Posted by Elise Granata on April 13, 2016
By Teresa Ruiz Decker, Communications Manager at Society for Advancement of Chicanos/Hispanics and Native Americans in Science (SACNAS)
As a kid, I never really liked science. So it’s more than a little ironic that today I work for a STEM organization. If you don’t know, STEM stands for Science, Technology, Engineering and Math. My job here at the Society for Advancement of Chicanos/Hispanics and Native Americans in Science (SACNAS) is one of the best I’ve ever had. It’s turned me from science agnostic to full on believer in the power (and awesome-ness) of science. We hope to do the same for you as a collaborator this Friday at 3rd Friday: Beyond Borders. As a MAH member, you get in for free.
It’s hard to say exactly why I didn’t like science. I suspect it has something to do with lacking a real connection to the field. By that, I mean I was never exposed to science or any of the STEM fields in meaningful ways growing up. I didn’t know any scientists or engineers. Back then, my family didn’t think much of it, but today we know that exposure to STEM (or lack thereof) has powerful implications. Studies show when children are exposed to STEM early and often, it helps develop early critical thinking and reasoning skills and enhances later interest in STEM study and careers. Yet for female students of color like me, that exposure and access to STEM is extremely limited. A recent study shows Caucasian girls (61%) are more likely to know someone in a STEM career, compared to African American (48%) and Hispanic (52%) girls.
The truth is, I probably needed an influence like SACNAS to show me the power of science to change the world and that Latinas are making stellar careers in STEM every day. SACNAS has been helping Chicano and Native American college students and professionals advance their careers in science for the last 43 years. You might be surprised to learn the national headquarters of our small but mighty STEM diversity organization is right here in Santa Cruz — but that is part of the reason we’re so excited about the MAH’s Beyond Borders festival.
At SACNAS, we consider the MAH to be a local nexus of community, art, and activism. Our two non-profits have a lot in common, since SACNAS serves as the intersection of community, science, and culture.
This Friday’s Beyond Borders theme is a perfect match for what we do because our SACNAS members (SACNISTAs as we like to call them) are pushing the perception of what it means to be a scientist every day.
This Friday, I’ll be at the SACNAS table where local SACNISTAs will be leading us in an experiment to extract the DNA from a strawberry. I’m even bringing my two-year-old daughter Selena. I can’t wait to show off our scientists to the Santa Cruz community. And more than anything, I’m SO excited for the moment when I can point to a SACNISTA and tell my daughter “See that young lady? She’s a scientist!”
Teresa Ruiz Decker is the communications and marketing manager for SACNAS. Teresa holds a master’s degree in Communication Management from the Annenberg School for Communication and Journalism at University of Southern California. She received her bachelor’s degree in Journalism from California State Polytechnic University, Pomona. For more than 12 years, Teresa has used her love of storytelling and people in communications roles at universities, media companies and non-profit organizations. A true believer in the power of education to open doors and change lives, Teresa is deeply moved by the mission of SACNAS. Teresa is a third generation Chicana with roots in the Yaqui tribe, who is proud to be part of a team giving back to Chicano/Hispanic and Native American communities.
Posted by Wes Modes on March 31, 2016
By Wes Modes, Exhibitions Catalyst
In 2014, Ian Everard built a full-scale recreation of his art studio in the MAH’s Solari Gallery for the Rydell Fellowship Award show. He was content to let the installation speak for itself and showcase his work. With Ian’s jacket hanging on his chair in his faux studio, I always expected him to breeze in and start making art during the exhibition.
I continued to be struck by this installation. I loved how transporting his studio to the gallery immediately suggested work-in-progress. I loved how it spoke of the artist’s process– symbolically– but also literally. Ian later told me that he successfully used this installation for exactly that, as an artist’s studio in the de Young Museum’s Kimball Gallery for their Artists Studio Program.
This design was our thematic inspiration for the Art Works exhibition this summer. We wanted to create a sense of transparency about the museum process. We are literally and metaphorically removing the walls from artists’ studios in order to give people a twofold view of their resulting work as well as their lives and processes.
