Josie Disterhoft
Homeland Memories
| Interviewee | Josie O. Disterhoft |
| Interviewer(s) | |
| Location(s) |
|
| Date(s) |
|
| Personal Statement / Transcription: | Josie Disterhoft Personal Statement Disterhoft wrote, “[I am a] long-time resident of Chicago - having arrived in 1972 with my husband, Jake. I am an early childhood educator/administrator, newly retired. I continue work as a volunteer in civic organizations in Chicago and a favorite organization in the Philippines, Gawad Kalinga seeks to build communities for the very poor. This event is a beautiful example of community building in Chicago, among Filipino- and maybe beyond. Congratulations to the organizers.” |
| Related Searches: |
![Side A. Wall Hanging owned by Josie Disterhoft
Twentieth century, pre 1960’s
Acquired in est. 1966
Made by mountain tribes of Mindanao
Acquired as special present from an old friend (does not recall her name).
Going away present. In her possession at least fifty years.
Disterhoft wrote, “The object is beautiful. Reminds me of the indigenous weavers in the Philippines - particularly the mountain tribes of Muslim areas in the southern island of Mindanao (Southern Philippines). Weavers do not work from fixed patterns. They create their own 2 meter length ofcloth.”
Notes from Cassie Pontone, in discussion with Disterhoft: Made of abaca, wood, and dye. With age, you gain appreciation for the whole of the country and culture of the nation beyond the direct family ties. Josie is not from the south of the Philippines but has brought only things from Mindanao. The fact that the area of the Philippines that “we are trying to help” and “where people are afraid because it's Muslim and martial law” is where all the objects that she brought today are from. Josie notes that she only likes to keep the “best things”. She has the piece on display in her cabin in Michigan. She noted that in the same hallway there is also a hanging from Peru. In an earlier conversation she noted how similar textiles look between the two countries. Nowadays people make copies of this kind of object. In a recent visit to Mindanao, Josie brought back yards of 1 fabric. Josie likes the transition from brown to red and that these are the results of natural dyes. Was kept in A “treasure chest” before hung up. She knew it was precious and wanted to keep it safe. Without proper display people won't appreciate them. She had an interest in Mindanao, maybe influenced why she was given it. Wishes or feels embarrassed (?) that she doesn’t know the symbolism of the imagery - “her friends would be aghast” - she should do “her own research”.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC](https://fm-digital-assets.fieldmuseum.org/1614/773/DisterhoftJ001OP1A_Side.jpg "Side A. Wall Hanging owned by Josie Disterhoft
Twentieth century, pre 1960’s
Acquired in est. 1966
Made by mountain tribes of Mindanao
Acquired as special present from an old friend (does not recall her name).
Going away present. In her possession at least fifty years.
Disterhoft wrote, “The object is beautiful. Reminds me of the indigenous weavers in the Philippines - particularly the mountain tribes of Muslim areas in the southern island of Mindanao (Southern Philippines). Weavers do not work from fixed patterns. They create their own 2 meter length ofcloth.”
Notes from Cassie Pontone, in discussion with Disterhoft: Made of abaca, wood, and dye. With age, you gain appreciation for the whole of the country and culture of the nation beyond the direct family ties. Josie is not from the south of the Philippines but has brought only things from Mindanao. The fact that the area of the Philippines that “we are trying to help” and “where people are afraid because it's Muslim and martial law” is where all the objects that she brought today are from. Josie notes that she only likes to keep the “best things”. She has the piece on display in her cabin in Michigan. She noted that in the same hallway there is also a hanging from Peru. In an earlier conversation she noted how similar textiles look between the two countries. Nowadays people make copies of this kind of object. In a recent visit to Mindanao, Josie brought back yards of 1 fabric. Josie likes the transition from brown to red and that these are the results of natural dyes. Was kept in A “treasure chest” before hung up. She knew it was precious and wanted to keep it safe. Without proper display people won't appreciate them. She had an interest in Mindanao, maybe influenced why she was given it. Wishes or feels embarrassed (?) that she doesn’t know the symbolism of the imagery - “her friends would be aghast” - she should do “her own research”.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC")
![Top. Wall Hanging owned by Josie Disterhoft
Twentieth century, pre 1960’s
Acquired in est. 1966
Made by mountain tribes of Mindanao
Acquired as special present from an old friend (does not recall her name).
Going away present. In her possession at least fifty years.
