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Jette Sandahl

represent an original or primary authority over the relevant themes and collections. The exhibition Horizons: Voices from a Global Africa was thus developed in an intense, integrated process of institutional and individual co-creation and co-curation with, among others, national museums in Africa, local museums in the diasporic Caribbean, a group of local Gothenburg residents with cultural origins in the Africa Horn area, as well as with artists and other individuals from across Africa, the Caribbean and Europe. These processes spanned a continuum of collaborations. The

in Curatopia
James Clifford

the word anthropology is largely suppressed, hidden underneath the acronym MOA: ‘World Arts and Cultures’. I do not want to exaggerate the significance of the rebranding exercise. The Vancouver museum continues its pioneering work with NorthWest Coast societies, collaborations that have made it famous, even as it opens out to Asian, Latin American and Afro-Caribbean projects.28 But name changes are not superficial. Not when understood as part of a pervasive shift. Musée de l’Homme becomes Musée du Quai Branly; Berlin’s Ethnologisches Museum is absorbed by the

in Curatopia
Remaking the ethnographic museum in the global contemporary
Viv Golding and Wayne Modest

prejudice and injustice can be effective in demonstrating to staff and diverse audiences that curatorial work and object biographies extend beyond the historical record. These events and more collaborative work that continues are discussed in detail elsewhere but a brief précis may be useful here.16 In the 1990s, Golding began working closely with Joan Anim-Addo, director of the Caribbean Centre at Goldsmiths College, on the ‘difficult’ histories of transatlantic enslavement that were entangled with some of the Horniman Collections. Together they worked with teachers in

in Curatopia
Pluralism and the politics of change in Canada’s national museums
Ruth B. Phillips

Caribbean, 1492–1570 (1992) at the Florida Museum of Natural History in Gainesville, Florida, USA; and Mining the Museum: An Installation by Fred Wilson (1992) at the Maryland Historical Society, Baltimore, USA. These have 155 156 North America stimulated a critical literature too large to list here in full, but for introductory discussions see J. Clifford, ‘Histories of the Tribal and the Modern’, in The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art (Cambridge, MA: Harvard University Press, 1988); R.  Phillips, ‘“The Spirit Sings” as

in Curatopia
Catherine J. Frieman

of an ongoing war between angels such as The Blue Lady, demons such as La Llorona (or Bloody Mary), and spirits of the recently dead. These stories spread orally from child to child in homeless shelters, and talking about them with adults or even older siblings was frowned upon. Their pantheon echoes older or widespread traditions – The Blue Lady shares many features with a Caribbean Orisha, and invoking Bloody Mary is a rite of passage for children around the world – but their mythology, as documented by Edwards, clearly reflects the violence, disruption, and

in An archaeology of innovation
Jes Wienberg

, global consensus about World Heritage. And no country has chosen to leave the Convention after signing it. Statistical accounts of World Heritage sites generally present their growing number and much discussed geographical distribution across the world. Italy and China have the largest number with 55 each, followed by Spain with 48, Germany with 46, and France with 45. The regional distribution is Africa 96 (8.6 %), the Arab countries 86 (7.7 %), Asia and the Pacific 268 (23.9 %), Europe and North America 529 (47.2 %), Latin America and the Caribbean 142 (12.7 %). Of

in Heritopia