Discussion How to Engage All Stakeholders in Program Evaluation

Discussion: How to Engage All Stakeholders in Program
Evaluation
Stakeholder involvement and buy-in are arguably among the
most important aspects of program evaluation.
Without involvement and buy-in, evaluation efforts will fall
short of its goals as comprehensive data collection will be
invalid, or even worse, unobtainable.
What can you do as a leader to not only engage all stakeholders,
but to help them to understand the importance of their active
involvement?
In this Discussion, you revisit the in-service training at Connor
Street Early Childhood Program.
The stakeholder discussion had been a lively one, and by the
end, Sabrina and her colleagues were able to use the unique
traits of each stakeholder group to create brief profiles:
Stakeholders
Profiles
Teachers
Teachers are new to the formal evaluation process. Children's
academic and social-emotional developmental areas are primary
drivers. Assessments and data collection are already taking up a
lot of time and there is much fear about how to juggle more
evaluations.
Families
Family dynamics have changed over the last few years with
many new families moving into the area. English is the second
language for many heads-of-households. Kindergarten readiness
and safe places to play are primary drivers. Almost all families
work long days outside of the home.
Support Staff
The home-based manager splits her time with three other
programs in the community. She checks in with Connor Street’s
home-school liaison once a week. Her primary concerns are the
monthly averages of home visit numbers and length of time

spent at homes.
The health assistant assumes multiple responsibilities
throughout the day. She runs the clinic, tending to hurt or sick
children, fills in at the front office when needed, and also
counsels children who come to school upset. Once a year, she
performs vision and hearing screening on each child who
attends the program. Children’s health and well-being are her
primary drivers.
Accrediting Agency
Accrediting agencies hold all programs accountable for
achieving quality standards. The provision of educational and
developmental services and resources are primary drivers.
Community
The community consists of working class and low-income
families. Mainly residential, the community holds a handful of
free events throughout the year such as movies on the lawn,
fairs, and holiday celebrations. Though the community wants to
give more, the lack of established businesses in the area
negatively impacts the ability to hold fundraisers or food drives.
To prepare
Watch the media presentations in which presenters share how
stakeholders were impacted by accreditation and evaluation
processes. Then—with the Connor Street scenario in mind—
review "Chapter 36, Section 3" and "Chapter 27, Section 1" of
the Community Tool Box series. Though written in a community
health context, consider how the interests and needs of all
stakeholders are considered when designing and implementing
evaluations. As an early childhood leader, how can you build
upon this best practice to engage early childhood professionals,
staff, and families in the evaluation process? Furthermore, how
might you ensure that engagement efforts are culturally and
linguistically responsive?
By Day 3 of Week 5
Post the following: Briefly explain how you might engage each
of the stakeholder groups presented in the scenario. Then,

explain which stakeholder groups might be the most difficult to
engage and why. Describe potential barriers that might prevent
effective engagement. Support your response with in-text
citations and references from the required readings and
viewings by following the APA style guide.
Read selections of your colleagues' postings.
https://eclkc.ohs.acf.hhs.gov/data-ongoing-monitoring
http://nieer.org/wp-content/uploads/2016/08/7-1.pdf
https://www.naeyc.org/principles-effective-family-engagement
https://eclkc.ohs.acf.hhs.gov/sites/default/files/pdf/measuring-
what-matters-exercises-02.pdf
http://ctb.ku.edu/en/table-of-contents/culture/cultural-
competence/understand-culture-social-organization/main
http://ctb.ku.edu/en/table-of-
contents/evaluate/evaluation/interests-of-leaders-evaluators-
funders/main
Reproduction
Chapter 6
Lazzari/Schlesier, Exploring Art, Revised 5th Edition. © 2020
Cengage. All Rights Reserved. May not be scanned, copied or
duplicated, or posted to a publicly accessible website, in whole
or in part.

