Pitt Rivers Museum Summative Evaluation Report (July 2002)
Funding from the Designated Challenge Fund has given the Pitt Rivers Museum the opportunity to redisplay parts of its collection as follows:
Introductory display
Body Arts redisplay
This report details the findings of the visitor studies undertaken during April and May 2002.
The aim of the studies was to describe the visitor response to the new displays and to see whether they were meeting their stated aims.
Front-end and formative evaluation was conducted in 2000 which informed the development of these areas. A report was written in September 2000 which details the findings.
2.1 Introductory display
The aim of this display (two floor to ceiling cases) was twofold:
To communicate the history of the Pitt Rivers Museum
To explain how the Pitt Rivers Museum operates today
It was particularly targeted at first time visitors, which constitute approximately half of all visitors.
The findings of the 2000 research suggested that many visitors (especially regulars) were resistant to the idea of a new style of display and wanted to maintain the traditional objectrich approach. It was decided to mount an entirely two-dimensional introductory display so that people would realise it was different to the rest of the museum yet not a sign of a change in approach. However, in the end the two case display consisted of a mixture of objects, photographs and panels. Most of the information panels were headed with a question. These questions were based on those commonly asked by visitors.
2.2 Body Arts
The new Body Arts display is in the same area as the former one - a row of cases along one wall of the first floor gallery. The key challenge was:
To explore the how and why of personal adornment across cultures and time
Some issues, supported by the 2000 research were,
 focus on techniques and processes
 contextalise the body arts described where possible through the use of pictures showing process or result
 provide additional labels which describe how it was done as well as why, when and where
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Pitt Rivers Museum Summative Evaluation Report (July 2002)
 compare Western/non-Western practices
 provide a central location for books for those wanting more information.
The exhibition is divided into the following sections: mirrors; toiletries; hair; scent; cosmetics; body painting; Uli body painting; childhood; puberty; marriage; adulthood; death; reshaping; scarification; tattooing; Ta Moko.
In most cases the objects retain their original labels, but in addition there is an introductory label in each section as well as occasional labels focusing on a body art practice in a particular geographical or cultural area. A laminated sheet offers additional contextual information relating to each case and label books are provided. There is an information/study area at one end of the display.
Two evaluation tools were selected, accompanied visits and concept mapping (also known as personal meaning mapping - see details below).
A group of students was identified to carry out the studies. Their names are listed in
Appendix A. They were briefed and the evaluation tools piloted over two days in April
2002. The briefing was led by Alison James, Museum Consultant, with Kirsten Ellenbogen,
Project Director from the Center for Informal Learning at Kings College London. No changes were made to the evaluation tools as a result of the piloting and consequently the data collected at this time was included in the final study.
The evaluation was carried out between 25/4 and 19/5 on both weekday and weekend afternoons and at different times. Approximately a third of the visitors sampled came at the weekend. In total 32 accompanied visits were conducted and 25 personal meaning maps completed. This was a smaller sample than the target but was all that was possible in the time available as the students were preparing for examinations. The sample was as representative as possible as the students approached every third visitor/group. Only four people refused to participate giving the following reasons: preferred to go round alone in a group and wanted time to take it all in with a tour group and only had a few minutes language issue
Visitors who took part were thanked and presented with a small gift (a set of postcards relating to the displays). They were not aware of this when they agreed to take part.
3.1 Accompanied visits (whole museum)
The aim of the introductory display was to orientate first time visitors to the unique nature of the Pitt Rivers Museum as well as providing answers to commonly asked questions for all visitors. Rather than focusing on the display itself (which would have strongly influenced the visitor response and therefore led to unreliable data) this evaluation tool was selected to measure the effectiveness of the introductory display to a) attract and b) orientate visitors. It served the additional functions of highlighting particular areas of interest for visitors recording the route they took through the museum
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Pitt Rivers Museum Summative Evaluation Report (July 2002)
Some basic demographic data was also collected about the visitor.
Visitors were approached on their arrival and asked if they would allow the student to accompany them on their visit.
See Appendix B for guidelines
3.1.1 Analysis
After each visit the students who had accompanied the visit wrote a brief report on the experience. The qualitative data these reports contained was analysed manually, looking for trends and particular references made to the introductory display or the Body Arts. This was looked at in conjunction with the demographic data and the route the visitor took through the museum.
3.2 Concept mapping (Body Arts)
The focus of this study was to establish the knowledge and attitudes visitors brought to and took away from the Body Arts display. The focus was not on what they thought of the display (extensive formative evaluation had been undertaken in 2000 and many of the recommendations addressed in the new display
– as detailed in section 2.2). Instead it was a very visitor-centred approach. Visitors were approached before they entered the
Body Arts display and asked if they would be willing to complete a short pre- and post-test.
The purpose was to see how their ideas about Body Arts changed as a result of viewing the exhibition. They were presented with a sheet of paper with the words Body Arts in the centre and asked to note down anything they could think of to do with Body Arts. The student researcher then clarified these words/phrases and made additional notes on the sheet using a different coloured pen. As they left the display they were approached again and asked if there was anything they would like to add or amend. Most of them chose to do this. The student again clarified these additions and made her own notes on the sheet.
