has
loaned out for research and exhibition,
enabling HMA’s partners to better fulfill
their own missions.

Geographical
origins of items
donated to
HMA, June 2022
through June
2023.

HMA / ANNUAL REPORT VOL. 46, 2023 COLLECTIONS / 50

New Acquisitions
Thierry Gentis, Head Curator

It is through the generosity of It was James Wrenn’s desire that the

benefactors that significant donations mortar and pestle should eventually be
have enhanced the collections and will reunited with the Shelley collection at
serve to better fulfill the HMA’s mission the HMA, which has now taken place.
to educate Brown University and RISD
students, conduct scholarly research, The mortar is decorated with traditional
and provide the public with outstanding Rukai/ Paiwan carvings of human heads
exhibitions. and 100-pace vipers. The vipers are
regarded as the guardians and ancestors
A highlight of the past year’s gifts to the of the people and the heads allude to the
HMA include a rare mortar and pestle past traditional headhunting practices
from the Rukai or Paiwan people of that were tied to the achievement of
Taiwan. The mortar and pestle were male adulthood and warrior status.
collected in the late 1960s by George These decorations also indicate the high
Shelley III, former emeritus professor of social status of the original owner.
English, Chinese, and Anthropology at
Norwich University, while he was
conducting his doctoral research in
Budai (Wutai), a Rukai village.

The mortar and pestle were part of a

collection of artifacts and architectural
panels Shelley purchased from villagers
at a time when traditional culture was
undergoing dramatic changes and
modernization.

The majority of the Shelley collection

was donated by Shelley’s widow Betty
Shelley to the HMA in 2017. This mortar
and pestle, however, were gifts from Mortar (left), Pestle (right) made by Rukai/Paiwan
Shelley to his colleague James J. Wrenn, people in Taiwan, late nineteenth/early twentieth
Professor Emeritus of East Asian Studies century, gift of James and Harriet Wrenn (2023-3-
at Brown University. 1a, 2023-3-1b).
HMA / ANNUAL REPORT VOL. 46, 2023 COLLECTIONS / 51
 Robert W. Preucel donated a
sculpture of a Mountain Lion hewn of a
found stone by Cochiti/Diné artist
Wilson Romero. The mountain lion is an
important figure among peoples of the
Southwest and popular among artists.

Long-time friend of the HMA

Alexandra Allardt donated two mats
Mountain Lion Sculpture by Cochiti/Diné artist from Samoa and Hawaii, three hats from
Wilson Romero, New Mexico, 2021–2022, gift of Samoa, one from Southeast Asia, two
Professor Robert W. Preucel (2023-1-1). from the Philippines, and one from Viet
Nam. The Samoan hats were a gift to
Alex, made for her during her time doing
conservation work there. Each of these
objects is unique and help to fill gaps in
our collections in these areas.

The donation by Carter Y. and Lucy

Buckley of Inuit artifacts from the
Hudson Bay area enhances the HMA's
existing circumpolar collections.
Woman's Pipe by an Inuit creator, Hudson Bay,
Canada, early twentieth century, gift of Carter Y. We accepted Vincent and Margaret
and Lucy Buckley (2022-13-15). Fay’s gift of seven and Alison Fay
(‘99) and Tyson Hempel’s gift of
fourteen Taíno archaeological objects.
We are especially grateful that for years
now, the Fay family’s generous
donations have been a cornerstone for
teaching, research and exhibition at the
HMA (see "Teaching" and "Exhibition").

HMA also received eight ethnographic

items from the Museum of Natural
History and Planetarium, Roger
Left: Bone Amulet, a figure with a fish on its back Williams Park that were formerly part
(2022-10-1); right: Stone Ax (2022-10-4), Taíno of the Hartsock Collection at Brown
creators, Dominican Republic, ca. 1200–1500 CE, University’s long-closed Jenks Museum.
gifts of Vincent and Margaret Fay.

HMA / ANNUAL REPORT VOL. 46, 2023 COLLECTIONS / 52

Barbara Hail Donates to Archives
Rip Gerry, Exhibition Production and Media/Archives Manager
Until her retirement, Hail’s name was
practically synonymous with the
Haffenreffer Museum. As Executive
Director during the 1980s and Deputy
Director throughout the 1990s, she
spearheaded countless projects,
resulting in important research and
exhibitions. Five HMA publications are
examples of her in-depth scholarship.[1]

I accompanied Barbara to Oklahoma as a

videographer during her work with
Kiowa and Comanche people. That
project resulted in the exhibition Gifts of
In June, I received an email from
Pride and Love: Kiowa and Comanche
Barbara Hail, Curator Emerita: “Rip,
Cradleboards. A 2001 review captures
would the HMA have any interest in my
why that exhibition stands out for me
slide collection?” There was little doubt
and why Hail’s contributions are so
we would accept this offer. We have been
lasting: “What has emerged in this
fortunate recipients of selections from
exhibition and its accompanying catalog
Hail’s personal archives since her 2002
is an ethnography that has been filtered
retirement. A donation of her ongoing
through the lens of the people whose
cradleboard research, filling twenty
lives are part of the exposition.”[2] I look
boxes, came in 2020, and this spring she
at this project as some of the most
gave us nearly one hundred books from
meaningful work I have done at the
her library. This new gift of around
museum.
5,300 slides expands her legacy and the
research capabilities of our archives.

Barbara Hail (right) and Vanessa [1] hma.brown.edu/research/publications.

