Author: WomenandMyth

“We Don’t Play with Dead Things“

Panel: “Gatekeeping/Safekeeping Material Culture”

2026 Online Symposium, May 3 2026

“Reimagining Goddess Scholarship:  At the Edges of Sacred Knowledge”

Barbara Alice Mann, Ph.D., Professor Emerita of Humanities at the University of Toledo, Ohio, has published over 500 peer-reviewed articles and chapters, along with twenty-two books, including works on matriarchal cultures, especially Iroquoian Women: The Gantowisas (2000), on the Iroquoian matriarchy; “‘Where Are Your Women?’ Missing in Action” in Unlearning the Language of Conquest (2006); Make a Beautiful Way (2007, on matriarchal lifeways across Turtle Island) and including Mann’s popular chapter, “Slow Runners;” Spirits of Blood, Spirits of Breath: The Twinned Cosmos of Indigenous America (2016) on actual Indigenous spirituality, in which the female half is “Blood;” “‘Placental Waste,’” in Placenta Wit: Mother Stories, Rituals, and Research (2017); with co-author Kaarina Kailo, The Woman Who Married the Bear (2023) on ancient, matriarchal woman-bear traditions across the global north; Indigenous Struggles in the United States (2025) on the US’s intentional creation of divisions among Native Americans, especially hitting matriarchal descent counting. When Mann was a child, “the Old Folks” (her elders) gave into her keeping “Old Things,” traditions of the people; in adulthood when she went into yakademia, the Ohio Old Folks gave her the further task of “setting the record straight” (direct quote) about all the lies that European invaders had spread about Indigenous America, with special attention on the viciousness directed at women. A Bear Clan, Ohio Seneca, with community recognition, she lives in her Ohio homeland on the Panther’s Tail (the Maumee River) at the western tip of The Panther (Lake Erie), where she works for the rights of the people indigenous to Ohio, living in Ohio.

Abstract:  It has always bemused Native Americans that Europeans play with dead things. They have people they call “scientists” who take every tool, medicine bundle, dish, wampum belt, spirit shield, moccasin, necklace, and grave good they can lay hold off, often without all the bother of asking first. They even take our dead. 

Apparently, they do not know that dead things are dangerous to play with. Separated from their proper usage, things do not lose their mystic potency. Instead, they are bisected, missing the balancing half of it, so that the potency of the half they are holding is jumping about like a downed power line. They are dangerous to be around. 

We do not gossip about dead people. When people are done with this life, their sky Breath and earth Blood go their separate ways, while the “name,” the personality of this life that was coordinating the two potencies, joining them over one lifetime, starts dissipating. It dissolves over the next ten years, until all its cohesion is gone. Talking about the now-dismantled identity can wreak havoc by calling back ghosts, lingering bits and pieces lying about unmediated. Normally, they are inert, but calling the fragments can activate bits and pieces, never to any good result.

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“Where Are the Hundreds? Museum Display, Fragmentation, and the Hidden Magnitude of Goddess Cults“

Panel:  Gatekeeping/Safekeeping Material Culture

2026 Online Symposium, May 3 2026

Reimagining Goddess Scholarship:  At the Edges of Sacred Knowledge

Dr. Carla Ionescu is an ancient historian, writer, and educator specializing in Greek religion, material culture, and goddess worship, with a particular focus on Artemis and her cults across the Mediterranean world. She is the founder of the Artemis Mapping Project, an ongoing research initiative documenting sanctuaries, votive deposits, and ritual landscapes associated with Artemis through fieldwork, photography, and digital mapping.

Carla has over a decade of experience teaching ancient history and religious studies at Canadian universities and colleges, alongside a robust public-facing scholarship practice that bridges academic research and wider audiences. Her work frequently examines how modern interpretive frameworks, museum practices, and visual economies shape what survives, what is displayed, and what is forgotten in the study of ancient religion.

She is the author of She Who Hunts: Artemis, the Goddess Who Changed the Worldand She Who Endures: The Cult and Iconography of Artemis of Ephesus. Her current research explores scale, fragmentation, and absence in goddess material culture, with particular attention to how excavation data and museum display diverge. Through lectures, publications, and digital projects, she advocates for approaches that foreground accumulation, loss, and material excess as central to understanding ancient religious experience.

Abstract: “Where Are the Hundreds? Museum Display, Fragmentation, and the Hidden Magnitude of Goddess Cults”

Modern museum displays shape how ancient religions are understood, not only through what they exhibit, but through what they withhold. In the case of goddess cults, particularly those associated with Artemis and related divine figures, the gap between archaeological reality and public presentation is often vast. Excavation reports regularly describe sanctuaries yielding hundreds, sometimes thousands, of votive objects, figurines, statues, and fragments. Yet museum visitors are typically shown only a carefully selected handful. This paper argues that this curatorial narrowing actively gatekeeps material culture by suppressing scale, repetition, and accumulation, which were central to ancient religious experience.

Drawing on case studies from Artemis sanctuaries, including Temple of Artemis Epikritia and the Temple of Artemis at Corfu, this presentation examines how the reduction of hundreds of offerings to a small, aestheticized selection alters interpretation. At Epikritia, excavation reports note the recovery of over five hundred statues and fragments, yet only a few examples circulate in publications or exhibitions. At Corfu, hundreds of votives dedicated to Artemis were uncovered, while modern museum displays present a curated dozen, often detached from their original density and ritual context. The result is a flattened narrative in which goddess worship appears limited, decorative, or marginal, rather than sustained, communal, and materially overwhelming.

The paper contrasts these practices with more recent curatorial approaches, particularly at Museum of the Royal Tombs of Aigai, where scale, fragmentation, and multiplicity are foregrounded rather than concealed. Through reconstructed tomb assemblages, visible storage logic, and the presentation of shards alongside complete objects, the Vergina museum offers visitors a rare encounter with abundance and loss as interpretive tools. This model demonstrates how museums can resist gatekeeping by making absence, damage, and repetition legible rather than invisible.

By focusing on what is not shown, this paper reframes material culture as a site of interpretive control. The suppression of quantity, fragmentation, and redundancy disproportionately affects goddess cults, where meaning was produced through accumulation rather than singular masterpieces. Re-centering magnitude allows us to better understand ancient religious practice and challenges long-standing assumptions about the visibility, importance, and material presence of female divinities in the ancient world.