Clan & the Nuclear Family
Chapter 12
Learning Objectives
Describe how many cultures have created images to aid them in
achieving fertility.
Identify the ways in which various cultures have pictured
reproduction, progeny, and sexuality.
Trace the mother and child theme throughout time and across
several cultures.
Discuss how class is depicted through the art of various cultural
groups.
Describe how works of art identify a particular clan.
or in part.
Map 2
Map 2 The Development of Agriculture.
or in part.
Introduction
Human reproduction and sexuality are basic for the survival of
the human race.
Art has aided and pictured human fertility, reproduction, and
sexuality with:

charmlike figures.
phallic symbols.
fetishes.
erotic images.
paintings and sculptures of marriage and children.
Henry Moore’s work (Fig. 6.1) references both modern and
ancient art that visually expresses the power of human
reproduction.
or in part.
Figure 6.1
6.1 Henry Moore. Draped Reclining Mother and Baby, 1983.
Bronze, 8' 8 1/2" long. Fukuoka Art Museum, Fukuoka
Prefecture, Japan.
or in part.
Figure 6.2 (1 of 2)
6.2 Female Fertility Figure, found at Çatal Hüyük, Anatolia
(modern-day Turkey), c. 6000 BCE. Terra-cotta, 7 3/4" high.
or in part.
Figure 6.2 (2 of 2)

This small, regal figure is enthroned and attended by lions.
She was found in a grain bin, suggesting her role in the success
of her culture’s fecundity.
or in part.
THE PROMISE OF FERTILITY
Fertility Goddesses and Gods
Earliest fertility artifacts from the Paleolithic and Neolithic
periods were small sculptures of females depicted:
as fleshy.
with swollen bellies.
with accentuated breasts and thighs.
duplicated, or posted to a publicly accessible website, in w hole
or in part.
Figure 6.3 (1 of 2)
6.3 Venus of Willendorf, Austria,
c. 25,000–20,000 BCE. Stone. 4 3/8” high. Naturhistorisches
Museum, Vienna.
or in part.
Figure 6.3 (2 of 2)
Although sometimes labeled a fertility goddess, this small
sculpture was likely more a charm or a fetish.

She may have been used:
during childbirth.
to ward off death.
to wish for good health.
for good fortune.
or in part.
Figure 6.4 (1 of 2)
6.4 Idol from Amorgos, Cycladic Islands off mainland Greece,
2500–2300 BCE. Marble, 2' 6" high. The Ashmolean Museum,
Oxford, UK.
or in part.
Figure 6.4 (2 of 2)
Slender and delicate, this abstract nude with pointed toes seems
to emphasize feminine youth.
These “plank-idols” were found in burials, and may have been
meant to give new life to the dead.
or in part.
Figure 6.5 (1 of 2)
6.5 God Te Rongo and His Three Sons, Cook Islands, Polynesia,

c. 1800–1900. Wood, 2' 3 3/8" high.
The British Museum, London.
or in part.
Figure 6.5 (2 of 2)
In the 19th century, male fertility pieces were produced by
Oceanic cultures.
In comparison to the rest of the figure, the large penis
emphasizes the virility of Te Rongo.
Male sculptures were carved for religious rituals by Ta’unga, or
“priests.”
The art object was:
meant to endure, passing from one generation to the next.
a symbol of prestige and rank.
exclusive to those of power and rank.
a source of sacred information.
or in part.
Figure 6.6 (1 of 2)
6.6 Figure of a Deity: A’a Rurutu, Austral Islands, collected in
1820. Wood, 3' 8" high. The British Museum, London.
or in part.