Disterhoft wrote, “The object is beautiful. Reminds me of the indigenous weavers in the Philippines - particularly the mountain tribes of Muslim areas in the southern island of Mindanao (Southern Philippines). Weavers do not work from fixed patterns. They create their own 2 meter length of cloth.”
Notes from Cassie Pontone, in discussion with Disterhoft: Made of abaca, wood, and dye. With age, you gain appreciation for the whole of the country and culture of the nation beyond the direct family ties. Josie is not from the south of the Philippines but has brought only things from Mindanao. The fact that the area of the Philippines that “we are trying to help” and “where people are afraid because it's Muslim and martial law” is where all the objects that she brought today are from. Josie notes that she only likes to keep the “best things”. She has the piece on display in her cabin in Michigan. She noted that in the same hallway there is also a hanging from Peru. An earlier conversation she noted how similar textiles look between the two countries. Nowadays people make copies of this kind of object. In a recent visit to Mindanao, Josie brought back yards of 1 fabric. Josie likes the transition from brown to red and that these are the results of natural dyes. Was kept in a “treasure chest” before hung up. She knew it was precious and wanted to keep it safe. Without proper display people won't appreciate them. She had an interest in Mindanao, maybe influenced why she was given it. Wishes or feels embarrassed (?) that she doesn’t know the symbolism of the imagery - “her friends would be aghast” - she should do “her own research”.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC](https://fm-digital-assets.fieldmuseum.org/1614/775/DisterhoftJ001OP1B_Top.JPG "Top. Wall Hanging owned by Josie Disterhoft
Twentieth century, pre 1960’s
Acquired in est. 1966
Made by mountain tribes of Mindanao
Acquired as special present from an old friend (does not recall her name).
Going away present. In her possession at least fifty years.
Disterhoft wrote, “The object is beautiful. Reminds me of the indigenous weavers in the Philippines - particularly the mountain tribes of Muslim areas in the southern island of Mindanao (Southern Philippines). Weavers do not work from fixed patterns. They create their own 2 meter length of cloth.”
Notes from Cassie Pontone, in discussion with Disterhoft: Made of abaca, wood, and dye. With age, you gain appreciation for the whole of the country and culture of the nation beyond the direct family ties. Josie is not from the south of the Philippines but has brought only things from Mindanao. The fact that the area of the Philippines that “we are trying to help” and “where people are afraid because it's Muslim and martial law” is where all the objects that she brought today are from. Josie notes that she only likes to keep the “best things”. She has the piece on display in her cabin in Michigan. She noted that in the same hallway there is also a hanging from Peru. An earlier conversation she noted how similar textiles look between the two countries. Nowadays people make copies of this kind of object. In a recent visit to Mindanao, Josie brought back yards of 1 fabric. Josie likes the transition from brown to red and that these are the results of natural dyes. Was kept in a “treasure chest” before hung up. She knew it was precious and wanted to keep it safe. Without proper display people won't appreciate them. She had an interest in Mindanao, maybe influenced why she was given it. Wishes or feels embarrassed (?) that she doesn’t know the symbolism of the imagery - “her friends would be aghast” - she should do “her own research”.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC")
![Back. Wall Hanging owned by Josie Disterhoft
Twentieth century, pre 1960’s
Acquired in est. 1966
Made by mountain tribes of Mindanao
Acquired as special present from an old friend (does not recall her name).
Going away present. In her possession at least fifty years.
Disterhoft wrote, “The object is beautiful. Reminds me of the indigenous weavers in the Philippines - particularly the mountain tribes of Muslim areas in the southern island of Mindanao (Southern Philippines). Weavers do not work from fixed patterns. They create their own 2 meter length ofcloth.”
Notes from Cassie Pontone, in discussion with Disterhoft: Made of abaca, wood, and dye. With age, you gain appreciation for the whole of the country and culture of the nation beyond the direct family ties. Josie is not from the south of the Philippines but has brought only things from Mindanao. The fact that the area of the Philippines that “we are trying to help” and “where people are afraid because it's Muslim and martial law” is where all the objects that she brought today are from. Josie notes that she only likes to keep the “best things”. She has the piece on display in her cabin in Michigan. She noted that in the same hallway there is also a hanging from Peru. An earlier conversation she noted how similar textiles look between the two countries. Nowadays people make copies of this kind of object. In a recent visit to Mindanao, Josie brought back yards of 1 fabric. Josie likes the transition from brown to red and that these are the results of natural dyes. Was kept in a “treasure chest” before hung up. She knew it was precious and wanted to keep it safe. Without proper display people won't appreciate them. She had an interest in Mindanao, maybe influenced why she was given it. Wishes or feels embarrassed (?) that she doesn’t know the symbolism of the imagery - “her friends would be aghast” - she should do “her own research”.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC](https://fm-digital-assets.fieldmuseum.org/1614/776/DisterhoftJ001OP1C_Top.JPG "Back. Wall Hanging owned by Josie Disterhoft
Twentieth century, pre 1960’s
Acquired in est. 1966
Made by mountain tribes of Mindanao
Acquired as special present from an old friend (does not recall her name).
