The aim of this research is to gain new insights in the changing of cooking practices and eating habits as a result of Frankish influence. To reach this aim, this study strives to seek a relation...Show moreThe aim of this research is to gain new insights in the changing of cooking practices and eating habits as a result of Frankish influence. To reach this aim, this study strives to seek a relation between cooking wares and cooking practices, and diet and eating habits. As a result, it aims to provide valuable information regarding the socio-economic, the cultural, and the local and regional perspective of both cooking practices and eating habits during the Middle to Late Byzantine period (ca. 1200-1500 AD). This research shows that there were indeed changes in cooking practices and eating habits during the Late-Byzantine/Frankish period in the Aegean, and these could have been related to each other. The evidence suggests that smaller, thinner, and taller cooking pots appear somewhere around the middle of the 13th century, replacing the previous globular, thicker ones from the Middle Byzantine period. This change could have been the result of a trend during the Late Byzantine/Frankish period towards more watery dishes, cooked in their own juices. The dietary evidence supports this considerable difference in the Byzantine Aegean diet and the Medieval Western diet, primarily at the higher classes of society. Unfortunately, the effects of Christian Orthodox fasting rules on diet and eating habits or Frankish meat consumption are not visible in stable isotope values from multiple sites in Greece. A socio-economic perspective on the ceramic and dietary evidence during this period could indicate a possible Frankish influence on local cooking practices and eating habits. However, it is not with certainty to say that these changes were actual the result of Frankish influence. From a cultural perspective, it appears that the change to different cooking practices and eating habits in Late Byzantine/Frankish times may not only have been the result of the appearance of the Franks into the scene, but also of growing wealth. Furthermore, it is difficult to distinguish different cooking practices between the higher and lower classes in the Byzantine Aegean or the Medieval West, while substantial variations between town and country or between different local environments must have determined food choice and availability to a certain extent. The local and regional perspective also supports the fact that ceramic and dietary distinctions existed between town, country, and other areas. Urban settlements were more likely to be influenced by a Frankish presence than rural settlements. The experimentation indicates that similar production methods were used for both type of cooking wares. In this regard, it seems very plausible that the Franks did not bring their own potters. The Middle Byzantine way of production seems to have persisted after the Frankish conquest, without noticeable morphological changes.Show less
This thesis analyses the implementation of the Malta Convention in the European overseas countries and territories in the Caribbean. The European overseas countries and territories in the Caribbean...Show moreThis thesis analyses the implementation of the Malta Convention in the European overseas countries and territories in the Caribbean. The European overseas countries and territories in the Caribbean are a handful of islands still legally connected to either France, the Kingdom of the Netherland, or the United Kingdom. These islands have different constitutional relations with Europe and often the European nation is responsible for the signing of international conventions. One of these conventions is the European Convention on the protection of Archaeological heritage (revised) from the Council of Europe (Valletta 1992). This convention has a large impact on the archaeological heritage management in Europe. Important aspects of the Malta Convention are placing archaeology in the urban planning process, in situ preservation, financing of archaeological work (which has resulted in the developer pays principle); it also focuses on public outreach, scientific collaboration, and the prevention of illicit circulation of archaeological elements. The aim of the Malta Convention is “to protect the archaeological heritage as a source of the European collective memory..” (Malta Convention, Article 1.1). This raises the question of how well this convention could be applied to another context, such as the Caribbean. To analyse how the Malta Convention applies to the OCTs in the Caribbean, the legislation of the islands has firstly been analysed. Are the concepts of the Malta Convention present in the legislation? And secondly, is what is written in the legislation also executed on the islands? The effects of the Malta Convention on the daily basis of archaeological heritage management has been analysed through interviews with archaeologist working in the region.Show less
