This study path guides the learner through close examination of system documentation by highlighting the elements of how to write and read the documentation for content management systems, in this case Mukurtu.
The Indian Arts Research Center is a division of the School for Advanced Research, a 501(c)(3) not-for-profit educational institution established in 1907 to advance innovative social science and Native American art. Since 2010, the Indian Arts Research Center has “pioneered a radically participatory approach to the stewardship of its Native American art collection” through initiatives such as its Native American Artists Fellowships and extensive, no-cost programming for the Native Community. The IARC also led the development of the excellent Community + Museum and Museum + Community guidelines, created through a three-year period of collaboration between Native and non-Native museum professionals, cultural leaders and artists.
This study path asks the learner to evaluate ontology creation in relation to automated metadata creation for audio visual digital materials, and asks learners to reflect on ways to disrupt the Anglo and Western ontologies that are often embedded in these systems.
An excellent introduction to and definition of key terms such as critical race theory, microaggression, and social justice, clearly linking those terms to core archival concepts and processes such as how one defines and structures an archival “record”.
“This article introduces the application of Critical Race Theory (CRT) to archival discourse in order to demonstrate how such a critical and analytical approach can help identify and raise social and professional consciousness of implicit racial bias. To demonstrate the potential of CRT, the paper discusses how the terminology and methodological structures of CRT might be applied to some aspects of archival theory and practice. The paper concludes that CRT can contribute to a diversified archival epistemology that can influence the creation of collective and institutional memories that impact underrepresented and disenfranchised populations and the development of their identities.”
“Three-dimensional modeling and printing of museum artifacts have a growing role in public engagement and teaching—introducing new cultural heritage stakeholders and potentially allowing more democratic access to museum collections. This destabilizes traditional relationships between museums, collections, researchers, teachers and students, while offering dynamic new ways of experiencing objects of the past. Museum events and partnerships such as the Metropolitan Museum of Art “Hackathon”; the MicroPasts initiative; and Sketchfab for Museums and Cultural Heritage, encourage non-traditional methods of crowd-sourcing and software collaboration outside the heritage sector. The wider distribution properties of digitized museum artifacts also have repercussions for object-based and kinesthetic learning at all levels, as well as for experiential and culturally sensitive aspects of indigenous heritage. This article follows the existing workflow from model creation to classroom: considering the processes, problems, and applications of emerging digital visualization technologies from both a museum and pedagogical perspective.”
An in-depth look at the history and considerations behind the development of the Traditional Knowledge labels, which pairs well with an investigation in to the TK Labels themselves. “This article focuses on the creation of an innovate network of licenses and labels delivered through an accessible, educational, and informative digital platform aimed specifically at the complex intellectual property needs of Indigenous peoples, communities, and collectives wishing to manage, maintain, and preserve their digital cultural heritage. The Traditional Knowledge (TK) Licenses and Labels answer a grassroots, global call by Indigenous communities, archivists, museum specialists, and activists for an alternative to traditional copyright for the varied needs of Indigenous communities and the cultural materials they steward. Local Contexts is a project and educational website dedicated to the production of new intellectual property frameworks for Indigenous materials that depart from colonial histories of collection and Western legal frameworks.”
Providing a framework for sharing cultural materials that respects the wishes of the people to whom those materials belong, the TK Labels “are a tool for Indigenous communities to add existing local protocols for access and use to recorded cultural heritage that is digitally circulating outside community contexts.” They serve as framework for developing information system facets such as user accounts, access protocols, API features, and more.
“The TK Labels offer an educative and informational strategy to help non-community users of this cultural heritage understand its importance and significance to the communities from where it derives and continues to have meaning. TK Labeling is designed to identify and clarify which material has community-specific restrictions regarding access and use. This is especially with respect to sacred and/or ceremonial material, material that has gender restrictions, seasonal conditions of use and/or materials specifically designed for outreach purposes. The TK Labels also can be used to add information that might be considered ‘missing’, including the name of the community who remains the creator or cultural custodian of the material, and how to contact the relevant family, clan or community to arrange appropriate permissions.”
The Sustainable Heritage Network (SHN) “is an answer to the pressing need for comprehensive workshops, online tutorials, and web resources dedicated to the lifecycle of digital stewardship. The SHN is a collaborative project that complements the work of indigenous peoples globally to preserve, share, and manage cultural heritage and knowledge.”
Managed by the Center for Digital Scholarship and Curation at Washington State University, the SHN is notable not only for sharing a rich set of online resources and an in-depth curriculum. The SHN partners have, since 2016, also run recurring in-depth workshops and provided lasting online workspaces to foster networks of indigenous cultural heritage practitioners through the Tribal Digital Stewardship Cohort program.
Umbra Search African American History “makes African American history more broadly accessible through a freely available widget and search tool, umbrasearch.org; digitization of African American materials across University of Minnesota collections; and support of students, educators, artists, and the public through residencies, workshops, and events locally and around the country.” Umbra brings together metadata and items from across archival collections, and thereby helps surface items related to African American history that may not be well-cataloged in physical format, and therefore less find-able in the physical collections. Umbra is also notable for its robust outreach program.
We are excited to also host a case study based on author Dorothy Berry’s work at Umbra: Digitizing and Enhancing Description Across Collections to Make African American Materials More Discoverable on Umbra Search African American History.
“The purpose of the Digital Transgender Archive (DTA) is to increase the accessibility of transgender history by providing an online hub for digitized historical materials, born-digital materials, and information on archival holdings throughout the world.” The DTA was partially developed in response to the placement of transgender history within the archival record: it is often not cataloged and difficult to find, and often difficult to uncover within larger collections. Changes in language around the transgender experience also present challenges in locating older items, and developing new and inclusive cataloging standards that both shares transgender history but respects the privacy of individuals. The DTA is particularly notable for developing clear policies around metadata, copyright, and reuse, as well as developing a model to digitize and bring together items that are physically dispersed.