This summer, the Solari Gallery will be transformed into a series of artists studios for our Art Works exhibition. Up to four full-sized studios will be built within the gallery — open-walled and away from gallery walls so visitors can view working artists from any angle. Each studio will be inhabited by the person, art work, and personality of the artist-in-residence.
The MAH is always interested in forming connections between people, and a big goal of the exhibition is to connect our artists-in-residence with visitors, local community groups, and with each other. After some discussion, we decided to dedicate one of the four studio spaces within the gallery as a social space to be used by collaborators to lead one-day workshops, as a kind of neutral space outside of their studios for artists-in-residence to hangout with visitors and each other, and even as a place for Museum staff to have meetings. That appealed to us because it offered visitors even more opportunity to see behind the curtain.
Justin Collins from the Exhibitions Team and I have been working on designing this space. I’m crazy about space design and a huge fan of Christopher Alexander’s A Pattern Language. Justin is a genius with the nitty-gritty of space planning and at SketchUp. To start, we locked ourselves in a conference room with colored paper and scissors. We started with a brainstorm of what we’d like to see, and then went from there. In the end, we jammed the open social space in a corner with the skylight above, and placed the other three studios in the middle of the room at various intriguing angles.
We made lists of basic furniture we imagined would be useful for artists-in-residence: comfy chairs, desks, work tables, shelves, cabinets, drawers, lighting — all of which we will have to start gathering in May.
Since we wanted the social space to encourage conversation and collaboration, we wanted it to feel like a cozy living room. Comfy couches, end tables and table lamps, a low coffee table with collage supplies, a bulletin board with gallery events and other ephemera, books on shelves, the works.
Next time I’ll talk about concerns and how we addressed them.
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Posted by Elise Granata on March 18, 2016
By Sangye Hawke
The most poignant idea behind Qing Ming resonates with all of us: the remembrance of those we lost, and those that came before us. Sweeping your ancestor’s plot, having a lively meal at their grave are things that many cultures honor. Dia de Los Muertos of Mexico, for example is held in November, or OBon of Japan is held in August. Pitru Paksha in Hindu India is two weeks long! These are times for families to honor and gather around the graves of their ancestors. They clean and repair the family plot, decorate it, tell stories, and visit with other families nearby also engaged in the “sweeping of the grave.” This activity acknowledges the ancestors’ hard work and sacrifice to make a better life for themselves and for us, their children. Depending on the size of your cemetery, it can get quite festive!
America makes a business of death. Memorial services are private events. Our Day of Memorial festivities take us away from cemeteries and more towards an individual celebration. Rarely do we focus on grave site clean up or sharing a meal at the place itself. We pay someone else at the cemetery to take care of our family plot. The clinical geometry and institutional design in today’s modern cemeteries are for efficient management on a mass care scale.
When the Chinese Monument at Evergreen Cemetery was erected, it was done so with funds donated by George Ow, Jr., himself a resident of one of the last of the four chinatowns that once existed in Santa Cruz.
Yep, FOUR Chinatowns, existing between 1860 and 1955 within a city then of barely seventeen thousand people. The Chinese did the work no one wanted to do, digging out and draining swampland for our burgeoning agri-business to moving, at the risk of explosion, volatile compounds like gunpowder. Laundry, cooking, basic household service, were all done by the Chinese and other folk of color in Santa Cruz. These workers gave their lives to create the city we know today. When they died, they were buried at Evergreen Cemetery.
As far back as 1861, there have been these ethnic funereal processions to Evergreen. The Chinese would drive an ox cart laden with musicians, mourners, food, and incense through the main street in town, up the hill and over it, into Evergreen Cemetery’s “Chinese Section.” Here, the deceased would be carried to a chosen space while his (most of the deceased were male) clothing, some food, joss(luck) paper (or “hell money” in today’s lingo), was burned inside what we often refer to as an oven, but is actually called a ‘burner’, provided nearby just for this purpose.