The remains of the battlefields of World War II have been a great problem since the end of the war. They often bring dissonant memories for both individuals and groups of people. This thesis...Show moreThe remains of the battlefields of World War II have been a great problem since the end of the war. They often bring dissonant memories for both individuals and groups of people. This thesis examines the dissonance of the Death Railway (Thailand-Burma Railway), a major site of wartime heritage in Kanchanaburi province, Thailand. It focuses on one of the issues concerning the site’s interpretation. The main question that will be answered in this thesis is ‘What is the effect of the contemporary display of the Death Railway on the image visitors have?’ For this reason it is important to explore the visitors’ perceptions about the site and investigate whether their perceptions change after their visit. The survey was conducted in February 2015 at Kanchanaburi; a questionnaire was handed out to visitors before and after they visited the site. The perspective of the local community will also be discussed in this study. To do so, a questionnaire was used to gain insights into the general views from local people, while interviews were used to collect answers from members of the wartime generation in Kanchanaburi province. Comparing the results from this survey to the literature review from the same area of study, it can be concluded that the display presentation and activities at the site have little effect on the tourists’ perception towards the site. The visitors’ nationality and knowledge about the war more strongly affect the way in which visitors experience the site. The majority of international visitors, especially those who come from countries involved with the Railway’s construction, are well aware of the site’s historical value. On the other hand, Thai visitors and visitors from other countries just want to have fun and enjoy the natural beauty during the train trip. However, it can be argued that what is presented is very important too. The current display of the Death Railway and its associated museums and cemeteries mainly capture the memory of the prisoners of war, but gives little attention to Japanese soldiers and local Thai history. This affects the sense of belonging among Thai citizens, for they know very little about the importance of their heritage and lose the interest to learn about it. It would be beneficial to include more historical viewpoints and to present a wider view of the site’s heritage in both the historical and ethnical sense. In this way, the Death Railway can be seen from multiple perspectives and at the same time create a sense of belonging among Thai citizens.Show less
In this thesis there is researched to what extent the period defined as Breda’s Golden Era (the first half of the 16th century) is visible in the development of cesspits and import ceramics. Three...Show moreIn this thesis there is researched to what extent the period defined as Breda’s Golden Era (the first half of the 16th century) is visible in the development of cesspits and import ceramics. Three research questions form the focus point of this thesis. First there is investigated to what extent the demographic development of Breda coincides with the economic development of the city. Second there is researched to what extent the economic and demographic development of Breda is reflected in the development of cesspits. And last there is investigated to what extent the economic and demographic development of Breda are reflected in the development of import ceramics. The economic development seems to coincide with the demographic development. Four phases are distinguished based on these developments in order to set a base to which the archaeological data will be compared. Phase 1 (1100-1404) includes the start and steady growth of Breda. Phase 2 (1404-1504) includes a stronger economic growth of the city. Phase 3 (1504-1566) marks the period referred to as the Golden Era of the city and phase 4 (1566-1648) marks the decline of Breda. The first working hypothesis, the recognition of Breda’s Golden Era in the development in number of cesspits, is more or less confirmed as the development in number of cesspits coincides for a large part with the development in density of population. The density of population regarding the number of civilians seems to coincide better with the development of cesspits than the density of population including both civilians and militaries, which resided in the city during the Eighty Year’s War (1568-1648). The second working hypothesis, the recognition of Breda’s Golden Era in the development in import ceramics, is also confirmed as the peak in total number of import ceramics coincides with Breda’s Golden Era and the low in total number of import ceramics with the decline of the city during the Eighty Year’s War (1568-1648).Show less
This thesis explores the biography of the Dying Niobid, a fifth century BC Greek statue that was found in Rome. Previous research on Greek sculptural art has mainly focussed on the objects as a...Show moreThis thesis explores the biography of the Dying Niobid, a fifth century BC Greek statue that was found in Rome. Previous research on Greek sculptural art has mainly focussed on the objects as a representation of the Classical Greek period. When looking at the Dying Niobid it becomes clear that this sculpture, one among a great body of Greek sculptures brought to Rome, has functioned in more than one context throughout its life, the ‘Greek’ context being just one of them. Therefore the question to be asked must no longer be what does the object represent, but what does it do in these different contexts? With the object as point of departure, this research will focus on the “active” role of the Dying Niobid in terms of power, influence and agency. To enable this, the main objective for this thesis is to apply a fundamentally different approach and methodology to Greek sculptures in Rome; a “cultural biographical approach” to objects. Through the methodology of the cultural biography, it is possible to take all of the contexts in which the object has functioned in consideration and reconstruct the way in which the agency and power of the object can change and accumulate throughout its existence. Exploring the biography of the Niobid leads us through different functions and appropriations of Greek art. From a fifth century BC Apollo temple in Greece, the story of the Niobid leads to Rome; the Temple of Apollo Sosianus, a Republican temple restored in Augustan times and further on to the Horti Sallustiani, a garden. In the realms of this garden the Niobid was excavated in 1906, followed by a series of events and political dispute concerning the statue. At the present the Dying Niobid still functions in Rome, on display in the Museo Nazionale Romano; Palazzo Massimo. This case-study is placed in a theoretical framework of symmetrical archaeology. Through this framework the aim is to achieve symmetry between not only the importance of the role of things, humans and other entities within each context, but also between the different life phases of the object. This will enable us to say something on the changes of meaning and agency of the object throughout time and space, and add to the wider debate on the role of Greek objects in the Roman world.Show less