Figure 6.6 (2 of 2)
In central Polynesia, ancestor deities known as “Tangaroa”
figures represent a creator in the act of creating human beings.
This figure’s body and face are covered with crawling,
infantlike beings.
The back of the deity is hollowed out and contains additional
small figures, which may refer to the mythical creation of
humankind or the creation of a specific ancestral line.
or in part.
Figure 6.7 (1 of 2)
6.7 Initiation Rites of Dionysos, Villa of Mysteries, Pompeii,
Italy, c. 50 CE. Fresco.
or in part.
Figure 6.7 (2 of 2)
This fresco depicts a solemn ritual associated with sexual
intercourse and fertility by the mystery cult of Dionysos.
The illusionist frieze (a decorative horizontal band found in
architecture) shows figures striking classic Greek poses against
“Pompeian Red” panels.
The nearly life-size figures, with convincing volume and
anatomy, move and turn in a shallow space on a trompe l’oeil
(“fool the eye”) ledge.

or in part.
Figure 6.8 (1 of 2)
6.8 Potawatomi Male Figure (love doll), Crandon, Wisconsin,
1800–1860. Wood and wool fabric, 9" high.
or in part.
Figure 6.8 (2 of 2)
Potawatomi Male Figure was used as a charm to cast a spell on
someone whose attentions were desired.
This male love doll was used as “medicine” to control human
behavior and health.
To have successful “medicine,” the owner of the doll would
have been spiritually prepared and, through dreams or visions,
been given special powers by the spirits.
or in part.
Figure 6.9 (1 of 2)
6.9 Standing Female Figure, Bamana, Mali, Africa, 19th C.
Wood, copper, beads, and metal: 1' 8 1/2" high. Detroit Institute
of Arts.

or in part.
Figure 6.9 (2 of 2)
The Bamanian female figure made of wood and metal is
associated with a female fertility cult.
These figures were brought out in public to aid women who
were having difficulty conceiving or giving birth.
or in part.
Figure 6.10 (1 of 2)
6.10 Ashanti Akua’ba Doll, Ghana, Africa, c. 20th century.
Wood, 1' 1" high. The British Museum, London.
or in part.
Akua’ba Ghana are fertility sculptures created:
for women having difficulty conceiving.
to ensure a healthy and beautiful baby.
In these figures, we see the interpretation of beauty reduced to
uncomplicated, minimal forms.
or in part.
ART DEPICTING PRIMORDIAL

AND HUMAN COUPLES
Couples have been depicted throughout the ages as:
the primordial or first couple.
the mother and father of humankind.
representing the marriage ritual within cultural contexts.
or in part.
Figure 6.11
6.11 Masaccio. The Expulsion from Paradise, Brancacci Chapel,
Santa Maria del Carmine, Florence, Italy, 1427. Fresco.
or in part.
Primordial Couples and Couples' Roles
Adam and Eve are found in the Jewish, Christian, and Muslim
religions as a primordial (first) couple.
Told to “be fruitful and multiply,” Adam and Eve were later
painfully expelled from the Garden of Eden.
In The Expulsion (Fig. 6.11), we see:
Eve’s anguished cry.
Adam’s pain.
their shame and agony.
or in part.

6.12 Dogon Seated Couple. Mali, Africa, c. 19th–20th century.
Wood, 2' 5" high. Gift of Lester Wunderman, 1977.
Metropolitan Museum of Art, New York.
or in part.
Seated in a frontal position, the Dogon seated couple shows the
harmony of the first male and female, both of whom are equally
exalted.
Details of the sculpture represent:
their roles in life.
their high position.
the importance of balance in an ordered human culture.
or in part.
Figure 6.13
6.13 Jan van Eyck. Wedding Portrait, Flanders, Northern
Europe, 1434. Oil on wood panel, 2' 8" × 2' 1". National Gallery
Collection, London.
or in part.

Human Couples
The union of human couples is documented in art across
cultures.
The Wedding Portrait (Fig. 6.13) is more than a double portrait,
it is a wedding certificate, with obvious and hidden symbolism:
in the bedroom rather than church, suggesting hope for many
children.
the woman holds her clothing as if pregnant.
shoeless, they are on holy ground.
he raises his hand in a gesture of blessing.
one candle burning in the chandelier represents divine presence.
the frame of the mirror depicts the passion of Christ.
oranges on the chest and windowsill represent the conquest of
death.
the dog symbolizes fidelity.
on the bedpost finial is a statuette of St. Margaret, patron saint
of childbirth.
van Eyck depicts witnesses, including himself, in the mirror.
or in part.
6.14 Aztec Marriage Couple, from the Codex Mendoza, Mexico,
1434. Bodleian Library, University of Oxford.
or in part.
Aztec Marriage Couple depicts a man and woman seated on a