Going away present. In her possession at least fifty years.
Disterhoft wrote, “The object is beautiful. Reminds me of the indigenous weavers in the Philippines - particularly the mountain tribes of Muslim areas in the southern island of Mindanao (Southern Philippines). Weavers do not work from fixed patterns. They create their own 2 meter length ofcloth.”
Notes from Cassie Pontone, in discussion with Disterhoft: Made of abaca, wood, and dye. With age, you gain appreciation for the whole of the country and culture of the nation beyond the direct family ties. Josie is not from the south of the Philippines but has brought only things from Mindanao. The fact that the area of the Philippines that “we are trying to help” and “where people are afraid because it's Muslim and martial law” is where all the objects that she brought today are from. Josie notes that she only likes to keep the “best things”. She has the piece on display in her cabin in Michigan. She noted that in the same hallway there is also a hanging from Peru. An earlier conversation she noted how similar textiles look between the two countries. Nowadays people make copies of this kind of object. In a recent visit to Mindanao, Josie brought back yards of 1 fabric. Josie likes the transition from brown to red and that these are the results of natural dyes. Was kept in a “treasure chest” before hung up. She knew it was precious and wanted to keep it safe. Without proper display people won't appreciate them. She had an interest in Mindanao, maybe influenced why she was given it. Wishes or feels embarrassed (?) that she doesn’t know the symbolism of the imagery - “her friends would be aghast” - she should do “her own research”.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC")
![Filigreed gold tambourine necklace owned by Josie DisterhoftAcquired in the late 50’s from mother
Mother lived in Moncada, Tarlac (Central Luzon) but not sure who gave it to her
Given to her by her mother when she was around 18 years old
Disterhoft wrote: “My mother gave this necklace to me. It is a traditional ornament - filigreed gold - (method probably adopted from the Spanish conquistadors). Worn with Philippine traditional evening gowns.”
Notes from Cassie Pontone, in discussion with Disterhoft: “Looks like “one of these religious things that people wear with a relic inside” worn with a terno (butterfly sleeves) and Maria clara dress (goes better with MC dress shape). From her mother around the time she “should periodically get dressed [nicely] “saw an exhibit (Ayala gold exhibit at NYC) that showed Asian gold jewelry that was similar from all over. Heirloom piece-expected all girls in the past had one of these. Her mother only had 1 - passed down. Found a modern designed that she thinks her daughter would prefer - will buy her one. Noted that now all girls have pearls and wears it with all black on special occasions. Doesn't wear traditional clothes because makes her look like “a mushroom cloud”. Wears only on special occasions would wear more casually but doesn't want to get it ruined. Other Filipinos would say it needs to be “dipped” to look more like gold. “Has never been dipped”. Would wear it with a sweater or scarf to dress things up in graduate school up especially in lieu of expensive stones or metals. Friends would ask, “why are you wearing something so religious?” She never felt that this was a religious piece. Notes that the shape is similar to the design in church where the host is kept.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC](https://fm-digital-assets.fieldmuseum.org/1614/778/DisterhoftJ001OP2A_Top.JPG "Filigreed gold tambourine necklace owned by Josie DisterhoftAcquired in the late 50’s from mother
Mother lived in Moncada, Tarlac (Central Luzon) but not sure who gave it to her
Given to her by her mother when she was around 18 years old
Disterhoft wrote: “My mother gave this necklace to me. It is a traditional ornament - filigreed gold - (method probably adopted from the Spanish conquistadors). Worn with Philippine traditional evening gowns.”