This thesis considers the three Albanian World Heritage sites of Butrint, Berat and Gjirokastra in the light of heritage tourism and sustainable development. These heritage sites have their own...Show moreThis thesis considers the three Albanian World Heritage sites of Butrint, Berat and Gjirokastra in the light of heritage tourism and sustainable development. These heritage sites have their own unique characteristics with much potential for further tourism development and the development of community awareness of their heritage. To safeguard sustainability of this heritage for future generations, the implementation of sustainable and effective management plans to protect the significance of these sites and to mitigate tourism impacts is necessary. In this study the concepts of sustainability and heritage tourism are first explained in the way they are used for the analysis. Subsequently, the World Heritage Sites (WHS) of Butrint, Berat and Gjirokastra are analyzed on the basis of a few sustainability principles to measure the degree of integration of these principles within current heritage management and tourism planning of these sites. The sustainability principles can be outlined as continuity, intergenerational equity, intragenerational equity, diversity, a precautionary principle and interdependence. The outcome of these principles for each heritage site is discussed on the basis of a qualitative content analysis of literature and management plans. Finally, a short comparison is made between the WHS to seek for aspects that can contribute to an improved management of other sites and to seek for aspects that require more attention or improvement.Show less
This thesis aims to chronologically reconstruct the official gold supply of a small province at the frontier of the Roman empire: Germania Inferior. For this purpose a dataset of over 1,250 Roman...Show moreThis thesis aims to chronologically reconstruct the official gold supply of a small province at the frontier of the Roman empire: Germania Inferior. For this purpose a dataset of over 1,250 Roman gold coins were analyzed from the Southern Netherlands, Northeastern Belgium and the German state of Nordrhein-Westfalen. The result is a detailed overview of the amount of gold that was available thoughout the Roman period.Show less
This thesis aims to fill the gap in research on the role of plants in Pre-Columbian societies in the Andes. In this thesis, the role of plants in Moche iconography was studied. An analysis was...Show moreThis thesis aims to fill the gap in research on the role of plants in Pre-Columbian societies in the Andes. In this thesis, the role of plants in Moche iconography was studied. An analysis was conducted on a corpus of 95 roll-out drawings. The roll out drawings are made of pots that belong to phases III and IV. In this thesis a method conceptualized by Luis Jaime Castillo was used. As a distinction was made between three stages in the analytical process, attention was paid to different aspects. First of all, the context in which the pots were produced and distributed was described. This stage was called the pre-iconographic analysis. Subsequently, the images on the pots were examined in the second stage, called iconographic analysis. The recurring plants were identified and described, their known uses were given and at last their iconographic situation was explored. In the third stage, the plants were compared. The small amount of depicted plant species was striking, for only the tillandsia, browningia, opuntia, cereus and echinopsis species were identified, despite the enormous area in which the Moche lived. A comparison between the physical description of the plants and its iconographic representation showed a striking lack of details. This was not expected if these plants had implied specific regions within the landscape and makes it doubtful whether the plants played a possible role as location indicators. The presence of roots, their floating positions and the relation between cacti and scenes that are connected with death, fertility and afterlife suggest a symbolic system of which these plants also formed part. Whereas the cacti were mainly connected to scenes of violence, the tillandsias were often shown with ritual runners, a result for which no explanation could be given.Show less
The aim of this thesis is to discover the manner in which Classical mythology is frequently portrayed by both popular culture and museums, and whether this has an effect on members of the public....Show moreThe aim of this thesis is to discover the manner in which Classical mythology is frequently portrayed by both popular culture and museums, and whether this has an effect on members of the public. This is assessed through an analysis of popular culture, a survey answered by members of the public and museum analyses. Firstly, Classical mythology in popular culture is discussed, with the inclusion of some more in-depth case studies. These results are then used to make some predictions about the survey. The survey was created in order to discover which deities and legends of Classical mythology are familiar, how they are known and which words come to mind. Discussion and analysis of results show what the