mat, the bride powdered with yellow earth and adorned in red
feathers.
The formal vows took place in the groom’s home, the marriage
performed by tying together their wedding garments—tying the
knot.
or in part.
ART ABOUT LOVEMAKING
Lovemaking is essential in procreation.
Sexuality is a libidinal urge that is gratifying, positive, and
even energizing.
Various cultures have their own ways of defining and depicting
this universal act.
or in part.
6.15 Oil Lamp with Love-making Scene. Rome, 1st century
BCE. Ceramic. Museo Archeologico Nazionale, Naples.
or in part.
This lamp shows a couple in an intimate gaze while engaging in
sexual intercourse.

An inscription found in Pompeii on a wall from an ordinary
house reads “Hic Habit Felicitas” or “here lies happiness.”
or in part.
6.16 Moche Pottery Depicting Sexual Intercourse, Peru, c.
1000–1250. Ceramic. Museo Arqueologico Rafael Larco
Herrera, Lima, Peru.
or in part.
Numerous sexual acts between a man and a woman appear in
pottery.
Moche pottery is matter of fact—the depictions of lovemaking
are explicit and candid.
They may have been designed as visual aids for sex education,
illustrating human reproduction and perhaps birth control as
well.
or in part.
6.17 Kitagawa Utamaro. A Pair of Lovers, frontispiece from

Poem of the Pillow, Japan, 1788. Wood block relief print, 9
3/4" × 1' 2 3/4". Victoria and Albert Museum, London.
duplicated, or posted to a publicly accessible websi te, in whole
or in part.
This work reflects the ukiyo (“floating world”) theme, which
refers to the Buddhist concept of the transience of life.
Gently and intimately erotic, this print captures a private
moment between lovers.
It is a visual poem of line, pattern, and color that composes the
floating world image of the lovers’ pleasure.
These shunga prints (spring pictures) centered on female
beauty, the theater, and entertainment, and were collected like
posters or baseball cards today.
or in part.
6.18 Radha and Krishna in the Grove. Kangra School, Kangra,
India. Gouache on paper, 4 7/5" × 6 3/4.” Victoria and Albert
Museum, London.
or in part.

Erotic images appear regularly on Hindu temples and in
miniature paintings of the 17th and 18th century.
This miniature painting of ideal sexuality depicts the diety
Krishna in a tender lovemaking scene with the shepherdess
Radha.
Radha and Krishna in the Grove was meant to be instructive,
and the mythical sexual act was intended to be reincarnated
regularly among living couples.
or in part.
6.19 Relief Carving from the Kandarya Mahadeva Temple,
Khajuraho, India, c. 1000.
or in part.
Many carvings on Hindu temples are erotic.
Full-bodied figures are carved in relief depicting men and
women in sexual union and masturbation, reflecting the open
celebration of the blend of human sexuality with spirituality in
Hindu beliefs.
Hindu religion believes that carnal bliss is a virtue and a path
leading to redemption.

or in part.
ART ABOUT SEXUALITY IN WESTERN CULTURE
Sexuality is complicated in modern Western art because:
of power relationships between men and women.
homosexuality and heterosexuality are also part of political
debates.
sexuality is used to sell products.
abstract works on sexuality capture the energy, but leave other
specifics undefined.
or in part.
Figure 6.20
6.20 Jean-Auguste-Dominique Ingres. Grande Odalisque,
France, 1814. Oil on canvas, 2' 11" × 5' 4". Louvre, Paris.
or in part.
The Feminine Body and the Gaze
This nude Turkish harem woman (odalisque) (Fig. 6.20) was
intended to be an erotic image for European men.
Nineteenth-century female nude paintings in Europe and the
U.S. were made for privileged men.
It is significant that there is only a woman in this scene.
Without a lover, the odalisque is sexually available for the
viewer, who gazes upon her and “consumes.”
The viewer took the place of the imagined Turkish sultan, who
had many women at his disposal.