Notes from Cassie Pontone, in discussion with Disterhoft: “Looks like “one of these religious things that people wear with a relic inside” worn with a terno (butterfly sleeves) and Maria clara dress (goes better with MC dress shape). From her mother around the time she “should periodically get dressed [nicely] “saw an exhibit (Ayala gold exhibit at NYC) that showed Asian gold jewelry that was similar from all over. Heirloom piece-expected all girls in the past had one of these. Her mother only had 1 - passed down. Found a modern designed that she thinks her daughter would prefer - will buy her one. Noted that now all girls have pearls and wears it with all black on special occasions. Doesn't wear traditional clothes because makes her look like “a mushroom cloud”. Wears only on special occasions would wear more casually but doesn't want to get it ruined. Other Filipinos would say it needs to be “dipped” to look more like gold. “Has never been dipped”. Would wear it with a sweater or scarf to dress things up in graduate school up especially in lieu of expensive stones or metals. Friends would ask, “why are you wearing something so religious?” She never felt that this was a religious piece. Notes that the shape is similar to the design in church where the host is kept.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC")
![Filigreed gold tambourine necklace owned by Josie DisterhoftAcquired in the late 50’s from mother
Mother lived in Moncada, Tarlac (Central Luzon) but not sure who gave it to her
Given to her by her mother when she was around 18 years old
Disterhoft wrote: “My mother gave this necklace to me. It is a traditional ornament - filigreed gold - (method probably adopted from the Spanish conquistadors). Worn with Philippine traditional evening gowns.”
Notes from Cassie Pontone, in discussion with Disterhoft: “Looks like “one of these religious things that people wear with a relic inside” worn with a terno (butterfly sleeves) and Maria clara dress (goes better with MC dress shape). From her mother around the time she “should periodically get dressed [nicely] “saw an exhibit (Ayala gold exhibit at NYC) that showed Asian gold jewelry that was similar from all over. Heirloom piece-expected all girls in the past had one of these. Her mother only had 1 - passed down. Found a modern designed that she thinks her daughter would prefer - will buy her one. Noted that now all girls have pearls and wears it with all black on special occasions. Doesn't wear traditional clothes because makes her look like “a mushroom cloud”. Wears only on special occasions would wear more casually but doesn't want to get it ruined. Other Filipinos would say it needs to be “dipped” to look more like gold. “Has never been dipped”. Would wear it with a sweater or scarf to dress things up in graduate school up especially in lieu of expensive stones or metals. Friends would ask, “why are you wearing something so religious?” She never felt that this was a religious piece. Notes that the shape is similar to the design in church where the host is kept.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC](https://fm-digital-assets.fieldmuseum.org/1614/790/DisterhoftJ001OP2B_Side.JPG "Filigreed gold tambourine necklace owned by Josie DisterhoftAcquired in the late 50’s from mother
Mother lived in Moncada, Tarlac (Central Luzon) but not sure who gave it to her
Given to her by her mother when she was around 18 years old
Disterhoft wrote: “My mother gave this necklace to me. It is a traditional ornament - filigreed gold - (method probably adopted from the Spanish conquistadors). Worn with Philippine traditional evening gowns.”
Notes from Cassie Pontone, in discussion with Disterhoft: “Looks like “one of these religious things that people wear with a relic inside” worn with a terno (butterfly sleeves) and Maria clara dress (goes better with MC dress shape). From her mother around the time she “should periodically get dressed [nicely] “saw an exhibit (Ayala gold exhibit at NYC) that showed Asian gold jewelry that was similar from all over. Heirloom piece-expected all girls in the past had one of these. Her mother only had 1 - passed down. Found a modern designed that she thinks her daughter would prefer - will buy her one. Noted that now all girls have pearls and wears it with all black on special occasions. Doesn't wear traditional clothes because makes her look like “a mushroom cloud”. Wears only on special occasions would wear more casually but doesn't want to get it ruined. Other Filipinos would say it needs to be “dipped” to look more like gold. “Has never been dipped”. Would wear it with a sweater or scarf to dress things up in graduate school up especially in lieu of expensive stones or metals. Friends would ask, “why are you wearing something so religious?” She never felt that this was a religious piece. Notes that the shape is similar to the design in church where the host is kept.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC")
![Detail. Filigreed gold tambourine necklace owned by Josie Disterhoft
Acquired in the late 50’s from mother
Mother lived in Moncada, Tarlac (Central Luzon) but not sure who gave it to her
Given to her by her mother when she was around 18 years old
Disterhoft wrote: “My mother gave this necklace to me. It is a traditional ornament - filigreed gold - (method probably adopted from the Spanish conquistadors). Worn with Philippine traditional evening gowns.”