public may expect to see in a museum. The museum analyses consider several different factors in terms of the museum, as well as providing a brief history of the institution: visitors, accessibility, lighting, display, the involvement of Classical mythology and a comparison with public perceptions. Suggestions for how Classical mythology could be portrayed in museums are based on the museum analyses and survey results. The conclusion demonstrates how not everyone has a clear understanding of what is meant by Classical mythology, and that it is more associated with Greek, as opposed to Roman, mythology. Reflecting how religion was embedded in all facets of daily life, museums tend to represent gods under all different kinds of themes. Issues encountered during this thesis included a non-representative sample of the public, in addition to a bias towards museums in both the United Kingdom and the Netherlands, where the museum analyses took place. Further research could include a more representative sample, or cover other countries and museums. It is hoped that this thesis will make a useful contribution towards the field of Museum Studies, and through that, to archaeology. It demonstrates how members of the public perceive Classical mythology, and suggests how museums could portray it in order to correct misconceptions, as well as engage as large an audience as possible. This thesis shows that the public tend to associate Classical mythology with Greece rather than Rome, and as a result are more familiar with ancient Greek deities. Additionally, it shows that popular culture has a significant effect on the public's awareness of certain deities. As the portrayal of antiquities is something rarely studied, this thesis is a unique contribution and should be of benefit to museums.Show less
In modern research of the Central Mexican manuscripts, the Codex Laud has always remained in a position of obscurity. Barely a handful of comprehensive studies of this codex have been published...Show moreIn modern research of the Central Mexican manuscripts, the Codex Laud has always remained in a position of obscurity. Barely a handful of comprehensive studies of this codex have been published over the past century. Mostly, the Codex Laud is only mentioned briefly in studies of other divinatory codices, and simply regarded as one of the Borgia Group codices, often serving as material for comparison with the other codices of this group. As such, a closer look at this codex is warranted. In this thesis, a single page of the Codex Laud takes the centre stage: page 23, the second-to-last page of the codex, which features a complex composition of calendrical and various other elements around a single central figure. This page forms the subject for a detailed analysis using the iconographical method of Panofsky in order to gain insight into the various layers of meaning hidden within its imagery. In this manner, this thesis will attempt to do what the ancient Mexican diviners did – to determine the associations and meaning(s) of the page in all its aspects and contexts.Show less
Current museum exhibitions seem to be increasingly affected by the influence of mass media and their representation of the past. In particular as regards the Middle Ages, visitors approach...Show moreCurrent museum exhibitions seem to be increasingly affected by the influence of mass media and their representation of the past. In particular as regards the Middle Ages, visitors approach exhibitions dedicated to the medieval period with some stereotypes and misconceptions coming from a distorted presentation of the so called ‘Dark Age’ in popular culture. The influence of some post-modern concepts has a key role in offering a distorted representation of the past. By providing a theoretical background through which to highlight some of the main problems deriving from post-modern theories, the following research aims to explore their consequences on current museum exhibitions on the Middle Ages. In particular, the risk to fall into the trap of ‘Disneyfication’ represents one of the main concerns museums have to deal with. Hence, various research methods tries to investigate the possible increase of this tendency and its relation with misconceptions coming from popular culture and affecting the audience.Show less
This thesis focusses mainly on Neolithic ornaments made of jet and seeks to interpret these finds by addressing two objectives. The first objective of this thesis is concerned with characterizing...Show moreThis thesis focusses mainly on Neolithic ornaments made of jet and seeks to interpret these finds by addressing two objectives. The first objective of this thesis is concerned with characterizing the black shiny ornaments of Schipluiden and Ypenburg which have preliminarily been termed jets and to further investigate the possibilities of provenance studies for Dutch Neolithic jet ornaments with the use of XRF. The second objective of this thesis is to investigate the possibility of distinguishing between an intentional polish and use-wear related shine on the basis of macroscopic analysis. For this purpose a series of experiments has been designed involving experimentally made ornamental beads and a rock tumbler. An XRF distinction shows that the finished ornaments of Ypenburg are possibly all true Upper Lias jets. A large amount of the objects under investigation are probably not, however, including all finished ornaments from Schipluiden. It has proven possible to distinguish between an intentional polish and a use-wear related shine. This experiment, although insightful, is incomplete as it lacks the evidence to conclusively distinguish an intentional polish from a use-wear related shine. Similar experiments could be set up for future research with longer tumbling durations and allow the use of different polish materials.Show less