or in part.
6.21 Edward Manet. Olympia, France, 1863. Oil on canvas, 4' 3
1/4" × 6' 2 3/4". Musée d’Orsay, Paris.
or in part.
Manet’s Olympia scandalized the public because:
her sexuality and nudity were contemporary and Western.
Olympia was recognizable as a famous Paris courtesan.
her unromantic expression made clear that sex and money would
be exchanged.
it shattered romantic illusions.
it reveals the difference in social status according to race.
or in part.
Manet’s defenders praised the work for its innovative qualities:
thick paint applied directly on the canvas
flat, bright color
light areas separate from the dark, few midtones
gestural mark making

flatness versus illusion of depth
or in part.
IMAGES OF PREGNANCY, CHILDBIRTH,
AND PROGENY
Images of childbirth are seen in many cultures and have existed
for ages.
Maya pregnant figures represent the bearers of human offspring,
as well as mothers of nature and progenitors of plant life.
Some Moche sculptures of childbirth may have been teaching
tools for birthing positions and techniques.
More recent Western examples of pregnancy in art show the
physical effects of pregnancy on a woman’s body.
or in part.
6.28 Alice Neel. Pregnant Woman, 1971. Oil on canvas, 3' 4" ×
5'.
or in part.
Neel’s painting shows the physical effects of pregnancy on one
woman’s body and self:

Her swollen belly and enlarged nipples contrast with her bony
arm and ribs.
Her blood-flushed belly makes the rest of her skin look yellow.
Her facial expression seems wooden, passive, dazed, or fearful.
The man’s portrait behind her may suggest intimacy, distance,
possession, or protection.
or in part.
6.29 Kidder Figure, Mayan, Guatemala, 250 BCE–CE 100.
Ceramic vessel, 10" × 7 1/2" × 6 3/4".
or in part.
The Kidder Figure is a pregnant seated female.
She emphasizes her enlarged abdomen by resting her hands on
it.
Her face reflects contentment and joyous anticipation of the
birth event.
duplicated, or posted to a publicly accessible website, in w hole
or in part.

6.30 Moche Pot Depicting a Woman Giving Birth Assisted by
Midwives, Peru, c. 1000–1250. Ceramic. Museo Arqueologico
Rafael Larco Herrera, Lima, Peru.
or in part.
This Moche ceramic vessel depicts childbirth in a
straightforward manner, just as their depiction of sexual
intercourse in Fig. 6.16.
The scene seems to be clinically illustrating an event rather than
a moment of emotion, anticipation, or pain.
This vessel may have taught birthing position and technique to
expectant mothers and midwives.
or in part.
6.31 Rogier van der Weyden. Virgin and Child in a Niche,
Flanders, c. 1432–1433. Oil on panel, 7 1/4” × 4 3/4”.
Kunsthistorisches Museum, Vienna.
or in part.
This image of Christian beliefs represents the potential of

human progeny (Adam and Eve) and the birth of their Savior of
Humankind (Virgin and Child):
Mary is enthroned in a delicately carved space, crowned the
Queen of Heaven.
She tenderly nurses the newborn Jesus.
Jesus is calm yet ominous because of Old Testament prophecies.
The Christian primordial couple, Adam and Eve, appear as
carvings on the niche.
or in part.
6.32 Mother and Nursing Child, Cahokia, Illinois, Mississippian
Period, 1200–1400. Ceramic effigy vessel.
St. Louis Science Center.
or in part.
The simple, geometric form of this mother and baby adds to the
stability and calm of the sculpture.
Representing a mother and her progeny in life, the effigy vessel
may have ensured her potential to bear children in the afterli fe.
or in part.

