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Department of Ethnography was created as a separate deportment within the British
Museum in 1946, offer 140 years of gradual development from the original Department
of Antiquities. If is concerned with the people of Africa, the Americas, Asi}{\fs24
\kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang1033 \langnp1033 a}
{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 ,
the Pacific and }{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0
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\hich \af0 \loch \f0 \lang9 \langnp9 s of Europe. While this includes complex
kingdoms, as in Africa, and ancient empires, such as those of the Americas, the
primary focus of attention in the twentieth century has been on small-scale
societies. Through its collections, the Department\uc1 \u8217 ?s specific interest
is to document how objects are created and used, and to understand their importance
and significance to those who produce them. Such objects can include both the
extraordinary }{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0
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\dbch \af2 \hich \af0 \loch \af0 {\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich
\af0 \loch \f0 \lang9 \langnp9 The collections of the Department of Ethnography
include approximately 300,000 art}{\fs24 \kerning2 \rtlch \ltrch \dbch \af0
\hich \af0 \loch \f0 \lang1033 \langnp1033 i}{\fs24 \kerning2 \rtlch \ltrch
\dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 facts, of which about half are the
product of }{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0
\lang1033 \langnp1033 t}{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0
\loch \f0 \lang9 \langnp9 he present century. The Department has o vital role to
play in providing information on non-Western cultures to visitors }{\fs24 \kerning2
\rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang1033 \langnp1033 a}{\fs24
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scholars. To this end, the collecting emphasis has often been less on individual
objects than on groups of material which allow the display of a b}{\fs24
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range of o society\uc1 \u8217 ?s cultural expressions. }{\fs24 \kerning2 \rtlch
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\ltrch \dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 Much of the more recent
collecting was carried out in the field, sometimes by Museum staff working on
general anthropological projects in collaboration with a wide variety of national
governments and other institutions. The material collected includes great technical
series - for instance, of textiles from Bolivia,
Guatemala, Indonesia and ateas of West Africa - or of artefact types such as
boats. }{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang9
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\langnp1033 \uc1 \u8220 ?}{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0
\loch \f0 \lang9 \langnp9 The latter include working examples of coracles from
India, reed boars from Lake Titicaca in }{\fs24 \kerning2 \rtlch \ltrch \dbch
\af0 \hich \af0 \loch \f0 \lang1033 \langnp1033 t}{\fs24 \kerning2 \rtlch \ltrch
\dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 he Andes, kayaks from }{\fs24
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{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 he
Arctic, and dug-out canoes from several countries}{\fs24 \kerning2 \rtlch \ltrch
\dbch \af0 \hich \af0 \loch \f0 \lang1033 \langnp1033 \uc1 \u8221 ?}{\fs24
\kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 .}{\fs24
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\f0 \lang9 \langnp9 The field assemblages, such as those from }{\fs24 \kerning2
\rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang1033 \langnp1033 t}{\fs24
\kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 he Sudan,
Madagasca}{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0
\lang1033 \langnp1033 r}{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0
\loch \f0 \lang9 \langnp9 and Yemen, include a whole range of material culture
represen}{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0
\lang1033 \langnp1033 t}{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0
\loch \f0 \lang9 \langnp9 a}{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0
\loch \f0 \lang1033 \langnp1033 t}{\fs24 \kerning2 \rtlch \ltrch \dbch \af0
\hich \af0 \loch \f0 \lang9 \langnp9 ive of one people. This might cover the
necessities of life of an African herdsman or on Arabian farmer, ritual objects, or
even on occasion airport art. Again, a series of acquisitions might represent a
decade\uc1 \u8217 ?s fieldwork documenting social experience as expressed in the
varieties of clothing and jewellery styles, tents and camel trappings from various
Middle Eastern countries, or in the developing preferences in personal adornment}
{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang1033
\langnp1033 }{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang9
\langnp9 and dress from Papua New Guinea. Particularly interesting are a series of
collections which continue to document the evolution of ceremony and of material
forms for which the Department already possesses early (if nor the earliest)
collections formed after the first contact with Europeans. }{\fs24 \kerning2 \rtlch
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\ltrch \dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 The importance of these
acquisitions extends beyond the objects themselves. They come fo}{\fs24
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{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 the
Museum with documentation of the social context, ideally including photographic
records. Such acquisitions have multiple purposes. Most significantly they document
for future change. Most people think of the cultures represented in the collection
in terms of the absence of advanced technology. In fact, traditional practices draw
on a continuing wealth of technological ingenuity. Limited resources and ecological
constraints are often overcome by personal skills that would be regarded as
exceptional in the West. Of growing interest is the way in which much of what we
might see as disposable is, elsewhere, recycled and reused. }{\fs24 \kerning2
\rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 \par }\pard \plain
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\ltrch \dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 With the Independence of
much of Asia and Africa after 1945, if was assumed that economic progress would
rapidly lead to the disappearance or assimilation of many small-scale societies.
