黑料不打烊

“Listening to the Wampum” and “Transformations in South Asian Folk Arts” expect to draw record crowds

Haudenosaunee oral history and South Asian folk art are the themes of this year鈥檚 Ray Smith symposia, sponsored by .

The (OHA), in association with SU, Le Moyne College, Onondaga Community College, and , will present a conference titled 鈥淟istening to the Wampum,鈥� Nov. 14-15. The program will focus on the Remembrance Belt, a sacred wampum depicting the history of contact between French Jesuits and the Onondaga Nation in Central New York in the 1650s. It includes a rare reading of the wampum, following by a series of scholarly discussions.

The , located in the 鈥檚 Moynihan Institute for Global Affairs, will present a forum titled 鈥淭ransformations in South Asian Folk Arts, Aesthetics, and Commodities,鈥� Feb. 27-March 1, 2014. The program will highlight art from the Mithila region of northern India and will play host to more than a dozen international scholars and artists. 鈥淭ransformations鈥� is held in conjunction with Cornell University鈥檚 , part of the Cornell-SU South Asia National Resource Center.

Both symposia are enabled by a major bequest from the estate of Ray W. Smith 鈥�21, administered by The College of Arts and Sciences. All events are free and open to the public. For more information, call the college鈥檚 Office of Curriculum, Instruction and Programs at 315-443-1414.

鈥淭he Ray Smith Symposium exemplifies the college鈥檚 commitment to public humanities scholarship,鈥� says Gerald R. Greenberg, senior associate dean for academic affairs; the humanities; and curriculum, instruction and programs. 鈥淓ach symposium not only showcases diverse traditions and methods of critical inquiry, but also fosters creativity and tolerance. It鈥檚 these kinds of interdisciplinary discourses that teach us more about who we are, individually and collectively.鈥�

Listening to the Wampum

Perhaps no chapter of local history is more important鈥攐r hotly contested鈥攖han that involving contact between Jesuit missionaries and the Onondaga in 1653 and 1657-58. Much of it is recounted in Jesuit Relations, a collection of ethnographic documents chronicling their missions in the New World.

Event co-organizer says the conference is designed to give the Onondaga a chance to tell their side of the story. At stake is the issue of whether or not they denied the Jesuits鈥� request to join the Catholic faith.

鈥淏y comparing Native history with Jesuit accounts, we鈥檒l be able to better discuss the similarities and differences with both perspectives,鈥� says Arnold, who is organizing the conference with OHA executive director , OCC social sciences professor and Le Moyne history professor . 鈥淲e鈥檒l also see how historians use oral histories and collective memory in conjunction with historic interpretation.鈥�

鈥淟istening to the Wampum鈥� is presented as part of Native American Heritage Month and , the theme of which this fall is 鈥淟istening.鈥� The schedule includes panel discussions at SU, Le Moyne, OCC and Sk盲-no帽h, a new Haudenosaunee heritage facility on the eastern shore of Onondaga Lake.

Guest speakers include the following:

鈥� , the Neil L. Rudenstine Professor of the Study of Latin America at Harvard University;

鈥� , coordinator of the Indigenous Knowledge Centre at Six Nations Polytechnic in Ohsweken (Canada);

鈥� , faith-keeper of the Turtle Clan of the Onondaga Nation;

鈥� , professor and chair of history at Le Moyne; and

鈥� , a chief of the Onondaga Nation.

Made from various mollusk shells, wampum has been used by the Haudenosaunee for more than a millennium. Wampum is woven into belts and strings, and its colorful beads are used to commemorate exchanges, agreements and treaties.

鈥淥ur goal is to foster a constructive dialogue about the past, in hopes of encouraging a better understanding of modern-day issues related to indigenous and colonial cultural contact,鈥� says Arnold, associate professor of religion at SU and founding director of Sk盲-no帽h. 鈥淭his conference will also help formulate an interpretive blueprint for Sk盲-no帽h.鈥�

The Onondaga, along with the Mohawk, Oneida, Cayuga, Seneca and Tuscarora nations, comprise the Haudenosaunee Confederacy.

Transformations in South Asian Folk Arts, Aesthetics, and Commodities

鈥淭ransformations鈥� features an array of art-related lectures, panel discussions, workshops and exhibitions. Its emphasis is on Mithila paintings, a type of Indian folk art created by women in Madhubani, Bihar and the adjoining regions of Nepal.