When the Chinese Cemetery section of Evergreen was in full use, the ex-carnation style burial practice of Bone Picking, removed many of those interred after 4-7 years, sometimes after 10 years. The pickers shipped their bones back to China to be reburied in their family’s or villages’ original cemetery. As Historian Sandy Lydon states: “The brick in the grave — wasn’t just left behind — and there was no religious or spiritual purpose for it — it was used as identification because they only used wooden grave markers due to the unnecessary expense of stone since the body was going to be exhumed — the brick was to identify the deceased’s remains. They were tossed aside once the body was exhumed and his (mostly “his”) identity was corroborated against the company’s records and the village was identified so that the bones could be returned to the family. We are fortunate enough to have a very few of those bricks that were found when we began cleaning up Evergreen in the mid 1970s.”
If you didn’t do this, it was believed, you were condemned to become a hungry ghost, wandering your city and place of work, causing illness and bad luck to all you encounter.
Bone Picking and these elaborate funeral processions were as described here by Historian Sandy Lydon: “The restrictions on exhumations — was part of a public-health initiative to go after Chinese practices — it wasn’t prohibited, but it was licensed and they had to get a permit for removal for a fee. The unintended consequences of the permit process was that we historians were able to reconstruct the frequency and in some instances the identity of those being removed because some of the permits survived in various county repositories. But, it was never outlawed. And, it had nothing to do with Chinese Exclusion, but was simply one of many anti-Chinese impulses carried forth in California against the Chinese. (Santa Cruz was the epicenter of the anti-Chinese movement in California.)… In fact there were full-blown Chinese funerals being carried out in Santa Cruz up into the 1930s — with drums and firecrackers, and roast pigs, etc.
You can find extensive information about the burial practices in Santa Cruz, with contemporary descriptions, and legal stuff surrounding them in Chinese Gold, on pps. 131 ff.”
Despite all this, eight people were “stranded” at Evergreen, their bones unable to make their journey home to China.
Thanks to our friends at Canine Forensic Investigators the Restoration Team know the location of these last remaining eighteen people. What we may never know are their names, their professions, or where in China they may have originated.
In fact, one of the last Chinese Grave markers was found in a tree house, as a floorboard!
Both the burner and replicas of original grave markers once seen in Evergreen remain there today as memorials to this practice. One is left blank, to honor all the unknown left behind here in Santa Cruz.
As our population pressures increase, many of us no longer use cemeteries. Oceanic scattering of ashes is more popular than ever. Today, many families have photographs and other media to remember their loved ones, keeping memorials within the privacy of the immediate family.
This is why making our historic cemeteries more accessible is so important. Places like Evergreen engage us in telling stories of times past, about heroic, tragic, and sometimes humorous ancestors. Taking time to sit alongside the grave of a stranger reconnects us to the wonder of discovery. The past comes alive. We wonder, did we shared the same fate. Would we have been friends then? These experiences create a sensation of historical continuity. We become part of our community’s history, inspiring us to collaborate in the creation of a future we all want. Someday, our future will be another’s past. Maybe they will be inspired by our history and eat lunch at the place of our memorial.
Is there a favorite historical cemetery near you that needs your care and honoring? How do you honor those that came before?
Interested in Chinese History of the Monterey Bay? Check out Chinese Gold by Sandy Lydon. A must read!
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Posted by Elise Granata on March 14, 2016
By Wes Modes
When I started as summer curator at the MAH, the first thing I tried to do was just absorb all that the Exhibitions Team and the rest of the MAH staff had to teach me. From working as a collaborator, I already had a taste of the experience, hard work, and passion that was here. I added an entry to the top of my ToDo list: “Assume Nothing & Listen.”
Long before we settled on the Art Works exhibition, when we first started talking about a summer show, here’s how I recorded what I heard as the museum’s exhibition requirements:
- We expect the exhibition to be PG to PG-13, leaning toward PG.
- The show can be hard-hitting. But engaging rather than provocative or confrontational.
- The show should have some identifiable art from traditional artists, alongside more experimental content
- The exhibition will be followed by a community-based show, probably Santa Cruz Collects, so we won’t want two very similar shows in a row.