Different colours of ink were used for each of the four stages. This approach provides very rich data.
In addition to the pre- and post-tests visitors were observed in the display area and notes made of any significant behaviours.
See Appendix C for guidelines
3.2.2 Analysis
When all the data had been collected Kirsten Ellenbogen was brought in again to advise on the analysis procedure. All the words recorded on the sheets at pre-and post-stage were listed in a table and from this the main concept categories identified ( see Appendices
D & E ). These were the concepts mentioned by those taking part in the study, not necessarily those which the display focused upon – although there is a strong correlation between the two.
For each map, the number of words/phrases used was counted (at pre- and post-stage) to identify the extent of vocabulary used. Then the number of concepts was counted (based on the categories identified) at both stages. This provided information about the breadth of understanding of key concepts. The third stage was to give each map a pre- and post- mark for overall mastery of the theme of Body Arts. This was more subjective, but in order to avoid resea rcher bias, Kirsten Ellenbogen and another researcher, Helen O’Riain, were involved in agreeing these marks and a consensus reached. Each map was scored from 1 to 4, with 1 being a limited understanding and 4 a detailed, in-depth understanding. In
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Pitt Rivers Museum Summative Evaluation Report (July 2002) addition a sample of 8 maps (30% of total sample) were analysed by Helen O’Riain. The inter-researcher reliability showed a high level of agreement with differences in ratings being no more than one in most cases (for results of all scoring see Appendix F) .
3.3 Validity
Firstly it should be noted that the sample size is small and that further data could result in added complexities. Secondly, the presence of the student data collector is likely to have influenced the visit to some extent, in spite of efforts to the contrary. In both studies the person approached often broke away from the rest of their group thus changing their visitor experience. Although this was not the intention, some visitors may have seen the
Body Arts evaluation as a test of their knowledge and how much of the display content they could remember, thus influencing the way in which they approached the displays.
4.1 Nationality
About one third of visitors in these studies were from Oxford (although in many cases they were of overseas origin living in Oxford temporarily). More than half were from elsewhere in the UK and about 16% were from overseas (countries of origin included Australia,
Canada, France, Germany, Holland, Norway, Romania and USA).
4.2 Gender
As in previous visitor studies there were more women than men. This was particularly noticeable in the Body Arts area where 72% of those approached were female.
4.3 Age
The approximate ages of visitors in the accompanied visits were estimated whilst the PMM subjects were asked which age range they fell into. Putting this information together 45% were in their 20s and 30s. This age group was larger for Body Arts at 72% (the target age range for this display was 12-25 year olds). There were very few visitors over 60.
4.4 First-time visitors
Approximately 60% of the visitors sampled were visiting the museum for the first time.
However, in some cases they were with people who had visited before.
4.5 Motive for visit
Between a third and a half of the sample had had PRM recommended or were visiting as tourists. Others were there as part of an educational trip. Some had come to see the Body
Arts display specifically, whilst others were there for research reasons or were seeking inspiration for their work. Some were regular visitors, perhaps bringing a friend, whilst others did not give a particular reason for their visit.
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4.6 Length of visit
40% of the visitors studied stayed between 20-35 minutes and 37% were in the museum for between 45-60 minutes. The shortest visit to the museum as a whole was five minutes and the longest in our sample was 75 minutes. For the Body Arts display alone dwell-time varied between five and 45 minutes, with half the sample staying for 15-25 minutes.
4.7 Number in group
Over a third of visitors in the two studies came alone, whilst about half were in couples.
Only a small percentage of our sample were family groups (approximately 7%).
5.1 Accompanied visits
5.1.1 Visitor profile
The visitors accompanied included local residents; an archaeologist; tourists from the UK and overseas; a former Oxford resident; an antiques company employee; students of textiles, museum studies and language and a researcher who had been visiting the labs.
5.1.2 Route followed
More than half the sample (56%) visited the Court on the ground floor only and never reached the two upper galleries.
5.1.3 Use of interpretative material
Many visitors only appeared to read labels when they required specific information, for example, in response to a question raised by one of the group. It was common for one person in a couple or group to take on the label-reading responsibility. In some cases comments were made regarding the low lighting (making labels difficult to read), the location of the label, or the fact that it was too small to read.
5.1.4 Key words or phrases
Words or phrases visitors used to describe the museum and its displays were as follows: amazing, cabinet of curiosities, confusing, dark, disgusting, exhausting, fascinating, idiosyncratic, impressive, like a maze, muddled, overcrowded, overwhelming, surprising, treasure trove, unique, unusual, variety, wonderful,
5.1.5 Awareness of introductory display
Many visitors walked right past this display case. The sign which said ‘Welcome to the Pitt
Rivers Museum’ was smaller than expected and was inside rather than outside the case.
Most visitors didn’t notice the display at all. Others were deterred from engaging with it due to staff meetings or educational activities taking place in front of it (as reported by the student researchers). Out of 32 accompanied visits only eight people (25%) were recorded as engaging with the introductory display to any extent and even in these cases the words used to describe this suggest a brief engagement, eg. scanned, glanced, briefly, not very interested, skipped it.
5.1.6 Questions answered
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Pitt Rivers Museum Summative Evaluation Report (July 2002)
Many of the questions visitors have about the museum were being addressed in the introductory display, but unfortunately these questions were raised during their visit by visitors who had not engaged with it. They asked questions such as:










Who was Pitt Rivers?

Was he American?







Did he collect all this stuff?
Where does all this stuff come from?
Who got it here?
Are the tags the original labels?
Why is everything mixed up like this?
What do we do?
How do we know where to go?
5.1.7 Favourite display
Favourite objects (mentioned by more than one visitor) included the shrunken heads(4); the Egyptian mummies(3); jewellery(3); the totem pole(2); Inuit material(2); magical items(2); the Transformations exhibition(2); textiles(2) and Body Arts(2). In addition three visitors mentioned items in the Natural History Museum as their favourites.
5.1.8 Reaction to Body Arts display
Most of those visitors who reached the upper galleries viewed the Body Arts display (13 out of 32). In fact for some it was their prime reason for visiting. Reactions and behaviours noted by the researchers included:




No use made of booklets or laminated sheets

Fair degree of interest shown
 Shocked by Body Arts ‘It’s OK to do stuff to yourself but it’s not fair to do it to children,eg. head and foot binding’

Impressed/shocked by head-binding – read labels and booklet extensively
 Spent time in the information area
5.2 Body Arts display
5.2.1 Visitor profile
Visitors included a jewellery designer; a tattoo artist; a dancer from the Torres Straits; art students; an anthropologist; an editor and various tourists; as well as someone who worked in the tourist industry. For some it was an educational visit as part of a university course. Several had come especially to see this display.
5.2.2 Prior knowledge
60% of those sampled stated that they had a particular interest or background in Body Arts
(in five cases this was a personal tattoo).
5.2.3 Personal links
Many visitors made connections between the display and their own experiences. In some cases this related to a personal experience of body arts
– their own or that of a friend - in others the reference was to a visit made to a place where body arts were practised. Other references included:
 He has been interested in tattoos since he was 8 years old and is a tattooist 
 She had a hennaed hand of the tree of life 
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Pitt Rivers Museum Summative Evaluation Report (July 2002)


He has been to Tahiti and understands that each tattoo has a symbolic meaning and identity so he wants to find out more about it 
‘It’s been really amazing…Things I’ve heard of before but never known. Things from where I’m from’ 
‘The display might give me some inspiration for jewellery design’  
 He is interested in Body Arts but he is not brave enough to make a commitment to his body

5.2.4 Strong feelings
Several visitors expressed strong feelings, for example:



One visitor made four references to pain, eg. ‘carving skin – how painful!’
Another stated ‘Foot-binding is disgusting!’
A Norwegian visitor expressed her concern for the Mongolian people forced to

 sell their jewellery and her feelings of guilt in buying it.
Another visitor used the words ‘powerful > frightening’
A student recorded ‘He seems to be shocked by reshaping (Blackwood’s photo)’
5.2.5 Evidence of new learning
Several visitors made corrections to their map sheets after their visit, or added words to previous notes demonstrating that visiting the display had changed their understanding of/or attitude towards Body Arts, for example:
 Five people mentioned stages of life such as birth, marriage, death etc. after


 they had viewed the exhibition, whereas none had beforehand. This demonstrates that they now associate these stages with Body Arts

More people mentioned reshaping after visiting the display than had before (5) so this was clearly a new insight for some

Several visitors made references to the diversity of practices represented, and made comparisons between cultures and over time (stated aims of the display)

Overall, most visitors understanding of Body Arts improved in terms of the extent of vocabulary used and the range of concepts identified (see Appendix F).

5.2.6 Comments on the display itself
Some visitors were surprised to find certain items included such as tools of the trade
(mirrors, tweezers, etc.) and Western make-up which some argued did not have a place in a Body Arts display. Comments included
 She thinks the museum over-emphasises the ritual aspects 

The fact that objects such as nail scissors, tweezers, make-up were exhibited was unexpected 
 More written information needed structured information) 
– so many artefacts – confusing (need more
5.2.7 Visitor behaviour
Some visitors spent a lot of time in particular sections of the displays. This relates to different ways in which people choose to learn, some focus in on certain objects or themes
(spotlight) and others prefer to get a general overview (floodlight). Sections which appealed to the ‘spotlight’ visitors included the Maori tattoo section – Ta Moko; the perfume containers, Tattooing, Reshaping and Cosmetics. In addition:
 Some visitors focused more on the desktop cases than the upright ones
 Visitors who came with others often talked animatedly about the content of the display
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Pitt Rivers Museum Summative Evaluation Report (July 2002)