In the thesis four coffin sets belonging to the Bab el-Gasus cache, discovered in 1891 in Deir el-Bahari, Egypt, and now belonging to the collection of the Rijksmuseum van Oudheden in Leiden, were...Show moreIn the thesis four coffin sets belonging to the Bab el-Gasus cache, discovered in 1891 in Deir el-Bahari, Egypt, and now belonging to the collection of the Rijksmuseum van Oudheden in Leiden, were discussed on the basis of the following research questions: - Which construction techniques have been used? - Which materials have been used? - Is it possible to recognize the signature of a workshop or an artist? - Do the coffins have a distinctive iconography and if so, what are the striking features? - Can we draw some preliminary conclusions of the social and economic status of the owners of the coffins? A general overview of coffin development in ancient Egypt and more specifically, of the Leiden Bab el-Gasus coffins was followed by the chaîne opératoire of the coffins, starting with the wood, used for the manufacture of these coffins. A small study of some wood samples proved all the coffins to be of the species F. sycomorus. In affirming this, however, it does not account for the observed differences of the wood, and only raises new questions for further investigation. Subsequently, the plaster, pigments, paint and varnish were discussed. Color and the attached symbolic meaning were very important in the decoration of the coffins (Taylor 2001b, 164). A study with a handheld XRF—a device whereby a sample is irradiated by low-energy X-rays—showed no specific outcome, only confirming the use of gold on the lid of F93.10.1a and the presence of orpiment in more than one of the samples. Both pigments had already been observed with the naked eye. It is difficult to draw conclusions about the workshops involved into the production of the coffins. The sets show various similarities, but at the same time give evidence to the practice of reuse. Some key elements of the iconography have been discussed according to the model of Panofsky. The decoration of the sets consisted primarily of symbols of resurrection, while other vignettes gave evidence to a new repertoire of religious images—some of which referred to a combination of several different mythological aspects (Quirke and Spencer 1992, 106). According to Cooney, this can be understood as a reaction and adaptation to the changing funerary traditions, scarce resources, and fear of theft of the funerary objects that took place during the period (Cooney 2011, 24). In chapter seven the owners of the coffins were discussed. The two chantresses, to whom set F93.10.1 and F93.10.3 are assigned, are probably not the original owners of their sets. The third coffin has been usurped three times. The fourth coffin is anonymous, but is associated in Daressy’s list (1907) with Siamun, a male mummy. Although reuse of some coffins is certain, mistakes made in antiquity and in the Nineteenth Century AD may have contributed to the mix up of coffin parts, resulting in the incorrect allocation of names to coffins, lids to different caskets and mummy-boards to other sets. The Bab el-Gasus coffins from the Leiden collection do not differ herein with the other sets of the entire Bab el-Gasus cache. In this thesis not every research question is fully answered. Further research will be needed to discover the whole story of the priests of Bab el-Gasus.Show less
One of the key ancient sites in the region of North Africa is the ancient city of Carthage. From its establishment in roughly 800 BCE, Carthage developed into a hub for Mediterranean trade by the...Show moreOne of the key ancient sites in the region of North Africa is the ancient city of Carthage. From its establishment in roughly 800 BCE, Carthage developed into a hub for Mediterranean trade by the end of the 6th century BCE. It immediately became the centre of commerce for a large network of colonies in the Western Mediterranean. This research wishes to reveal insights into the pottery production, consumption and distribution trends from 2th century BCE to 7th century CE. An interdisciplinary approach was focused on a set of Roman to Byzantine ceramics. Fabric groups were defined based on macroscopic, petrographic and geochemical analysis. The results add weight to growing lines of evidence of elaborate networks of connections between a major city and locations both inland into North Africa as well as across the Mediterranean. The analysis identifies various ceramic production entities in this region of the Maghreb.Show less
This thesis is a study in the transformation of Alexander the Great’s image throughout Hellenistic times. It starts out with an introduction to Alexander’s world and the research questions that...Show moreThis thesis is a study in the transformation of Alexander the Great’s image throughout Hellenistic times. It starts out with an introduction to Alexander’s world and the research questions that this study will be focusing on. It is followed by an extended look into the image he created of himself during his life, followed by the time just after his death and finally the later Hellenistic eras. As part of that, this thesis also goes into the background that led to him creating this image, studying his life from his early days, on to his conquests and finally his death. The Hellenistic world in general and its development during and after Alexander’s death, both politically and culturally, gets the same treatment. As the main artifacts chosen to show the change in his image are the sculptures of his likeness, their origins and development are part of the study as well. Both the reasoning behind them from Alexander himself, the effect they had on the hellenistic world as well their unique qualities in comparison to other ruler statues will be subjects handled as well. The study in general covers the sculptures from the early