CLAN
A clan is a group of people joined by blood or marriage ties.
The Extended Family
Art helps solidify extended families by:
making major ancestors available to the living clan members.
depicting important events in the clan’s history.
acting as an important element in clan rituals.
or in part.
Ancestors
Ancestors have a major impact on the prestige of the living.
Ancient Romans believed their ancestry was tremendously
important, preserving portraits of them and venerating their
memory.
At first, ancestor portraits were death masks made of soft wax.
Around the 1st century BCE, affluent Romans had copies of
death masks made in marble.
The Statue of Togata Barberini (Fig. 12.13) is an example of
Roman portrait sculpture made for worship.
He is holding portrait busts that boast of his lineage.
or in part.
Figure 12.13
12.13 Statue of Togato Barberini, Rome, early first century CE.
Marble, 5' 5" high. Palazzo Barberini, Rome.

or in part.
Figure 12.14 (1 of 2)
12.14 Portrait Heads from Tomb 6, Lambityeco, Oaxaca,
Mexico, 640–755. Stucco, each head 10 1/2" × 11 1/2".
or in part.
Figure 12.14 (2 of 2)
These Mexican portrait heads likely represent the founding
parents of a clan.
Both parents were important because lineage was traced through
the male and female sides.
Ancestors provided legitimacy for rulers of this ancient culture
and were consulted on difficult matters.
These heads are located on the lintel above a tomb entrance and
may represent the first individuals buried within.
or in part.
Clan History
Art is instrumental in preserving clan history and clan cohesion.
The Interior House Post (Fig. 12.15) is one of four posts carved
for the Raven House, a clan of the Northwest Coast Kwakiutl.
Raven House was a lineage house, which is built when a new
lineage was founded because of death or marriage.
Sculptures like this post were prominent in ritual feasts when

the leadership of the clan changed.
Interior House Post symbolism:
Thunderbird represents a chief.
Curved beak and curved ears suggest supernatural powers.
Extra eyes on the wings and torso imply power.
Below the thunderbird is a bear, associated with an elder or
high-ranking person.
or in part.
Figure 12.15
12.15 Arthur Shaughnessy. Interior House Post, Gilford Island,
British Columbia, Canada, c. 1907. Kwakiutl. Carved and
painted red cedar, 15' × 11' × 2' 10". Seattle Art Museum.
or in part.
Figure 12.16
12.16 Examples of formline design in Northwest Coast art: (A)
ovoid form; (B) typical U complex with semiangular curves; (C)
split U with outline (after diagrams by Bill Holm).
or in part.
Art Used in Clan Rituals

Clan ties are strengthened through rituals and art is an essential
part of rituals.
The Asmat of Papua New Guinea engage in rituals to pass on
the life force of the deceased clansmen to the rest of the group.
Carved poles called Bis or Bisj Poles (Fig. 12.17) represe nt
deceased clansmen (ancestors).
The large openwork projections on the top figures are phalluses,
representing power in warfare and fertility.
After the rituals, the poles were left to rot in groves of palms
where they would pass their vitality on to the plants that were a
food staple.
or in part.
Figure 12.17
12.17 Bisj Pole, Asmat, Papua New Guinea, mid-20th century.
Wood, paint, fiber; 17' 8" × 3' 3" × 5' 3". Metropolitan Museum
of Art, New York.
or in part.
Figure 12.18 (1 of 2)
12.18 Bamgboye of Odo-Owa. Epa Headdress called “Orangun,”
Yoruba, Erinmope, Nigeria, 1974. Wood and paint.

or in part.
Figure 12.18 (2 of 2)
Art, ritual, and clan identity are intertwined among the Yoruba
people.
The Epa Festival is held every other year for three days to
promote fertility and the well-being of the community.
The Epa Headdress called “Orangun” was used in masquerades
to honor the family.
Although such masks weigh more than fifty pounds, young
dancers would perform athletically in them.
or in part.
The Nuclear Family
In industrialized societies, the clan has dwindled to the nuclear
family.
The relationships between members of a nuclear family are
investigated in The Family (Fig. 12.19).
Marisol’s figures are blocks of wood which are drawn on and
minimally carved, each maintaining its own separateness while
interlocking with the group.
The shoes and doors are found objects.
The poorness of The Family contrasts with the affluence of the
nuclear family commonly presented on U.S. television in 1962.
or in part.
Figure 12.19