Some visitors read many of the laminated sheets provided
Several visitors looked at both sides of the display area assuming both were
 part of the new Body Arts display
Some took notes and made drawings
5.2.8 Text echo
This is the term used to refer to words or concepts visitors used which were mentioned in the display itself. For example the poster included the following words: Piercing, tattooing, scarring and binding. In several cases these actual words were used by visitors, for example, 18 visitors mentioned tattoos or tattooing, 12 mentioned piercing, nine referred to scarification and nine to reshaping. The section headings were listed in section 2.2.
6.1 Introductory display
That a large Welcome to the Pitt Rivers Museum sign be mounted along the top of the introductory display
That meetings or activities are not held in the area in front of these display cases
That front front-of house and shop staff take more responsibility for directing first time visitors to this introductory display
That additional orientation be provided such as trails for visitors focusing on particular themes, for different lengths of visit and for different ways of looking
That the text of the introductory display be provided in a different format such as laminated sheets and/or a booklet
6.2 Body Arts display
That the principle of multi-level interpretation be extended to other displays in the museum
6.3 General
That further analysis be undertaken, using the raw data provided by these studies and additional data collected as required in the future to build up a better picture of the visitor experience from the visitor’s point of view.
Even from this small-scale study it must be concluded that the introductory display is unsuccessful in its attempt to explain the history of the museum and how it operates. This was not particularly because of its content, but because most visitors failed to notice it at all and those who did did not engage with it for any length of time. As suggested in the
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Pitt Rivers Museum Summative Evaluation Report (July 2002) recommendations the information it contains could perhaps be provided in other ways and more attention could be drawn to it by members of staff.
The Body Arts display, however, has been very successful. It is meeting visitors’ expectations and facilitating the development of new ideas and a desire to find out more.
Visitors are spending considerable periods of time viewing it and it generates social interaction and conversation. The various levels of interpretation provided mean that visitors can approach the subject at different levels and seek more in-depth information if required.
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Pitt Rivers Museum Summative Evaluation Report (July 2002)
Noriko Ito
Seong Eun Kim
Minaz Master
Jennifer Lee
Jamie Wallace
RhiannedSmith
Emily Stoke-Rees
With many thanks to them and also to Kate White, Marketing & Visitor Services Officer, who was closely involved in the planning and implementation process.
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Pitt Rivers Museum Summative Evaluation Report (July 2002)
Background and briefing
The introductory display is new. It is designed to orientate visitors. Whether they look at it or not it will be interesting to collect information about the way in which they experience the museum, eg. the route they take, what they talk about, why they are visiting. Previous research has shown that regular visitors love the museum and don’t want it to change. They probably have their usual route through the museum and favourite exhibits they like to see. First time visitors are likely to feel slightly confused at first. It will be interesting to record these different visitor experiences to see if we are meeting their needs and to find out what else we could be doing.
What you need
Clipboard and pen
Proforma questionnaire and floorplan
Supply of thank you postcard sets
What you do
See attached proforma with questions.
Approach every third visitor/group of visitors as they enter the main museum and introduce yourself. Explain the purpose of the evaluation and follow the instructions on the attached sheet. If a visitor does not wish to participate make a note to record in the refusal log. If their reason is language-related try to reassure them and encourage them to allow you to join them.
If they agree then you accompany them on their visit for as long as it takes. Remember to record arrival/departure times as well as what they do, say and factors which influence their visit.
Guidelines
Do not answer any questions they ask about the museum and do not lead or guide the visit in any way.
Respond in a friendly way but instead of telling them things suggest how they might find out (eg.
“Perhaps we could ask an attendant?”
). Try to behave like an ordinary visitor.
Record their approximate route on the plan and take notes of particular comments/general observations during the visit, as well as answers to the questions on the attached proforma. Note down if they have any orientation problems or any difficulties understanding the purpose of the museum/its displays, and what sort of displays seem to attract them/hold their attention.
If the group splits up stay with the person you originally approached. Note down who is the decision maker
(if a group).
When they are talking about the museum and the displays ask questions which will help to clarify meaning.
Use prompts such as:
Why do you think that?
Can you elaborate?
What do you mean when you say …?
Can you tell me more about that?