Lysippan varieties to the myriad of statues from the later Hellenistic kingdoms, stopping at the advent of Roman times. A brief interlude, that goes into the history of the study of Hellenistic sculpture and its archaeological context, is included as well. Problems that arise when studying Hellenistic sculpture are introduced this way as well, as they will play an important rule when discussing the three sculptures part of this study focuses on. Because as part of the thesis, three specific examples are chosen as case-studies from three different parts of the Hellenistic world to show off their context, development and local influences. The first being the Alexander Rondanini, which was created in Greece during or just after Alexander’s life. The second example is the Nahman Alexander, an Egyptian variant from the first half of the Ptolemaic period. The third and final example is the Magnesia Alexander, which was created in Graeco-Roman times in an area of Lydia. All three examples follow the same format in their chapters, starting with a focus on their history and context, followed by a detailed description of their appearance and ending with a discussion about their unique characteristics as well as the problems that arise when studying the sculpture, such as its identification. Finally, the last chapter will focus on the comparisons between these three case-studies, studying both their similarities and differences compared to both the Lysippan originals as well as each other. In the conclusion, the information gathered from the study is used to answer the research questions brought up in the introduction and to close the thesis off.Show less
This research will address the influence of postcolonialism within the National Museum of Antiquities in Leiden, an archaeological museums. Postcolonialism is a frequently discussed topic in...Show moreThis research will address the influence of postcolonialism within the National Museum of Antiquities in Leiden, an archaeological museums. Postcolonialism is a frequently discussed topic in museology, however, the discussed museums are mainly ethnological. In this thesis I have explored different aspects of the National Museum of Antiquities on the basis of year reports and other archival material, and interviews. The permanent presentation, the temporary exhibitions, the field research, the collecting policies and the public attitude of the museum all seem to have made certain postcolonial changes. The strongest change made lies in the museum’s attitude towards its public. The National Museum of Antiquities is connecting past societies to the people of the present by making its collection open to visitors from different ages, nationalities and backgrounds. In doing so, the museum globalizes towards the public.Show less
This study explores folk art through Elisabeth Houtzager’s collection of Native American folk art at the National Museum of Ethnology (NME) in Leiden, Netherlands. The Houtzager collection at the...Show moreThis study explores folk art through Elisabeth Houtzager’s collection of Native American folk art at the National Museum of Ethnology (NME) in Leiden, Netherlands. The Houtzager collection at the NME is comprised of circa 4,000 objects of folk art from around the world, and was acquired from Houtzager by the NME in 1993. Research began as part of an internship project held at the NME. The objects of focus comprise a sample of Native American Pueblo pottery and its makers from the Southwestern United States. During initial research of the collection, it became apparent that folk art is a relatively complex matter and occupies a unique position in the world of material culture. This thesis expands on the results of the internship, and seeks to answer questions primarily including: What motivated Houtzager to collect folk art so extensively? Why did the NME accept Houtzager’s large collection of folk art in 1993? In order to broach these questions, one must investigate: What is folk art, and how does it relate to other objects such as ethnographic artefacts and art? The concept of folk art eludes a concrete definition, and can be best understood by recognizing a conglomeration of interpretations. An examination of the Native American art market in 20th century Southwest United States reveals a host of dynamics that may have influenced individuals and institutions to collect objects like folk art. Changes in the lives and careers of the makers of the Pueblo pottery in Houtzager’s collection led to innovations, individuality, and competition in the folk art community in the American Southwest, and created the setting in which Houtzager was traveling, socialising, and thus influencing her purchases of folk art. Individuals collect objects for various reasons, whether as an obsession, a pursuit for a complete collection, an expression of identity, or a memento from events or souvenir from travels. Given the environment in which Houtzager collected, it may be speculated that her travels and personal connections with the pottery makers represented in her collection lent to feelings of nostalgia through the objects. On an institutional level, museums of all types including ethnology, art, folk art, natural history, serve a certain purpose to the collections, staff, and public. Choices in museum collecting are influenced by the interplay between these actors. Today, folk art can be found in many different types of museums. In this study, interviews with three curators from the NME with varied disciplinary backgrounds, reflected a variety of opinions of folk art, and its situation within the institutional setting of museums. With the already discussed indefinable aspect of folk art in mind, these current movements in museums of all types to collect or display folk art contributes to the story of folk art as an issue in the contemporary museum world.Show less