Notes from Cassie Pontone, in discussion with Disterhoft: “Looks like “one of these religious things that people wear with a relic inside” worn with a terno (butterfly sleeves) and Maria clara dress (goes better with MC dress shape). From her mother around the time she “should periodically get dressed [nicely] “saw an exhibit (Ayala gold exhibit at NYC) that showed Asian gold jewelry that was similar from all over. Heirloom piece-expected all girls in the past had one of these. Her mother only had 1 - passed down. Found a modern designed that she thinks her daughter would prefer - will buy her one. Noted that now all girls have pearls and wears it with all black on special occasions. Doesn't wear traditional clothes because makes her look like “a mushroom cloud”. Wears only on special occasions would wear more casually but doesn't want to get it ruined. Other Filipinos would say it needs to be “dipped” to look more like gold. “Has never been dipped”. Would wear it with a sweater or scarf to dress things up in graduate school up especially in lieu of expensive stones or metals. Friends would ask, “why are you wearing something so religious?” She never felt that this was a religious piece. Notes that the shape is similar to the design in church where the host is kept.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC](https://fm-digital-assets.fieldmuseum.org/1614/792/DisterhoftJ001OP2C_Top.JPG "Detail. Filigreed gold tambourine necklace owned by Josie Disterhoft
Acquired in the late 50’s from mother
Mother lived in Moncada, Tarlac (Central Luzon) but not sure who gave it to her
Given to her by her mother when she was around 18 years old
Disterhoft wrote: “My mother gave this necklace to me. It is a traditional ornament - filigreed gold - (method probably adopted from the Spanish conquistadors). Worn with Philippine traditional evening gowns.”
Notes from Cassie Pontone, in discussion with Disterhoft: “Looks like “one of these religious things that people wear with a relic inside” worn with a terno (butterfly sleeves) and Maria clara dress (goes better with MC dress shape). From her mother around the time she “should periodically get dressed [nicely] “saw an exhibit (Ayala gold exhibit at NYC) that showed Asian gold jewelry that was similar from all over. Heirloom piece-expected all girls in the past had one of these. Her mother only had 1 - passed down. Found a modern designed that she thinks her daughter would prefer - will buy her one. Noted that now all girls have pearls and wears it with all black on special occasions. Doesn't wear traditional clothes because makes her look like “a mushroom cloud”. Wears only on special occasions would wear more casually but doesn't want to get it ruined. Other Filipinos would say it needs to be “dipped” to look more like gold. “Has never been dipped”. Would wear it with a sweater or scarf to dress things up in graduate school up especially in lieu of expensive stones or metals. Friends would ask, “why are you wearing something so religious?” She never felt that this was a religious piece. Notes that the shape is similar to the design in church where the host is kept.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC")
![Bronze jar owned by Josie Disterhoft (with lid)
Origin time unknown - possibly nineteenth century. A family heirloom of original sellers - perhaps selling personal belongings because they “became poor”
Acquired est. 1972 in the market in Jolo, Mindanao.
Disterhoft wrote, “My husband and I bought several pieces in a market in Jolo - Sulu, on of the southernmost part of the Philippines. We were on our honeymoon. And saw totally tarnished pieces and thought they were beautiful underneath. Shows Muslim influence on Philippines art. We [purchased?] hand-carved (?) trays, 2 jars, 2 sets of candelabras in 1972.”
Notes from Cassie Pontone, in discussion with Disterhoft: Felt “safe” going to Mindanao because her cousin had married the daughter of the governor in Sulu. Stayed In the governor some clueless house in Sulu and had an armed escort all the time piece was covered in “gunk and was green” - saw the beauty underneath. Wasn't a big deal to bring an extra suitcase in the 1970s. Had seen samples at the Met in New York before their trip and heard “whispers” that these were special. Bought most of the seller's whole inventory, saw in another part (Northern Philippines) a tray used as a “convenient thing” to cover a jar of rice. Has a tray from her aunt that was more plain, but very similar to the one bought in the market but was from the north - curious to know how it travelled. Suspect there were metal chains to pass through Loops. Doesn't know what it was used for. Displayed as an aesthetic object, next to a couple similarly shaped Navajo pots (ceramic). Took five years to afford to clean all objects - on display since. Sometimes use this as a planter for succulent or a vase for orchids. Puts the lid along the side when in use. Has received a lot of abuse, from the elements or use before. Noted that the lid is uneven but somehow “fits”. Her and husband wanted to bring back something to “have forever”. Coordinates well with the trays.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC](https://fm-digital-assets.fieldmuseum.org/1614/794/DisterhoftJ001OP3A_Front.JPG "Bronze jar owned by Josie Disterhoft (with lid)
Origin time unknown - possibly nineteenth century. A family heirloom of original sellers - perhaps selling personal belongings because they “became poor”
Acquired est. 1972 in the market in Jolo, Mindanao.