Please write a report based on your notes after each accompanied visit which sums up the visitor experience of the museum as you saw it, using the visitors’ own words wherever possible. Try to do this as soon as possible – don’t get behind as it will be hard to remember. Pass these on to Kate each week and she will forward them to Alison.
If you have any immediate practical problems speak to Kate White at the Pitt Rivers Museum. If you have any other problems contact Alison James on 0797 946 7740 or alison.james@btconnect.com
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Pitt Rivers Museum Summative Evaluation Report (July 2002)
Proforma & questionnaire for accompanied visits
“Hello, my name is _______ and I am a student helping the museum with some research.
We are doing some evaluation of people’s experience of the museum. We want to know what it is like to be a visitor.
Would you mind if I came round the museum with you today? I will ask you occasional questions and take some notes but will try not to disturb your visit.”
“Please go wherever you wish in the museum and do not let me influence you in any way. Feel free to tell me what you are thinking as we go round.”
Questions which should be asked/answered at some point during the visit.
They do not need to be asked in any particular order and should occur naturally in conversation. If at the end of their visit you have unanswered questions ask them to spend a few minutes answering any remaining ones before you give them their thank you gift:
Arrival time__________
1. Make-up of group
5.
4.
3.
2.
No. of adults ________ M/F _________
No. of children _________ M/F _________
(note approximate ages/exact ages where possible)
Nationality of group _________________
If UK-based, where are they from? _______________
Have they visited the museum before? Y/N
If yes, find out how often and what they like/remember about it
What was their reason for coming today? eg. to visit a particular display?
Do they go to museums often? How else do they spend their leisure time?
6.
7.
What do they think of this museum compared to others?
What was their favourite part of the museum? (this might be the shop!)
If possible it would also be useful to have an idea about their profession/educational background.
Departure time ______________
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Pitt Rivers Museum Summative Evaluation Report (July 2002)
Red: Pre-visit Visitor
Blue: Pre-visit You
Green: Post-visit Visitor
Black: Post-visit You
SURVEY NUMBER_________________________
Researcher____________________________
Day and date_______________________
PRE-VISIT
“My name is _______ and I am helping the museum with some research. We have a new display on
Body Arts, Could you spare some time to talk to me about your views on Body Arts ? It should take about 5 minutes now. And then I’d like to talk to you again for about 5 minutes after you go through the display.”
Q1.
Number of adults in group_______ Number of children in group_______
Q2.
Gender of person interviewed M F
If yes
: “I need to get a few details first, and then I’ll ask you to do an activity about Body Arts.”
If no: encourage to participate with prompts eg.
“Any thoughts, feelings, ideas you have about Body Arts will be very useful”
Q3.
Age Group
“Which age range are you in?”
(1) 15 or under (4) 25 to 34 (7) 55 to 64
(2) 16 to 19
(3) 20 to 24
(5) 35 to 44
(6) 45 to 54
(8) 65 plus
Q4.
“Is this your first visit to the Pitt Rivers Museum?”
Y N
Q5.
“Do you have any interest or background in Body Arts?”
(If yes, and no explanation, prompt:
“Could you explain?”)
Give the visitor the PMM and ask:
“On this sheet of paper, I’d like you to write down as many words, ideas, images, phrases or thoughts that come to mind related to Body Arts. What does it mean to you?”
Allow visitor to take own time completing PMM sheet, then take it back with the pen (change colour) and ask clarification questions:
Prompt 1: (for each word)
“Can you explain why you wrote down this word?”
Prompt 2:
“Do you want to expand on what you’ve written?”
Prompt 3: (if unclear)
“What does this word mean?”
or
“Just to confirm, this word is….”
“Thank you. we’d like to talk to you briefly after you have seen the Body Arts display. (Could you wear this sticker so that we can identify you later?) You can look for me or my colleague as you leave the display.”
TIME ENTERED EXHIBITS ____________
Observe them unobtrusively while they look at the display and note any particular behaviour.
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Pitt Rivers Museum Summative Evaluation Report (July 2002)
POST-VISIT SURVEY NUMBER________________
TIME LEFT EXHIBITS__________
Meet them at the end and take them to the table.
“Hi. I’d like to follow up on the interview you did earlier. If you have about five minutes now we can complete the interview and I’ve got a small thank you gift for you.”
Q6.
“Where do you normally live?”
If in the UK ask for postcode ______________
If overseas name country __________________
Q7.
“Why did you choose to visit the Pitt Rivers Museum today?”
Give the visitor their PMM sheet and ask :
“Is there anything related to Body Arts you would add, remove, rearrange or change here?”
Let the visitor add anything then take the sheet and pen back (change pen colour) and ask clarification questions:
Prompt 1: (For each word) “Can you explain why you wrote down this word?”
Prompt 2: “Do you want to expand on what you’ve written?”
Prompt 3: (Only if you cannot read a word or something is unclear)
“What does this word mean?” or “Just to confirm, this word is….”
