Creating an Indigenous Collections Care (ICC) Guide

Contributed by Marla Taylor

For the past 5 years I have been co-facilitating the development of the Indigenous Collections Care (ICC) Guide.  The ICC Guide is now nearly complete and I wanted to share some updates.

The inspiration for the ICC Guide grew out of email exchanges I had with ICC co-facilitator Laura Byrant (Director of Repatriation for the Gilcrease Museum) about how to best to steward collections that were awaiting physical repatriation.  We realized there was often a tension between museum practices and tribal priorities for cultural collections.  Conversations with colleagues revealed that there was little or no established guidance on how to incorporate Indigenous cultural care needs into collections stewardship practices.  We created a working group to discuss the issue and the seeds of the ICC Guide were sewn.

With an IMLS National Leadership Grant for Museums in 2023 and a strategic partnership with the School for Advanced Research (SAR) in Santa Fe, NM, the ICC Guide was collaboratively written and covers every aspect of collections stewardship.  It provides frameworks to recenter collections stewardship practices in ways that respect the needs and knowledge of Indigenous community members. It serves as a bridge between Indigenous community perspectives and traditional museum collections management—on the individual, community, and institutional level—helping those involved in all aspects of collections to engage in a meaningful conversation about culturally appropriate care. 

The approach outlined in the ICC Guide is grounded in meaningful consultation with communities whose cultural materials can be found in institutional collections.  In fact, the guide has been reviewed by approximately 120 individuals, including over 70 Tribal representatives.

My co-facilitator and I regularly speak about the development and content of the ICC Guide – at conferences, to classes, and as part of a speaker series we developed.  The Rethinking Collections Stewardship Speaker Series is hosted by the Gilcrease Museum in collaboration with SAR.  We planned for four panels that center on the key content areas within the guide – Intellectual Care of collections, Physical Care of collections, Relationship Building and Consultation, Use and Access of collections.

So far, registration and attendance at these webinars has been fantastic.  The panelists have done a tremendous job of sharing their expertise and engaging the audience.  We are so grateful for their time and efforts.

Of course, the culmination of all of this will be when the ICC Guide is ready to be shared with the museum field and the public.  When will that be?  We are in the final editing stages and soliciting one more round of feedback.   We don’t have a date set quite yet but I can say that it will be in the Fall of 2026You can sign-up on our website to be notified when the ICC Guide is available.

Please email me (mtaylor@andover.edu) with any questions you may have.  I am so excited to share this work with the broader museum/repatriation/tribal community!

Never Whistle At Night: Indigenous Folklore (highlights from the Peabody Collection)

Contributed by Emma Lavoie

The change in season brings a time for storytelling and passing down traditions. The winter months are a prime time for sharing scary stories due to colder weather keeping people inside and gathered together.

In honor of Indigenous Peoples’ Day (October 14) and upcoming National Native American Heritage Month (November), we’re highlighting some folklore inspired by the Indigenous dark fiction anthology, Never Whistle at Night. This book is comprised of 26 short stories that explore aspects of Indigenous horror, beliefs, traditions, and folklore. These stories are told by a variety of Indigenous authors (see complete list below), edited by Shane Hawk (Cheyenne & Arapaho Tribes of Oklahoma) and Theodore C. Van Alst Jr. (Mackinac Bands of Chippewa and Ottawa Indians), and introduced by Stephen Graham Jones (Blackfeet Nation).

Contributing Authors

Norris Black (Haudenosaunee, Tyendinaga Mohawk Territory)

Amber Blaeser-Wardzala (White Earth Nation)

Phoenix Boudreau (Chochenyo)

Cherie Dimaline (Métis Nation of Ontario)

Carson Faust (Edisto Natchez-Kusso Tribe of South Carolina)

Kelli Jo Ford (Cherokee Nation of Oklahoma)

Kate Hart (Chickasaw/Choctaw in Arkansas)

Shane Hawk (Cheyenne & Arapaho Tribes of Oklahoma)

Brandon Hobson (Cherokee Nation Tribe of Oklahoma)

Darcie Little Badger (Lipan Apache Tribe of Texas)

Conley Lyons (Comanche)

Nick Medina (Tunica-Biloxi Tribe of Louisiana)

Tiffany Morris (Mi’kmaw)

Tommy Orange (Cheyenne and Arapaho Tribes of Oklahoma)

Mona Susan Power (Standing Rock Sioux Tribe)