Therefore, it was felt that the Museum should acquire materials representing people
whose art or material culture, ritual or political structures were on the point of
irrevocable change. This attitude altered with the creationist that marginal
communities can survive and adapt In spire of partial integration into a
notoriously fickle world economy. Since the seventeenth century, with the advent of
trading companies exporting manufactured textiles to North America and Asia, the
importation of cheap goods has often contributed to the destruction of local skills
and indigenous markets. On }{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0
\loch \f0 \lang1033 \langnp1033 t}{\fs24 \kerning2 \rtlch \ltrch \dbch \af0
\hich \af0 \loch \f0 \lang9 \langnp9 he one hand modern imported goods may be used
in an everyday setting, while on the other hand other traditional objects may still
be required for ritually significant events. Within this context trade and exchange
attitudes are inverted. What are Lilliputian objects to a Westerner may be prized
objects in other cultures - when transformed by loc}{\fs24 \kerning2 \rtlch
\ltrch \dbch \af0 \hich \af0 \loch \f0 \lang1033 \langnp1033 a}{\fs24 \kerning2
\rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 l ingenuity -
principally for aesthetic value. In }{\fs24 \kerning2 \rtlch \ltrch \dbch \af0
\hich \af0 \loch \f0 \lang1033 \langnp1033 t}{\fs24 \kerning2 \rtlch \ltrch
\dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 he some way, the West imports goods
from other peoples and in certain circums}{\fs24 \kerning2 \rtlch \ltrch \dbch \af0
\hich \af0 \loch \f0 \lang1033 \langnp1033 ta}{\fs24 \kerning2 \rtlch \ltrch
\dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 nces categ}{\fs24 \kerning2
\rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang1033 \langnp1033 ories}{\fs24
\kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 them as
\uc1 \u8216 ?art\uc1 \u8217 ?.}{\fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0
\loch \f0 \lang9 \langnp9 \par }\pard \plain \qj \li0 \ri0 \lisb0 \sa200 \lisa0
\sl276 \slmult1 \widctlpar \aspalpha \aspnum \adjustright \lin0 \rin0 \itap0
\fs21 \kerning2 \rtlch \ltrch \dbch \af2 \hich \af0 \loch \af0 {\fs24 \kerning2
\rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 \par }\pard \plain
\qc \li0 \ri0 \lisb0 \sa200 \lisa0 \sl276 \slmult1 \widctlpar \aspalpha \aspnum
\loch \af0 {\b1 \fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0
\lang9 \langnp9 \ul1 PASSAGE 6 }{\b1 \fs24 \kerning2 \rtlch \ltrch \dbch \af0 \hich
\af0 \loch \f0 \lang9 \langnp9 \ul1 \par }\pard \plain \qj \li0 \ri0 \lisb0
\sa200 \lisa0 \sl276 \slmult1 \widctlpar \aspalpha \aspnum \adjustright \lin0 \rin0
\itap0 \fs21 \kerning2 \rtlch \ltrch \dbch \af2 \hich \af0 \loch \af0 {\fs24
\kerning2 \rtlch \ltrch \dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9
\par }\pard \plain \qj \li0 \ri0 \lisb0 \sa200 \lisa0 \sl276 \slmult1
\ltrch \dbch \af2 \hich \af0 \loch \af0 {\fs24 \kerning2 \rtlch \ltrch \dbch
\af0 \hich \af0 \loch \f0 \lang9 \langnp9 Collections act as an ever-expanding
database, nor merely for scholars and anthropologists, bur for people involved in a
whole range of educational and artistic purposes. These include schools and
universities as well as colleges of art and design. The provision of information
about non-Western aesthetics and techniques, not just for designers and artists but
for all visitors, is a growing responsibility for a Department whose own context is
an increasingly multicultural European society.}{\fs24 \kerning2 \rtlch \ltrch
\dbch \af0 \hich \af0 \loch \f0 \lang9 \langnp9 \par }}

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