Record any general comments the visitor makes about the display – positive or negative.
Thank when completed and give gift.
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Pitt Rivers Museum Summative Evaluation Report (July 2002)
Survey No.
1
(Key: The categories in red were allocated at the post-test stage)
Post Visit words
2
3
4
Pre Visit words
Rituals & ceremonies
Braveheart - face painted blue - tribal thing to change body
Tattoos
Piercings - shop for piercings called Body
Arts
Body decoration
Tribal ornaments - neck ring, earloop
Dress - headdresses
Ancient belief
China - amulets for protection
Painting body/face painting
Improve/make different
Make-up
Hair decoration/hair styles
Cutting/self-mutilation
Facial hair - beards, etc. - often for decoration
Henna
Body piercings
Tattoos - obvious form of body arts
Clothing - membership of a group/belonging, eg. pop (punk?) rockers
Personal statement of fashion today
Indian tribal markings
Nose and belly button piercing
Tattoos
Loads of tattoos
Thinks of Indian tribal stuff more than modern tattoos & piercings
Painting - henna
Tattooing - working class motifs - sailors & anchors, more modern, tribal - NZ Maori - flowers in strange places, texture, bumps, foreign substances into cut - heal in bump
Piercing - ear piercing & bizarre other - tongues & genitalia - people who hang selves by piercing
Body modification by constraint - Japanese geisha - bind feet, African stretch necks, egs.
In museum - heads bandaged - change shapes
Rituals
Stages in life - puberty, marriage, death
Differences at each stage
Different decorative clothing
Head reshaping - neat
Indian face reshaping
Corsets - didn't know as body art
Clothing - corsets - distortion, fashion. Jewellery - inserted into slits in lips, ears, etc.
Head distortions, neck lengthening, changing body shape, medical implications
Perfume
Rituals - puberty, marriage, death, childhood
(knocking out teeth when boys reach puberty, body painting - symbolic of manhood - if kill someone) mirrors - viewing the body teeth modifications hair - rituals associated in death protection with amulets & clothing & painting for good luck/against evil
Death - retaining parts for magic & memories - weave hair into jewellery
& bracelets - Victorians did it -
Category
RITUAL
TRIBAL
CHANGE/BE DIFFERENT
PAINTING (FACE/BODY)
TATTOOING
PIERCING
DECORATION
JEWELLERY
CLOTHING
BELIEF
GEOG. REF.
TIME REF.
PAINTING (FACE/BODY)
CHANGE/BE DIFFERENT
SCARIFICATION
HAIRSTYLES
DECORATION
PIERCING
MUTILATION
TATTOOING
CLOTHING
IDENTITY
RITUAL
STAGES OF LIFE
DIVERSITY
FASHION
TRIBAL
PIERCING
TATTOOING
GEOG. REF.
TIME REF.
RESHAPING
PAINTING (FACE/BODY)
TATTOOING
SOCIAL REF.
TIME REF.
GEOG. REF.
TRIBAL
SCARIFICATION
PIERCING
RESHAPING
CLOTHING
FASHION
JEWELLERY
GENDER REF.
PERFUME
RITUAL
STAGES OF LIFE
TOOLS
HAIRSTYLES
BELIEF
DISPLAY REF.
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Pitt Rivers Museum Summative Evaluation Report (July 2002)
People with free will
Person with unconventional mind
Body art is permanent
Negative implications such as culturally specific negative stereotypes - which may affect job, etc. eg. banker is not supposed to have tattoo because of the socially constructed expectation re being a banker remembered - keep bones
Misunderstood term BA
BA dynamic & diverse
Changed concept/perception because realised the religious significance.
Thought BA only tattooing
Realised diverse and practised in different ways
BA has religious and aesthetic/artistic significance
Decoration - looks nice
Culture - Hindus - part of religion?
Fashionable - more acceptable now than it used to be
Self-mutilation - aggressive piercings
Statement - show what sort of music you like
Drawings/sculptures/paintings - figure - pose - loose/tight, muscles/tendons - clay figure/body posture
'my body is my temple' - spiritual people - living in your head actually body painting - tattoos, henna, ritual painting - religious/ceremonial piercing social group dark or light make-up tribes painting themselves - on TV
Coming of age - when becoming a woman (initiation)
Clothes - ritual
Marriage
Disfiguring - neck-rings, corsets, foot- binding, head-binding
Foot-binding is disgusting!
Jewellery - everything from lip plates, head ornaments, beads (feels guilty buying jewellery from Mongolia)
Tattoo
Beautification - looking well, being pretty, signal, symbol
Piercing
Pain - initiation rituals like circumcision - pleasure of pain
Scarification
Mutilation - thinking of women who are circumcised it is beautification in a sense but it is negative
Something about object and the attachment to it
Naked body as a neutral canvas, as neutral as face - thinking of African tribes like Hinba who do not wear clothes (but they do not find naked body erotic but artistic)
Punk - tattoo - obvious body art
Scarification - jewellery - pictures/photographic book - images
Body surfing - because he wasn't sure how wide the definition of BA is - admitted was a
Definition (meaning) of art is something aesthetic(al) - less functional. The fact that objects such as nail scissors, tweezers and makeup were exhibited were unexpected.
Didn't see them as body art. Their function is to get rid of something more mundane, connected to getting rid of some kind of dirt. Good exhibition - easy to relate to in the sense that we all use body arts. It's close to yourself. It's easy to identify with yourself contrary to lower gallery and everyone can relate to it in some ways. Other display cases
(opposite) less 'explicit' - too many objects and no pictures or examples to tell me something about object.
Interactive thing.
