Tuesday, 29 November 2011

Testing out Day Of The Dead recipes

A main aspect of the Day Of the Dead is the alter. One of the main contriputions to the alter is food, so as part of our research into the items placed on the alter we decided to try out some recipes. The recipes found and the photographs taken could be turned into a handout available at the exhibition to encorage familys to learn about the Day of The Dead at home through cooking.
Day Of The Dead Bread
  • 1/2 cup whole milk
  • 2 3/4 oz. (5-1/2 Tbs.) unsalted butter, cut into small pieces
  • Two 4- by 1-inch strips of orange zest (use a vegetable peeler; avoid the white pith)
  • 1 Tbs. orange blossom water
  • 3 large eggs, lightly beaten
  • 1/4 oz. (1-3/4 tsp.) active dry yeast
  • 15 3/4 oz. (3-1/2 cups) unbleached all-purpose flour; more as needed
  • 1/4 cup granulated sugar
  • 1 tsp. salt
  • Vegetable oil as needed

For the topping:

  • 2 oz. (4 Tbs.) unsalted butter, melted
  • 1/4 cup granulated sugar

Directions:

  1. Make the dough: Put the milk, butter, and orange zest in a small saucepan over medium heat; stir until the butter melts, 2 to 3 minutes. Remove from the heat and let cool until warm. Discard the orange zest, add the orange blossom water, and whisk in the eggs.
  2. Dissolve the yeast in 1/4 cup lukewarm water (no hotter than 110 degrees F) and let stand until the mixture bubbles slightly, 5 to 10 minutes. (If the yeast doesn’t bubble, discard it and start again with new yeast.)
  3. Mix the flour, sugar, and salt in a bowl. Make a well in the center. Gradually pour the yeast mixture and the milk mixture into the well while mixing with your hand.
  4. Knead until you have a nice, uniform dough, about 10 minutes. The dough should be smooth but still slightly sticky. If it seems too sticky, add more flour as needed.
  5. Put the dough in a large, lightly oiled bowl, cover with plastic wrap or a towel, and leave in a warm place (about 70 degrees F) until doubled in size, 1 to 1-1/2 hours.
  6. Shape the bread: Cut off a piece of dough about the size of a lemon and reserve. Divide the remaining dough in half and shape the pieces on a lightly floured surface into 2 rounds. Lightly oil a heavy-duty rimmed baking sheet or line it with parchment; put the dough rounds on it and flatten the tops with your hands.With some of the reserved dough, form 2 balls the size of large marbles; set aside and cover with plastic. Divide the remaining dough into 6 pieces and roll them with your hands from the center out, making ropes that are slightly longer than the width of the loaves. As you’re rolling, press with your index and middle fingers spread about 1 inch apart to make knobs that represent bones. Arrange 3 of the ropes on top of each dough round, overlapping the ropes in the center. Cover loosely with a cloth or plastic wrap and let rise in a warm place until doubled in size, about 45 minutes.
  7. Meanwhile, position a rack in the center of the oven and heat the oven to 350 degrees F. Dab a little cold water on the top center of each round where the ropes meet and put the reserved dough balls on top, pressing slightly so they adhere.
  8. Bake until the loaves have an even golden color, 30 to 40 minutes. Cover the loaves loosely with foil and continue to bake until their bottoms are browned and the internal temperature is 190 degrees F, 10 to 15 minutes more.
  9. Remove from the oven and cool for a few minutes on a wire rack.Top the bread: Brush the loaves all over with some of the melted butter. Holding one from the bottom (if it’s too warm, use an oven mitt or a piece of cardboard), sprinkle half of the sugar all over the top, tilting the loaf slightly to help coat it evenly. Repeat with the other loaf and remaining sugar.
  10. Cool to room temperature before serving. The bread is best eaten within a day of baking.Makes 2 loaves.

Thursday, 24 November 2011

CURA100 Group Meeting 24/11/2011

We discussed our thoughts and ideas with Adam Milford, Learning Officer from the Plymouth City Museum and Art Gallery.

He seemed impressed with our numerous ideas and enthusiasm but provided some cautionary health and safety guidance with regard to i.e. food based items.

He also advised that we need to focus on our proposal/objectives/reasons behind using this topic at the museum and not get too carried away with our never-ending ideas ;)
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We then moved to the library to discuss the main points of our proposal – being as follows:

The Day of the Dead exhibition is to be a community engagement project to encourage social inclusion and a wider cultural understanding. It would challenge the idea of a museum as a mausoleum and help to celebrate the museum as an institution rather than a sombre environment where things go to die. The DotD is an uplifting alternative viewpoint on how we deal with death.

It would include 3 new commissioned pieces namely:

>1 x sound piece (bells) – appeals to perhaps an older audience – religious connotations, meditative chimes
>1 x photography piece (tattoos) – appeal to a wide age group 18+ (although probably 15+) – especially because DotD imagery is becoming increasingly popular.
>1 x interactive sculptural(?) piece (ragdoll) – appeal to all age groups as a interactive commemorative piece.

We also want to include an activity/educational area for younger children and feature an altar somewhere in the museum.

With regard to the activity sheets, we want to liaise with schools which will not only promote the exhibition but encourage a greater understanding of other cultural beliefs etc.

