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xiii ACKNOWLEDGMENTS An important component of research for this book entailed examining Kuna molas in museums and understanding their collection histories. I would like to thank Mari Lyn Salvador, at the Museum of Man, San Diego; Natalie Marsh and Anna Cannizzo, at the Denison Museum, Denison University, Granville, Ohio; Rachel Raynor, at the Fowler Museum of Cultural History, University of California, Los Angeles; Hirochika Nakamaki, at MINPAKU, the National Museum of Ethnology, Osaka, Japan; Felicia Pickering, at the National Museum of Natural History, Washington, DC; Leanda Gahegan, at the National Anthropological Archives, Smithsonian Institution, Washington, DC; Patricia Nietfeld, at the National Museum of the American Indian, Washington, DC; Ann Rowe, at the Textile Museum, Washington, DC; Karen Sommer, at the William Benton Museum of Art, University of Connecticut, Storrs; Christopher Philipp, at the Field Museum, Chicago; Nicolette Meister, at the Logan Museum of Anthropology, Beloit College , Beloit, Wisconsin; Sonia Dingilian, at the Fashion Institute of Technology, New York; Richard Haas, at the Staatliche Museen zu Berlin, Stiftung Preußischer Kulturbesitz, Ethnologisches Museum, Berlin; Leonora Duncan, at the British Museum, London ; Gerard van Bussel and Maria Seidl, at the Weltmuseum, Vienna; Marina de Alarcon, Elin Bornemann, and Philip Grover, at the Pitt Rivers Museum, Oxford, England; and Fabienne de Pierrebourg, at the Musée du Quai Branly, Paris; and many other people at these museums, some of whom are no longer with the museums. I would especially like to thank my teacher in Japan, Tsuyako Miyazaki, for enabling me, through a series of carefully designed lessons, to master the fundamentals of sewing a mola panel. Her willingness to answer ongoing questions about sewing molas and her experiences in the San Blas islands has been very much appreciated. She introduced me to many mola enthusiasts in Japan who learned to sew molas in her classes, and I have appreciated their friendship also. Fumiko Nakayama and Naomi Yamada, both mola teachers and outstanding mola makers, also shared their love of Kuna culture with me. Special thanks also to Ritter Díaz, the Panamanian ambassador to Japan, for his assistance and advice during my research. During my time as a doctoral student at RMIT University in Melbourne, I benefited greatly from the advice of Anthony Bedford , Keith Cowlishaw, Jennifer Craik (my supervisor), Mac Fergusson, Fiona Gavens, Rajiv Padhye, Sharon Peoples (Australian National University), and Adrian Schembri. Special thanks to the librarians at RMIT and the Powerhouse Museum, Sydney; Stephen Dain at the University of New South Wales; Nitsa Yioupros at the Powerhouse Museum; and Ingo Voss. A number of scholars of Kuna culture and society have been generous with their advice on specific research questions , including Paolo Fortis, Francisco Herrera, James Howe, Teena Jennings-­ Rentenaar, Margherita Margiotti, Michel Perrin, and Mari Lyn Salvador. Much appreciated advice during the writing of this book was provided by Alex Skovron, Evelyn Juers, Ivor Indyk, Margi Abraham, and Gillian Akers. I am grateful to many friends who have shown keen interest in my research, although they often were bemused by the subject matter. Most importantly, I would like to thank my family for Acknowledgments xiv sharing the journey of my research—a journey that has taken many unexpected directions and provided the opportunity for many interesting conversations. I would especially like to thank John Byram, director of the University of New Mexico Press, for his enthusiastic support of my book, from proposal to publication. I would also like to thank my first-rate copyeditor, Karin Kaufman, and Catherine Leonardo, for her excellent book design. ...


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