I knew lipstick was always going to be included but I realise now that what made me deny it was an earlier feeling that BA should be deeroticised (why? Because that is a challenge for museums today).
The exhibition is quite good at reminding you of the common erotic motive for BA.
CONVENTION
CULTURE
SOCIAL REF.
BELIEF
TATTOOING
DIVERSITY
DECORATION
CULTURE
BELIEF
FASHION
MUTILATION
PIERCING
IDENTITY
CONVENTION
MOVEMENT/DANCE
PAINTING (BODY/FACE)
TATTOOING
BELIEF
RITUAL
PIERCING
SOCIAL REF.
TRIBAL
GENDER REF.
STAGES OF LIFE
CLOTHING
RESHAPING
Strong feelings
JEWELLERY
GEOG.REF.
TATTOOING
BEAUTY
IDENTITY
RITUAL
PIERCING
PAIN
SCARIFICATION
MUTILATION
GENDER REF.
Strong feelings
REF. TO DISPLAY/INTERP
TOOLS
PAINTING
Personal link
TATTOOING
SCARIFICATION
IDENTITY
JEWELLERY
CLOTHING
SEXUALITY
TRIBAL
MOVEMENT/DANCE
PAINTING
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Pitt Rivers Museum Summative Evaluation Report (July 2002) bit silly
Mime artist - because he was not sure re anthropological definition of BA. Outside of museum context he thinks mime artist is body art.
Houdini - link to mime artist
Does not include lipstick - doesn't think
Western make-up counts as BA
Beauty - Turkana bead necklace - he's working on book on Turkana
Body art in modern times is a way of reclaiming the body and using it as a canvas for experiences, images and gifts to yourself and others - way of sharing, gratitude. He is a tattoo artist - interested in tattoos since age of
8. Put piece of art on people - change, people need certain look/theme to be tattooed. It is part of his lifestyle. His job involves social aspects - not just tattooing.
Piercing
Self-expression
Self-discovery
Fashion statement
Socially acceptable? - fashionable
Painful!
Older generations are often shocked
Tattoos
Piercing - what people do
Hairstyles and accessories
Face painting
GEOG. REF.
BEAUTY
Personal link
SEXUALITY
REF. TO DISPLAY/INTERP.
By reclaiming the body means events may happen in your life that may warrant a new addition to your body art - at times of crisis or happiness, etc. It gives you a chance to have your body the way you want it as you are very much given what you have - or in a religious context, eg.
Christian, you must not ruin what
God has given you, however, I feel that it is important to look how you like and body art is a part of that as long as you accept the consequences, i.e. more visible than someone who hasn't got many/any tattoos, and you sometimes get unfavourable responses but mostly it is positive, it is certainly a conversation starter and
I feel much happier now that my body is adorned with art than when it wasn't.
Painful (underlined) - because realised BA involves effort and pain
TIME REF.
Personal link
TATTOOING
CHANGE/BE DIFFERENT
IDENTITY
CONVENTION
BELIEF
STAGES OF LIFE
PIERCING
EXPRESSION
FASHION
CONVENTION
PAIN
SOCIAL REF.
Tattoo
Piercings
Tattoo - henna
Paint for beauty
Contorting the exterior
I have very Western 20 th western but all over the world.
Scarification
Body adaptation and reshaping
Additional accessories - hair extensions, make-up, toiletries, perfume, etc.
/21 st century bias - opens up your mind - not only
Scarification
Global
Ancient and modern
Binding isn't BA
Football supporters
Thought I'd see a punk
Painting - football make-up and such
Distortion
Reflections upon social class
Expression of
TATTOOING
PIERCING
HAIRSTYLES
PAINTING (FACE/BODY)
TIME REF.
GEOG. REF.
SCARIFICATION
RESHAPING
TOOLS
PERFUME
TATTOOING
PIERCING
SCARIFICATION
GEOG. REF.
TIME REF.
RESHAPING
IDENTITY
PAINTING (FACE/BODY)
TATTOOING
PAINTING (BODY/FACE)
RESHAPING
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Pitt Rivers Museum Summative Evaluation Report (July 2002)
Yves Wein's Blue- being the brush
Expression
Making the most of what's already beautiful
Sharing inspiration with those who can see it
Body coiling
Tree of life - had henna-ed hand of tree of life
Indian facial decorations/pictures
Beads - for body decoration (women)
Associated with some ceremonies
Piercing
Elongated lobes
Dark thick tattoos - Maori tattoo - face/arm
Expression - different culture - different expression
Movement - sometimes BA restricts movement
Identity - aboriginal people
Northern Thailand - girls wearing rings round their ankles - sounds, eg. from earrings disturb
Tradition eg. group markings - identity (more minority cultures) - let people know things about you
Decoration
Tattoos - I have a rose tattoo on my stomach
Scarification - friend has a pattern scarred into his back as decoration - it's like a white tattoo means just scarring pattern - also people can feel tattoo.
Jewellery - rings, etc. which we wear
Ceremonial - purpose, eg. religion
Tahitian body tattoos - has been to Hawaii - understands each tattoo has symbolic meaning
& identity so wants to find out more about it
Interesting
Scary - because some aspects not common to everyday experience
Jewellery
Tattoos
Adornment
Decoration
Tribal - tattooing, body decoration
Tradition - cultures have their own tradition eg. dress
Expression - modern culture as well among young people
Moko - type of facial tattoo - Maori
Paint masculinity/sexuality/bravery
Extraordinary
Decoration related to religious ceremonies
What to wear
How the ceremonies proceed
More written info - so many artefacts confusing - need more structured info
Wouldn't remove anything - things from quite different countries interesting.
Make-up - did not think of it as BA - thinks BA & body decoration are separate things. She says PRM's view
(?) of BA overemphasises ritual aspects.
Pointed out example from Africa - picture of African man