Disterhoft wrote, “My husband and I bought several pieces in a market in Jolo - Sulu, on of the southernmost part of the Philippines. We were on our honeymoon. And saw totally tarnished pieces and thought they were beautiful underneath. Shows Muslim influence on Philippines art. We [purchased?] hand-carved (?) trays, 2 jars, 2 sets of candelabras in 1972.”
Notes from Cassie Pontone, in discussion with Disterhoft: Felt “safe” going to Mindanao because her cousin had married the daughter of the governor in Sulu. Stayed In the governor some clueless house in Sulu and had an armed escort all the time piece was covered in “gunk and was green” - saw the beauty underneath. Wasn't a big deal to bring an extra suitcase in the 1970s. Had seen samples at the Met in New York before their trip and heard “whispers” that these were special. Bought most of the seller's whole inventory, saw in another part (Northern Philippines) a tray used as a “convenient thing” to cover a jar of rice. Has a tray from her aunt that was more plain, but very similar to the one bought in the market but was from the north - curious to know how it travelled. Suspect there were metal chains to pass through Loops. Doesn't know what it was used for. Displayed as an aesthetic object, next to a couple similarly shaped Navajo pots (ceramic). Took five years to afford to clean all objects - on display since. Sometimes use this as a planter for succulent or a vase for orchids. Puts the lid along the side when in use. Has received a lot of abuse, from the elements or use before. Noted that the lid is uneven but somehow “fits”. Her and husband wanted to bring back something to “have forever”. Coordinates well with the trays.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC")
![Bronze jar owned by Josie Disterhoft (lid removed)
Origin time unknown - possibly nineteenth century. A family heirloom of original sellers - perhaps selling personal belongings because they “became poor”
Acquired est. 1972 in the market in Jolo, Mindanao.
Disterhoft wrote, “My husband and I bought several pieces in a market in Jolo - Sulu, on of the southernmost part of the Philippines. We were on our honeymoon. And saw totally tarnished pieces and thought they were beautiful underneath. Shows Muslim influence on Philippines art. We [purchased?] hand-carved (?) trays, 2 jars, 2 sets of candelabras in 1972.”
Notes from Cassie Pontone, in discussion with Disterhoft: Felt “safe” going to Mindanao because her cousin had married the daughter of the governor in Sulu. Stayed In the governor some clueless house in Sulu and had an armed escort all the time piece was covered in “gunk and was green” - saw the beauty underneath. Wasn't a big deal to bring an extra suitcase in the 1970s. Had seen samples at the Met in New York before their trip and heard “whispers” that these were special. Bought most of the seller's whole inventory, saw in another part (Northern Philippines) a tray used as a “convenient thing” to cover a jar of rice. Has a tray from her aunt that was more plain, but very similar to the one bought in the market but was from the north - curious to know how it travelled. Suspect there were metal chains to pass through Loops. Doesn't know what it was used for. Displayed as an aesthetic object, next to a couple similarly shaped Navajo pots (ceramic). Took five years to afford to clean all objects - on display since. Sometimes use this as a planter for succulent or a vase for orchids. Puts the lid along the side when in use. Has received a lot of abuse, from the elements or use before. Noted that the lid is uneven but somehow “fits”. Her and husband wanted to bring back something to “have forever”. Coordinates well with the trays.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC](https://fm-digital-assets.fieldmuseum.org/1614/796/DisterhoftJ001OP3B_Front.JPG "Bronze jar owned by Josie Disterhoft (lid removed)
Origin time unknown - possibly nineteenth century. A family heirloom of original sellers - perhaps selling personal belongings because they “became poor”
Acquired est. 1972 in the market in Jolo, Mindanao.
Disterhoft wrote, “My husband and I bought several pieces in a market in Jolo - Sulu, on of the southernmost part of the Philippines. We were on our honeymoon. And saw totally tarnished pieces and thought they were beautiful underneath. Shows Muslim influence on Philippines art. We [purchased?] hand-carved (?) trays, 2 jars, 2 sets of candelabras in 1972.”