The dates for the exhibition would coincide with the actual DotD celebration which would also coincide with Halloween – this may boost public curiosity and interest in the exhibition, especially with the familiar imagery.

Also, Charlie mentioned about finding some links between Plymouth and the Latino community i.e. mariners. (think I got that right – sorry if wrong Charlie?)
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We also discussed tasks we could start on including the dual info plaques on plinths i.e. one for adults, one for children at differing heights. Me and Will are going to try to put something together and perhaps use the laser cutter to provide an example. Siobhan is going to interview a tattooist re the recent surge in popularity of DofD imagery.
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I typed up a very, very rough first draft proposal using the above points and our previous discussions and ideas as a starting point.

Loki Ink Interview

I interveiwed Matt from Loki Ink, a tattoo parlour in Plymouth about the appearence of Sugar Skulls in popular culture and tattooing.
Me: "Have you seen an increase in Day Of The Dead/Sugar Skull tattoos?"
Matt: "Yes, it has become a really popular image. I have seen an large increase, especialy in the last few years."
Me: "Do people who get Sugar Skull tattoos know what Day Of The Dead is?"
Matt: "Not a lot of them do."
Me: "Do you know what Day Of The Dead is?"
Matt: "Yes, its a Mexican Festival that celebrates and remembers people who have passed away. *laughs* Im glad I remember that, it would look bad if I didn't. "
Me: "What is your veiw of people who get tattoos because they are in popular culture rather than knowing what the meaning behind them is?"
Matt: "It doesnt bother me really, people often put their own twist on it. People often choose it because they like the way it makes skulls look pretty. I have seen so many different twists on it. There was this one guy who used to be in the army so he had the Sugar Skull tattooed but with his own twist on it with troop symbols included in it. We often tattoo designs were people dont know the meanings behind them, chinese symbols are popular, we do a lot of them."
Me: "Do you have a Sugar Skull Tattoo?"
Matt:"No, I don't have one"

Prototype Table Top:





Hey gals, heres some of the photos I have taken in an attempt to simulate the concept of letting the observers write the names of their lost loved ones. I was also thinking maybe a personal message could be rather touching, but thats leading it into different intensions.

Monday, 21 November 2011

Response from Lady Lumleys: I don't think they completely grasp the fact that we have activity sheets, i know that they will definitely give them it as homework, so i will send a reply :D X


Will,

Really pleased to hear that you are enjoying the course, it sounds varied and interesting. The project you mentioned sounds good but the deadline is a bit tight to prepare anything substantial unless you have any specific exersizes or tasks that could be easily delivered before the required date. If this is not possible, perhaps it could be arranged for a later date when we could do it properly?

Hope you continue to enjoy your course and the best of luck with your future studies. Keep in touch. ( work can be collected before the Christmas holidays)

Mrs Chaddock and Mr McGrath.

Museum Health & Safety

this was the response from the museum re health and safety - seems we would need to provide them with a considerable amount of information to attain some guidelines. probably be a case of what they would be able to "ok" and what they would consider a problem or hazardous - which they cant answer until we provide them with full details :S

Dear Helanie and William
Thank you for your enquiry.
In order to consider the H&S issues for exhibiting work in the foyer, landings or other (non gallery) areas within the museum, we would first need to know more about the work to be exhibited, the location in which it is to be displayed, and any other relevant information. This is because, for example, H&S issues in the café area would be very different to those in the foyer. Also if the work was 3d, large and potentially unstable it would be different to if it was small and designed to be hung on a wall.
It would, therefore, would be very hard for me to supply you with what you are asking for. However the kinds of things we would take into account when writing a risk assessment (in no particular order) are:
Fire safety - is the location also an evacuation route/fire exit route?
Other uses of the space and hazards relating to this (e.g. café)
Type of work/size/weight/stability/fragility/materials used
Installation - all aspects including use of power tools, mechanical lifting, working at height, etc
Loading and unloading from street into museum
Trip hazards/obstacles/space for visitors to circulate
Suitability of content (i.e. appropriate for all age groups)
Members of staff available to invigilate
Safety of plinths and other supporting surfaces
With all the information to hand we would then be in a position to put together a risk assessment for the exhibition.
I am sorry I have not been able to supply you with exactly what you asked for but I hope this helps. Please get back to me if I can help you any more on this subject
Kate
Dear Sir/Madam,We are currently undertaking a curatorial project at Plymouth College of Art and Design and would be grateful if you could email/attach relevant Health and Safety documentation in relation to exhibiting work in the museum's foyer, hall space, cafeteria and basically any areas within the museum which do not include the actual gallery exhibition rooms/areas.This information would be greatly appreciated.Many thanksHelanie Moore/ William DanbyBA (Hon) Yr 1 Fine Art Practices


Kate Johnson
Exhibitions Programme Coordinator
Plymouth City Museum and Art Gallery

01752 304667 (direct line)
01752 304774 (reception)
kate.johnson@plymouth.gov.uk

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Sunday, 20 November 2011

...more decorations

hi, just thought i'd upload some pics of kayls handywork.

Again, she really enjoyed this activity and im sure other kids would love trying this too, especially with all the bright colours which is definitely a key visual factor in the Day of the Dead celebrations and would look great in a somewhat sombre museum environment - makes thing a bit more fun for visiting kids.

(Realised that my white acrylic paint is a bit rubbish and dried out, hence the crackling on the skulls, boooo!)