Photograph depicts a group of three men, in what appears to be a hogan made out of branches and trunks. The hogan is the sacred home structure of the Navajo.
Photograph depicts a stone wall that Maude has identified as the remains of ancient pueblo on top of El Morro, New Mexico. He is likely referring to the El Morro National Monument, a great standstone promontory. The site is also known as A'ts'ina ("place of writing on the rock" in Zuni) or Inscription Rock because of inscriptions that travellers have left on the rocks for several centuries.
Photograph depicts a rock formation, taken from below, which Maude has identified as El Morro or Inscription Rock. He is likely referring to the El Morro National Monument, a great standstone promontory. The site is known as A'ts'ina ("place of writing on the rock" in Zuni).
Photograph depicts what Maude has referred to as the view from the top of El Morro, showing a large rocky outcropping, with a grassy landscape in the distance. He is likely referring to the El Morro National Monument, a great standstone promontory. The site is known as A'ts'ina ("place of writing on the rock" in Zuni) or Inscription Rock.
Photograph depicts a rocky base and mesa, likely at A'ts'ina ("place of writing on the rock" in Zuni), also known as El Morro National Monument or Inscription Rock, in El Morro, New Mexico.
Photograph depicts A'ts'ina ("place of writing on the rock" in Zuni) in El Morro, New Mexico. The site is also referred to as the El Morro National Monument or Inscription Rock, and consists of a sandstone promonotory upon which travelers for several centuries have left inscriptions. The inscriptions shown in this photograph include names and dates from the mid 19th century, as well as a large inscription in what appears to be Spanish.
Photograph of what Maude has identified as upright stones used in certain A:shiwi (Zuni) ceremonies. In the same inscription, Maude writes that the photograph also shows an man throwing sacred corn meal to the north.
The fonds consists of records relating to Hennessy’s 2003 MA thesis titled The Spirit of Collaboration: Exploring Critical Pedagogical Principles in Transforming the Museum Through Space and Time. Hennessy was interested in the relationships that developed between community members and museum staff during the process of putting together the Museum of Anthropology’s exhibit The Spirit of Islam, which ran from October 2001 to May 2002. Her purpose was to document the kinds of collaborative processes that occurred as the exhibit planning progressed in order to identify a model from which other museums working with communities might benefit.
This fonds consists of textual records, photographs, negatives, slides, audio recordings, compact discs and video on DVD that relate to Kovanic’s academic and film career. The fonds relates especially to her work in Pakistan, India and Afghanistan, but also captures her work with First Nations on the Northwest coast of British Columbia.