Notes from Cassie Pontone, in discussion with Disterhoft: Felt “safe” going to Mindanao because her cousin had married the daughter of the governor in Sulu. Stayed In the governor some clueless house in Sulu and had an armed escort all the time piece was covered in “gunk and was green” - saw the beauty underneath. Wasn't a big deal to bring an extra suitcase in the 1970s. Had seen samples at the Met in New York before their trip and heard “whispers” that these were special. Bought most of the seller's whole inventory, saw in another part (Northern Philippines) a tray used as a “convenient thing” to cover a jar of rice. Has a tray from her aunt that was more plain, but very similar to the one bought in the market but was from the north - curious to know how it travelled. Suspect there were metal chains to pass through Loops. Doesn't know what it was used for. Displayed as an aesthetic object, next to a couple similarly shaped Navajo pots (ceramic). Took five years to afford to clean all objects - on display since. Sometimes use this as a planter for succulent or a vase for orchids. Puts the lid along the side when in use. Has received a lot of abuse, from the elements or use before. Noted that the lid is uneven but somehow “fits”. Her and husband wanted to bring back something to “have forever”. Coordinates well with the trays.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC")
![Bronze jar owned by Josie Disterhoft (with lid aside)
Origin time unknown - possibly nineteenth century. A family heirloom of original sellers - perhaps selling personal belongings because they “became poor”
Acquired est. 1972 in the market in Jolo, Mindanao.
Disterhoft wrote, “My husband and I bought several pieces in a market in Jolo - Sulu, on of the southernmost part of the Philippines. We were on our honeymoon. And saw totally tarnished pieces and thought they were beautiful underneath. Shows Muslim influence on Philippines art. We [purchased?] hand-carved (?) trays, 2 jars, 2 sets of candelabras in 1972.”
Notes from Cassie Pontone, in discussion with Disterhoft: Felt “safe” going to Mindanao because her cousin had married the daughter of the governor in Sulu. Stayed In the governor some clueless house in Sulu and had an armed escort all the time piece was covered in “gunk and was green” - saw the beauty underneath. Wasn't a big deal to bring an extra suitcase in the 1970s. Had seen samples at the Met in New York before their trip and heard “whispers” that these were special. Bought most of the seller's whole inventory, saw in another part (Northern Philippines) a tray used as a “convenient thing” to cover a jar of rice. Has a tray from her aunt that was more plain, but very similar to the one bought in the market but was from the north - curious to know how it travelled. Suspect there were metal chains to pass through Loops. Doesn't know what it was used for. Displayed as an aesthetic object, next to a couple similarly shaped Navajo pots (ceramic). Took five years to afford to clean all objects - on display since. Sometimes use this as a planter for succulent or a vase for orchids. Puts the lid along the side when in use. Has received a lot of abuse, from the elements or use before. Noted that the lid is uneven but somehow “fits”. Her and husband wanted to bring back something to “have forever”. Coordinates well with the trays.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC](https://fm-digital-assets.fieldmuseum.org/1614/799/DisterhoftJ001OP3C_Front.JPG "Bronze jar owned by Josie Disterhoft (with lid aside)
Origin time unknown - possibly nineteenth century. A family heirloom of original sellers - perhaps selling personal belongings because they “became poor”
Acquired est. 1972 in the market in Jolo, Mindanao.
Disterhoft wrote, “My husband and I bought several pieces in a market in Jolo - Sulu, on of the southernmost part of the Philippines. We were on our honeymoon. And saw totally tarnished pieces and thought they were beautiful underneath. Shows Muslim influence on Philippines art. We [purchased?] hand-carved (?) trays, 2 jars, 2 sets of candelabras in 1972.”