Paukeigope Jennings (Kiowa) (left) holding
the cradleboard she created for HMA, [2] Kathleen Whitaker, “Gifts of Pride and Love: The Cultural
purchased through the Haffenreffer Significance of Kiowa and Comanche Lattice Cradles.” American
Museum Special Fund (98-18-1). Anthropologist 30, no. 6 (2001): 803–8.

HMA / ANNUAL REPORT VOL. 46, 2023 COLLECTIONS / 53

Student Voices:
I began working with Dr. Jessica Nelson
on the Engaging the Americas grant
project, labeling stone tools,
Collections arrowheads, and other artifacts. I also
made new “homes” for many of these
Kaylee Jellum, Volunteer artifacts, ranging from bags with foam
lining to boxes of acid-free blueboard.
Collections Intern In essence, my time has been spent
guiding artifacts on a path to their “new
Many of us have experienced moments home.” Oftentimes, I find myself talking
in our lives where we are floating and about the artifacts as if they are
have not yet found where our path leads. individuals. I like reading about where
After graduating from college, I didn’t they come from and what their purpose
know which path to take. After talking was before they arrived here, as if I were
with many people about their careers, I learning their life histories.
reached out to Dr. Christina Hodge at
the HMA and became a Volunteer One artifact I had the privilege of
Collections Intern. working with was a stone club from
Taunton, Massachusetts, that came to
the museum in the early 1900s (4657).
This club was unlike others I had
learned about: its head had rounded
protrusions, a smooth shaft, and a
rounded base. I guided this club to its
next stop, housed safely in a museum
cabinet drawer.

I am elated that we processed and

rehoused 3,166 objects in the final four
months of the Engaging the Americas
Grant. While I may still be in a state of
floating, my work at the HMA
Kaylee Jellum creating archival enclosures
at the HMA in Bristol (2023). Collections Research Center has helped
me see my path more clearly.

HMA / ANNUAL REPORT VOL. 46, 2023 COLLECTIONS / 54

ACKNOWLEDGEMENTS
Grants and Awards Joukowsky Institute for Archaeology and
the Ancient World
Andrew W. Mellon Foundation, Engaging Native American and Indigenous Studies
the Americas Initiative
Andrew W. Mellon Foundation, Ruth Simmons Center for the Study of
Transforming the Haffenreffer Museum Slavery and Social Justice
Department of the Interior, National Park
Service Cooperative Agreement,
RI External Partners
Laboratory of Circumpolar Studies,
Inventory and Assessment Mount Hope Farm
Department of the Interior National Park Rhode Island School of Design Museum
Service Cooperative Agreement, of Art (RISD Museum)
Laboratory of Circumpolar Studies Rhode Island School of Design
NAGPRA Inventory Roger Williams Museum
Walter Annenberg Foundation, Roger Williams University
GRoW@Annenberg Tomaquag Museum
Rhode Island Foundation, Haffenreffer
Family Fund
Other External Partners
Rhode Island Foundation, The Samuel
Cate Fund American Museum of Natural History
Rhode Island Foundation, Seaconnet Ca' Foscari University of Venice
Point Fund Pueblo of Cochiti
Pueblo of San Ildefonso
Southwest Symposium Archaeological
Brown University Partners
Conference
University of Manchester
Brown Center for Students of Color
Center for Latin American and
Caribbean Studies
Department of Anthropology
John D. Rockefeller, Jr. Library
John Hay Library
John Nicholas Brown Center for Public
Humanities and Cultural Heritage

HMA / ANNUAL REPORT VOL. 46, 2023 ACKNOWLEDGEMETNS / 55

Research Affiliates, 2022–2023 Leah Hopkins, Manager of Museum
Education and Programs (Narragansett)
Bathsheba Demuth, History Matthew Longchamps, Mellon Project
Steven Lubar, American Studies Photographer
Patricia Rubertone, Anthropology Jessica Nelson, Mellon Project
Curatorial Assistant
Faculty Fellow, 2022–2023 Robert W. Preucel, Director and
Professor of Anthropology
Bolaji Campbell, Theory and History of James Whitney, Circumpolar
Art and Design, RISD Laboratory Inventory Project Manager
Jen Wicoff, Collections
Manager/Registrar
Advisory Board, Fall 2023

Janet Blume, Deputy Provost Student Staff, 2022–2023

Paja Faudree, Professor of
Anthropology Aboud Ashab, Visitor Services Coordinator

Barbara Hail, Curator Emerita Noah Howard, Student Collections

David Haffenreffer, Philanthropist Technician

Steven Lubar, Professor of American Nawa Ibrahimy, Visitor Services Coordinator

Studies (chair) Sophie Jaeger, Visitor Services Coordinator

Andrew Scherer, Director of the Justin Jaje, Visitor Services Coordinator

Joukowsky Institute for Archaeology and Kaylee Jellum, Volunteer Collections Intern

the Ancient World and Professor of Sophie Rockwell, Student Collections

Anthropology Technician

Jeffrey Schreck, Attorney Angela Sha, Visitor Services Coordinator

Adam You, Visitor Services Coordinator

Staff, Fall 2023

Juan Arce, Mellon Project Photographer

Ariel Bordeaux,
Administrative/Communications
Coordinator
Thierry Gentis, Head Curator
Rip Gerry, Exhibition Production and
Media/Archives Manager
Christina J. Hodge, Associate Director

HMA / ANNUAL REPORT VOL. 46, 2023 ACKNOWLEDGEMETNS / 56

HMA Addresses HMA Online

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