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In 2010, five magnificent Blackfoot shirts, now owned by the University of Oxford’s Pitt Rivers Museum, were brought to Alberta to be exhibited at the Glenbow Museum, in Calgary, and the Galt Museum, in Lethbridge. The shirts had not returned to Blackfoot territory since 1841, when officers of the Hudson’s Bay Company acquired them. The shirts were later transported to England, where they had remained ever since. Exhibiting the shirts at the museums was, however, only one part of the project undertaken by Laura Peers and Alison Brown. Prior to the installation of the exhibits, groups of Blackfoot people—hundreds altogether—participated in special “handling sessions,” in which they were able to touch the shirts and examine them up close. The shirts, some painted with mineral pigments and adorned with porcupine quillwork, others decorated with locks of human and horse hair, took the breath away of those who saw, smelled, and touched them. Long-dormant memories were awakened, and many of the participants described a powerful sense of connection and familiarity with the shirts, which still house the spirit of the ancestors who wore them. In the pages of this beautifully illustrated volume is the story of an effort to build a bridge between museums and source communities, in hopes of establishing stronger, more sustaining relationships between the two and spurring change in prevailing museum policies. Negotiating the tension between a museum’s institutional protocol and Blackfoot cultural protocol was challenging, but the experience described both by the authors and by Blackfoot contributors to the volume was transformative. Museums seek to preserve objects for posterity. This volume demonstrates that the emotional and spiritual power of objects does not vanish with the death of those who created them. For Blackfoot people today, these shirts are a living presence, one that evokes a sense of continuity and inspires pride in Blackfoot cultural heritage.
As the magazine of the Texas Exes, The Alcalde has united alumni and friends of The University of Texas at Austin for nearly 100 years. The Alcalde serves as an intellectual crossroads where UT's luminaries - artists, engineers, executives, musicians, attorneys, journalists, lawmakers, and professors among them - meet bimonthly to exchange ideas. Its pages also offer a place for Texas Exes to swap stories and share memories of Austin and their alma mater. The magazine's unique name is Spanish for "mayor" or "chief magistrate"; the nickname of the governor who signed UT into existence was "The Old Alcalde."
"Commissioned for and sponsored by the National Film Preservation Board."
Patricia Edgar has been named one of the ten most influential people in the development of Australian television production. Her candid memoir offers a rare behind-the-scenes look at the television industry and its politics. It also tells her own story-of how a young girl from Mildura became a leading innovator in Australian children's television production, and a voice to be reckoned with in a tough business. As a regulator and policy maker, Dr Edgar's take-no-prisoners style won her great fans and made her bitter enemies. Dr Edgar was the first woman appointed to the Australian Broadcasting Control Board. For ten years she fought for more locally produced, first-release children's drama on Australian television. In the early 1980s she helped establish the Australian Children's Television Foundation, creating some of the most celebrated television ever produced for Australian children, including the Round the Twist series, which sold into more than 100 countries. During her twenty-year tenure, the ACTF won multiple awards including a coveted Emmy and made co-productions with the BBC, Disney and Revcom. Along the way, Dr Edgar worked with a host of notable Australians, including Janet and Robert Holmes O Court, Bruce Gyngell, Hazel Hawke, Phillip Adams, Gulumbu Yunupingu and her brothers Galarrwuy and Mandawuy, Steve Vizard, Hilary McPhee and Paul Jennings. Bloodbath sets its author's triumphs and setbacks in the television industry into the wider perspective of political and economic change, the forces of consumerism and the global marketplace. This memoir reveals Dr Edgar as she really is-a sensitive, thoughtful, determined woman, still working to make the media environment one of quality not pap and a force for learning as well as entertainment. Bloodbath is a must-read for every Australian in the media industry, every parent raising a child, every woman who ever strove for career success, and anyone interested in how leadership works.