The symposium will coincide with several other projects, including the exhibition 鈥�,鈥� running Jan. 30-March 16, 2014, at SUArt Galleries; the Feb. 28 premiere of the documentary 鈥淟ikhiya: Writing Stories With Mithila Art,鈥� produced by and , co-directors of the SU South Asia Center; and four related academic courses.

Guest presenters include the following:

鈥� , teaching professor of art history and chair of museum studies at Johns Hopkins University;

鈥� , the Charles F. Montgomery Professor of American Decorative Arts at Yale University;

鈥� , associate professor of women鈥檚 and gender studies and of anthropology at Bucknell University;

鈥� , curator emerita of textiles and costumes at the Museum of International Folk Art in Santa Fe, N.M.;

鈥� , associate professor of art at the University of North Carolina at Chapel Hill;

鈥� , associate professor of Indian visual culture and contemporary art at the University of Toronto in Mississauga;

鈥� , professor of religion and anthropology at Boston University;

鈥� , co-founder and president of (sponsor of the 鈥淢ithila Painting鈥� traveling exhibition) and former executive director of international and area studies at the University of California; and

鈥� , a curator and photographer of Mithila art, as well as an EAF board member.

In conjunction with the symposium, , a master painter/teacher at the Mithila Art Institute in Madhubani (India), will spend two weeks at SU, conducting workshops and discussing her paintings. A feminist from rural India, she uses her artwork to raise awareness of social justice issues for women.

鈥淪he not only wants to tell their stories, but also hopes that her paintings may have some small effect in changing the social conditions for聽 all Indian women,鈥� says Zirnis.

Born into a conservative Brahmin family, in which girls traditionally receive little or no education, Jha fought against tradition and went to school. In 2010, she earned a Ph.D. in Maithili folk traditions from the University of Darbhanga (India). To schedule a personal appointment or class visit with Jha, contact Emera Bridger Wilson at 315-443-2553 or elbridge@syr.edu.

In conjunction with the 鈥淢ithila Paintings鈥� exhibition, the symposium will showcase some of the 80-plus contemporary Mithila paintings that Wadley and H. Daniel Smith, professor emeritus of religion at SU, have donated to SUArt Galleries.

Other SU treasures include Smith鈥檚 , featuring more than 3,500 mass-produced color prints of Hindu gods, goddesses, saints and sacred sites; and the , which contains more than 400 pieces of South Asia folk objects from the past 50 years.

鈥淥ur goal is to unpack questions about local identity, the pressures of global consumerism and transnationalism, and the troublesome divisions between arts and crafts that these objects raise,鈥� says Wadley, the Ford-Maxwell Professor of South Asian Studies.

鈥淥ne of the key concepts underlying the exhibition and the symposium is whether or not Milthila painting is 鈥榗raft,鈥� 鈥榝olk art鈥� or 鈥榝ine art.鈥� We want to break down the barriers between these distinctions,鈥� says Goenka, associate professor of television-radio-film in the .

Wadley and co-organizer think the symposium is timely because of the commodification of South Asian folk art. They say the success of folk art in the marketplace is dependent on advice and guidance from intermediaries (government and non-government organizations) about what buyers want. Moreover, technology has changed the way art is made and reproduced.

鈥淎ll of the traditions explored in this symposium face these issues of commodification and marketplace,” adds Ray, associate professor of art and music histories in The College of Arts and Sciences.

Long the domain of upper-caste women, Mithila artwork is known for its vibrant color and eye-catching geometrical shapes. Originally, these paintings consisted of murals, which adorned the inner walls of courtyards and houses and depicted gods and goddesses, deity symbols and daily life. But when Mithila paintings were introduced to the outside world in the 1930s, they underwent changes related to commodification, style and content.

鈥淭oday, women of all ages use this once ritual tradition to comment on social issues facing them in their region, including marriage, dowry deaths and female infanticide. It鈥檚 also used to celebrate women鈥檚 accomplishments and goals,鈥� says Wadley, alluding to a Mithila painting of Indian and Pakistani women playing cricket, something virtually unheard of 40 years ago.

鈥淭ransformations鈥� is underwritten by a Title VI grant from the U.S. Department of Education鈥檚 National Resource Centers Program. Additional support comes from SU (Bird Library鈥檚 Special Collections Research Center, The Ren茅e Crown University Honors Program, and the departments of anthropology and religion) and Cornell (the South Asia Program).