Marcie R. Rendon (White Earth Band of the Minnesota Chippewa Tribe)

Waubgeshig Rice (Wasauksing First Nation)

Rebecca Roanhorse (Navajo Nation)

Andrea L. Rogers (Cherokee Nation)

Morgan Talty (Penobscot Indian Nation)

D.H. Trujillo (Pueblo)

Theodore C. Van Alst Jr. (Mackinac Bands of Chippewa and Ottawa Indians)

Richard Van Camp (Dene Nation)

David Heska Wanbli Weiden (Lakota)

Royce Young Wolf (Hiraacá, Nu’eta, and Sosore, ancestral Apsáalooke and Nʉmʉnʉʉ)

Mathilda Zeller (Inuit)

The title of the anthology refers to a belief common in many Indigenous cultures that whistling at night can attract malevolent entities. The act of night whistling is forbidden by many Native American cultures due to a shape-shifting entity, known as a “Skinwalker” or “Stekini” that responds to the call, causing harm to those who encounter it.

Skinwalker – Image courtesy of DoubleOurEfforts/reddit

Native cultures use storytelling to pass down knowledge and history, including folklore. Scary stories often carry deeper meanings, serving as lessons and warnings. Some of my favorite stories from this book were: Kushtuka, Quantum, Snakes are Born in the Dark, Before I Go, and Dead Owls.

Several stories in the book share a common subject – the owl. Interpretations of owls can be found across different Native American tribes, with some viewing owls more negatively than others. There are several items in the Peabody collection that highlight the owl form, their meanings varying significantly between different Indigenous cultures and locations. Here are just a few for you to explore!

Image courtesy of © Megan Lorenz/Dreamstime.com

Owls are often associated with death and the spirit world, seen as messengers or harbingers of bad luck reflected in their nocturnal habits. Seeing an owl, particularly during the day can be a sign of death or misfortune. Some tribes consider owls as spirits of the deceased or that they might not be real birds at all, but shapeshifters. The sound of an owl’s hoot is seen as a call to the spirit world or a way to connect with ancestors.

Owl Effigy (2018.2.1266) – Fragment of an owl effigy from the Valley of Mexico. Warren K. Moorehead compared this item to clay effigies from the Etowah village site in his 1932 book Etowah Papers: Exploration of the Etowah Site in Georgia.

Owl Effigy (2018.2.1266), Peabody Collections

Folklore of the Valley of Mexico believe in a witch known as “La Lechuza” who shapeshifts in the form of an owl that preys on people who are disobedient, unbaptized, or who harm others. Check out this episode on La Lechuza from the podcast, History Uncovered.

Owl Effigy Slingshot (97.1.53) – From the Ixil Maya community in Chajul, El Quiché, Guatemala. Used by men and boys to hunt birds, though it is common to hunt with a blowgun.

Owl Effigy Slingshot (97.1.53), Peabody Collections

Other tribal beliefs revere owls as symbols of wisdom and intuition, as well as carriers of ancient knowledge and protection.

Ceramic Owl Figurine (2017.6.1) – Ceramic piece by Maxine Toya from the Pueblo of Jemez, New Mexico. In Pueblo culture, owls are seen as protectors. The ceramic owl design is built by stacking and smoothing hand coils of clay. The piece is both carved and painted, the feathers on the front being carved into the clay. Painted designs are intricate using symbols of rain, clouds, and feathers. These designs are all matte and painted with clay slips with only the eyes being polished.

Ceramic Owl Figurine (2017.6.1), Peabody Collections

Maxine Toya is well known for her figurative pottery (the first piece of pottery Maxine created was an owl!) Maxine is one of several pottery artists from the Pueblo of Jemez that visit Phillips Academy campus each spring to work with students in ceramic classes. You can read more about these visits here and here!

Ceramic Owl Effigy Jar (90.4.2) – Globular body in black on white design with vessel opening located at owl beak. Owl facial features at neck, wings at sides and tail at back. The globular shape is the most recognizable characteristic of pottery from Cochiti Pueblo, New Mexico.

Ceramic Owl Effigy Jar (90.4.2), Peabody Collections

Owls are featured in Cochiti Pueblo pottery, often associated with the god of death and spirit of fertility, Skeleton Man.

Exciting News! – Never Whistle at Night, Part II: Back for Blood is currently accepting submissions from emerging Indigenous writers. This is the second book in the Never Whistle at Night series.