Unexpected (whole museum) is really exhaustive - things from everywhere
Number of objects and information unexpected
Weird
The display might give some inspiration for jewellery design
BEAUTY
EXPRESSION
Personal link
SOCIAL REF.
GENDER REF.
SEXUALITY
DECORATION
GEOG. REF.
JEWELLERY
GENDER REF.
RITUAL
BELIEF
CLOTHING
PIERCING
RESHAPING
TATTOOING
GEOG. REF.
EXPRESSION
DIVERSITY
MOVEMENT
IDENTITY
JEWELLERY
REF. TO DISPLAY/INTERP.
CULTURE
IDENTITY
DECORATION
TATTOOING
Personal link
SCARIFICATION
JEWELLERY
RITUAL
BELIEF
PAINTING (FACE/BODY)
REF. TO DISPLAY/INTERP.
GEOG.REF.
TATTOOING
IDENTITY
Personal link
GEOG.REF.
Strong feelings
REF. TO DISPLAY/INTERP.
DIVERSITY
JEWELLERY
TATTOOING
DECORATION
TRIBAL
CULTURE
CLOTHING
EXPRESSION
TIME REF.
CULTURE
GEOG. REF.
PAINTING (FACE/BODY)
REF. TO DISPLAY/INTERP.
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Pitt Rivers Museum Summative Evaluation Report (July 2002)
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Nail painting
Hairstyle/colouring
Applicable to both ancient and modern
Ancient
Earrings - SE Asian, African, big earrings
Piercings
Exotic - tribal
Bracelets
Intricate - complicated design
Jewellery
Tattoo - first word that comes to mind
Materials - wood, ink, metal
Modern
Ceremonial - not everyday life, special occasion
Colourful - not just shaded
Powerful - frightening - strong contrast - powerful impact
Attention to detail - at first glance sort of big image overall but it consists of tiny parts
(labour intensive task)
Body dancing - dance to express ourselves, tell people or each other who we are
Body living - the body lives when we can't dance - we go back to when we aren't alive
Body singing - sounds and silence and rhythms of living & dancing. Sound is an ancient form of expression - communication with outer world around you
Body going to the time of life and agent of the body is the arts of life - through our ancestors, change our songs and dances, communicate where we're from, who we are, repetition in different times
Tattooing - it's his experience and something fascinating (tattooed bodies)
Decoration - for various reasons
Painful? His perception about tattooing had been 'painful' - the photographs looked painful
Ceremony - carving skin - how painful!
Initiation
Sexual attraction
Personal adornment
Make-up - make you beautiful - but quite different from present make-up
Rituals - puberty, marriage, funeral - make you appropriate for these rituals
Everyday life - not necessarily for special events
It's been really amazing to see objects removed from the area. Things I've heard of but never known. Things from where I'm from.
Painting
Reshaping (he seemed to be shocked by Blackwood's photo in Reshaping)
Adornments
Jewellery
Decoration
Personal link
PAINTING (FACE/BODY)
HAIRSTYLES
TIME REF.
JEWELLERY
GEOG. REF.
PIERCING
TRIBAL
TATTOOING
TOOLS
PAIN
Strong feelings
SCARIFICATION
STAGES OF LIFE
RITUAL
SEXUALITY
RITUAL
Strong feelings
DECORATION
PAINTING (FACE/BODY)
BEAUTY
TIME REF.
STAGES OF LIFE
MOVEMENT
EXPRESSION
TIME REF.
IDENTITY
Strong feelings
GEOG. REF.
Personal link
Beauty
Modification
Culture - cultural ideas about beauty
Decoration - changing, especially to fit cultural 'ideal'
Make-up
Scarring
Tattoo
Moko - Maori word for tattoo - because she's from New Zealand
I found it interesting the way the exhibition highlighted the changes of life (puberty, etc.) through
BA/decoration/symbols
Jewellery
TATTOOING
Personal link
DECORATION
PAINTING (FACE/BODY)
RESHAPING
JEWELLERY
Strong feelings
BEAUTY
RESHAPING
CULTURE
DECORATION
CHANGE/BE DIFFERENT
CONVENTION
PAINTING (FACE/BODY)
SCARIFICATION
TATTOOING
Personal link
GEOG. REF.
REF. TO DISPLAY/INTERP.
STAGES OF LIFE
JEWELLERY
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Pitt Rivers Museum Summative Evaluation Report (July 2002)
BTY beauty, beautiful
BEL belief, religion, protection, luck
CH change, make different, be different
CLO clothing, dress
CON conformity/lack of, conventions
CUL culture, tradition
DEC decoration, adornment
DIS reference to display itself, objects or interpretation
DIV diversity, differences
EXP expression
FAS fashion
GEO geographical reference
GEN reference to gender, men/women
HR hairstyles
ID identity
LIF stages of life – birth, puberty, marriage, death, etc.
JWL jewellery
MOV movement, dance, mime
MUT mutilation
PN pain
PNT painting of face or body, make-up
PER perfume
PRC piercing
RIT ritual, ceremony
RSH reshaping
SCA scarification, cutting
SEX sexuality, eroticism
SOC reference to social; class, society,
TAT tattoos, tattooing
TIM time reference
TLS tools, eg. tweezers, etc.
TRI tribal
Additional note to be made if anything falling into any of the above categories could also be described as a
personal link, or strong feelings
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Pitt Rivers Museum Summative Evaluation Report (July 2002)
Map no. Extent - vocabulary Breadth of concepts Mastery of Body Arts
1 16 – 16 12 – 12 2 – 2
2
3
4
19
– 27
9 – 12
22 – 51
8
6
9
– 13
– 7
– 20
3
1
3
– 3
– 2
– 4
5
6
7 – 14
11 – 11
3 – 6
8 – 8
2 – 3
2 – 2
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
21 – 33
31 – 50
25
– 30
15 – 27
8
– 9
5 – 14
2
– 10
10 – 15
6
– 9
14 – 18
17 – 22
4
– 4
4 – 8
17
– 18
22 – 30
14
– 25
16 – 20
6
– 13
13 – 19
8 – 12
11 – 14
11
– 12
5 – 8
6
– 6
4 – 10
2
– 8
5 – 8
5
– 7
9 – 10
9 – 11
3
– 3
0 – 2
11
– 12
9 – 14
1
– 6
4 – 5
2
– 5
10 – 13
2 – 3
4 – 4
3
– 3
2 – 2
3
– 3
2 – 3
1
– 3
3 – 3
2
– 2
3 – 3
2 – 3
1
– 1
1 – 1
3
– 3
2 – 3
1
– 3
1 – 2
1
– 2
2 – 3
Those marked in red show an improvement in mastery of Body Arts
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