12.19 Marisol. The Family, Venezula, 1962. Painted wood and
other materials in three sections; overall, 6' 10" × 5' 5 1/2" × 1'
3 1/2". The Museum of Modern Art, New York.
or in part.
Figure 12.20 (1 of 2)
12.20 Elizabeth Murray. Sail Baby, United States, 1983. Oil on
three canvases, 10' 6" × 11' 3". Walker Art Center, Minneapolis.
or in part.
Figure 12.20 (2 of 2)
Murray’s Sail Baby is an abstract painting about family life.
Three rounded canvases suggest the bouncy energetic bodies of
infants or children.
The bright colors recall the palette of childhood.
The grouping of the three shapes suggests the closeness of
siblings, all with similarities but each a unique individual.
or in part.
Figure 12.21 (1 of 2)
12.21 General Idea. Baby Makes 3, Canada, 1984–1989.
Lacquer on vinyl, 6' 6 3/4" × 5' 3".

or in part.
Figure 12.21 (2 of 2)
Baby Makes 3 expands the definition of the family.
The image created by General Idea presents a homosexual
approach to the nuclear family.
The work both pokes fun at the idea of the happy nuclear family
and shows how gays and lesbians re-create family and social
structures.
General Idea critiqued many aspects of popular culture that so
heavily promote the heterosexual nuclear family.
or in part.
Discussion Questions
How are predetermined gender roles depicted in art?
How are art, magic, and ritual intertwined to promote human
fertility?
What primordial couples exist in various cultures and how do
their representations differ?
or in part.

We need to reproduce so we don't go extinct. As populations
expand, we build communities and there becomes a need to
define ourselves according to our Clan/Tribe. The ways in
which we adorn our bodies conveys messages about which
Clan/Tribe we belong to and serves to differentiate ourselves
from others.
Reproduction is key to human survival and the earliest
surviving sculptures focus on this basic human need.
The Venus of Willendorf, c. 40,000 BCE, is believed to be a
pre-historic fertility idol and many more like it were found
throughout northern Europe. The sculptor focused on the
female torso and de-emphasized the head (she has no face),
arms (they're resting atop her voluminous breasts), and feet
(Barbie feet - it was not meant to stand). The sculpture is only
4.5" in height, which infers it was meant to be held and was
easily transportable (pre-historic humans were nomadic):
CLOTHING AND BODY ADORNMENT are also important to
identifying one's belonging to a group, clan or tribe. The work
below is a potlatch hat (Nuu-Chah-Nulth, Northwest Coast
People, acquired 1780 by Capt. James Cook in the Nootka
Sound, cedar root, spruce root, natural pigments, the British
Museum, London) which depicts clan imagery and the rings on
the top represent the number of potlatches hosted by the wearer
and, therefore, their prestige and status within society. The hat
is decorated with the owner's clan (crest) imagery to remind
visitors to the potlatch who is hosting the giveaway. Clan or
crest imagery was derived from oral traditions that explained
Haida creation stories as well as honor "an individual’s and
group’s link to the wider world in which they live, linking them
to creatures or things in the natural environment and to other ...
clans and their membership via the demarcation of rank and
group identity in the social milieu" (Krutak, 2012).
Marking the body with tattoos was also an important way to

convey belonging and status in society amongst the Northwest
Coast peoples. Below is an archival photograph dating to c.
1881 in which Haida Chief Xa'na proudly displays his clan
imagery: Beaver on his chest, a Grizzly Bear on shoulder, and
possibly a Killer Whale on his forearm.
What do today's fashions, body adornment, and tattooing say
about us today? Or, what are we trying to say to the world?

Discussion How to Engage All Stakeholders in Program Evaluation

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Discussion How to Engage All Stakeholders in Program Evaluation