Notes from Cassie Pontone, in discussion with Disterhoft: Felt “safe” going to Mindanao because her cousin had married the daughter of the governor in Sulu. Stayed In the governor some clueless house in Sulu and had an armed escort all the time piece was covered in “gunk and was green” - saw the beauty underneath. Wasn't a big deal to bring an extra suitcase in the 1970s. Had seen samples at the Met in New York before their trip and heard “whispers” that these were special. Bought most of the seller's whole inventory, saw in another part (Northern Philippines) a tray used as a “convenient thing” to cover a jar of rice. Has a tray from her aunt that was more plain, but very similar to the one bought in the market but was from the north - curious to know how it travelled. Suspect there were metal chains to pass through Loops. Doesn't know what it was used for. Displayed as an aesthetic object, next to a couple similarly shaped Navajo pots (ceramic). Took five years to afford to clean all objects - on display since. Sometimes use this as a planter for succulent or a vase for orchids. Puts the lid along the side when in use. Has received a lot of abuse, from the elements or use before. Noted that the lid is uneven but somehow “fits”. Her and husband wanted to bring back something to “have forever”. Coordinates well with the trays.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC")
![Lid to bronze jar owned by Josie Disterhoft
Origin time unknown - possibly nineteenth century. A family heirloom of original sellers - perhaps selling personal belongings because they “became poor”
Acquired est. 1972 in the market in Jolo, Mindanao.
Disterhoft wrote, “My husband and I bought several pieces in a market in Jolo - Sulu, on of the southernmost part of the Philippines. We were on our honeymoon. And saw totally tarnished pieces and thought they were beautiful underneath. Shows Muslim influence on Philippines art. We [purchased?] hand-carved (?) trays, 2 jars, 2 sets of candelabras in 1972.”
Notes from Cassie Pontone, in discussion with Disterhoft: Felt “safe” going to Mindanao because her cousin had married the daughter of the governor in Sulu. Stayed In the governor some clueless house in Sulu and had an armed escort all the time piece was covered in “gunk and was green” - saw the beauty underneath. Wasn't a big deal to bring an extra suitcase in the 1970s. Had seen samples at the Met in New York before their trip and heard “whispers” that these were special. Bought most of the seller's whole inventory, saw in another part (Northern Philippines) a tray used as a “convenient thing” to cover a jar of rice. Has a tray from her aunt that was more plain, but very similar to the one bought in the market but was from the north - curious to know how it travelled. Suspect there were metal chains to pass through Loops. Doesn't know what it was used for. Displayed as an aesthetic object, next to a couple similarly shaped Navajo pots (ceramic). Took five years to afford to clean all objects - on display since. Sometimes use this as a planter for succulent or a vase for orchids. Puts the lid along the side when in use. Has received a lot of abuse, from the elements or use before. Noted that the lid is uneven but somehow “fits”. Her and husband wanted to bring back something to “have forever”. Coordinates well with the trays.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC](https://fm-digital-assets.fieldmuseum.org/1614/803/DisterhoftJ001OP3D_Front.JPG "Lid to bronze jar owned by Josie Disterhoft
Origin time unknown - possibly nineteenth century. A family heirloom of original sellers - perhaps selling personal belongings because they “became poor”
Acquired est. 1972 in the market in Jolo, Mindanao.
Disterhoft wrote, “My husband and I bought several pieces in a market in Jolo - Sulu, on of the southernmost part of the Philippines. We were on our honeymoon. And saw totally tarnished pieces and thought they were beautiful underneath. Shows Muslim influence on Philippines art. We [purchased?] hand-carved (?) trays, 2 jars, 2 sets of candelabras in 1972.”
Notes from Cassie Pontone, in discussion with Disterhoft: Felt “safe” going to Mindanao because her cousin had married the daughter of the governor in Sulu. Stayed In the governor some clueless house in Sulu and had an armed escort all the time piece was covered in “gunk and was green” - saw the beauty underneath. Wasn't a big deal to bring an extra suitcase in the 1970s. Had seen samples at the Met in New York before their trip and heard “whispers” that these were special. Bought most of the seller's whole inventory, saw in another part (Northern Philippines) a tray used as a “convenient thing” to cover a jar of rice. Has a tray from her aunt that was more plain, but very similar to the one bought in the market but was from the north - curious to know how it travelled. Suspect there were metal chains to pass through Loops. Doesn't know what it was used for. Displayed as an aesthetic object, next to a couple similarly shaped Navajo pots (ceramic). Took five years to afford to clean all objects - on display since. Sometimes use this as a planter for succulent or a vase for orchids. Puts the lid along the side when in use. Has received a lot of abuse, from the elements or use before. Noted that the lid is uneven but somehow “fits”. Her and husband wanted to bring back something to “have forever”. Coordinates well with the trays.
Any views, findings, conclusions, or recommendations expressed in this story do not necessarily represent those of the National Endowment for the Humanities. [Copyright] Field Museum of Natural History - CC BY-NC")
If you are able to identify people, objects, or contribute to the current description that is shown, please add this information below.