- Importantly, the exhibition should be in line with the MAH’s Theory of Change.
Beyond these basic requirements, I began conceptualizing what I wanted to do as curator for the exhibition:
- Challenge the ideas of what is art and what happens in a museum,
- Offer really thoughtful, talented, and inspiring art,
- Offer art that feels challenging emotionally or intellectually,
- Highlight the voices of those whose voices are not often heard,
- Transform the gallery space, and
- Connect strangers in unexpected ways.
So with that in mind, I went through a loose process of brainstorming exhibition concepts. You probably already know the rules of a brainstorm: Throw out ideas without judgement — edit, sort, and judge later.
Early in the fall and then later with long-time MAH staff and Exhibition Team member, Marla Novo, we brainstormed a list of show ideas (over lunch at the nearby El Palomar Taco Bar). We had some genuinely terrible ideas, and a few really interesting ones. We starred our favorites, discussed how each one met or didn’t meet all of our criteria, and talked about ways to bring relevant local issues into these ideas. One of the starred concepts was a show that invited artists to create work under the watchful eyes and with the involvement of visitors.
I worked up proposals for our three favorites and presented them to our Exhibitions Team including Executive Director Nina Simon. The Art Works exhibition was far and away the favorite, in some ways, an easy choice for our desire to create a deeply-participatory exhibition and experiment with our exhibition format.
From that first loose brainstormed proposal, our summer exhibition plans have sprung. Next time, I’ll give you a glimpse into our thinking around the aesthetics of the Art Works summer exhibition.
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Posted by Elise Granata on March 8, 2016
Each summer, the MAH hosts MuseumCamp, a professional development experience that is part retreat, part unconference, part adult summer camp.
MuseumCamp will be August 31-September 2, 2016. This year’s theme is CHANGEMAKERS. We will host 100 diverse people who are making change in the world, our communities, and our institutions for 2.5 days of fun, fellowship, and active learning. Whether you are dreaming about change, making it happen, or have faded battle scars to share, we want you here this year.
As always, MuseumCamp will be a high-energy, all-in experience… with enough downtime for introverts, too. The 2.5 days include lightning talks from campers, team design bursts to tackle your thorniest change challenges, MAH community programming, movement and meditation, delicious food, and late-night conversations. Yes you can sleep at the museum. Yes you can swim with sea lions. Yes you can–and will–learn things about yourself and your work that surprise and enrich you.
We’re proud that MuseumCamp brings together a very diverse group by design–campers are 50% people of color, and 50% people from outside museums/visual arts institutions. You do NOT need to work in a museum to attend… and we especially want you to apply if you are making creative change in the civic, social, political, environmental, or economic sphere.
The MuseumCamp website has more information about this year’s camp and how to apply. It also has testimonials from past campers and information on past years to help you get a sense of the experience.
MuseumCamp is for activists. For designers. For knowledge workers. For people on the front lines. For managers. For creative types. For anyone seeking to make positive change in your community. If you are interested in applying to attend camp, please check out the site and fill out an application today. We will accept applications through March 25 and inform people of selections in early April. Space is extremely limited and the process is competitive. I encourage you to apply soon.
And please, help make space for others by spreading the word. Many campers share that the best part of the experience is the diversity of campers. The strength of our experience together is partly based on the opportunity to come together across different disciplines and perspectives, and we want to continue pushing for that. In that spirit, we would especially love for you to apply if you:
- identify as a gender other than female
- identify as a person of color
- are over 50
- work in a field that is not visual arts/museums
While MuseumCamp has a registration cost (sliding scale $150-$250), we work with sponsors to underwrite all scholarship requests. Most sponsors are amazing companies serving museums, libraries, performing arts organizations, and grassroots community organizations. If you are interested in helping provide financial aid for this amazing event, you’ll be in good company. Thanks in advance for considering it.
Want to make a change? Please apply now to MuseumCamp–and if you have a friend who you think would love this, encourage them to apply too. Let’s make creative change together.