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Rémi Korman

Representations of Rwanda have been shaped by the display of bodies and bones at Tutsi genocide memorial sites. This phenomenon is most often only studied from the perspective of moral dimensions. This article aims in contrast to cover the issues related to the treatment of human remains in Rwanda for commemorative purposes from a historical perspective. To this end, it is based on the archives of the commissions in charge of genocide memory in Rwanda, as well as interviews with key memorial actors. This study shows the evolution of memorial practices since 1994 and the hypermateriality of bodies in their use as symbols, as well as their demobilisation for the purposes of reconciliation policies.

Human Remains and Violence: An Interdisciplinary Journal
Foe, facilitator, friend or forsaken?
Bryony Onciul

Community engagement, Indigenous heritage and the complex figure of the curator: foe, facilitator, friend or forsaken? Bryony Onciul Current critical issues, such as decolonisation, truth and reconciliation, span the interconnected networks of peoples, places, practices and artefacts which draw museums and their curators into complex and ever-changing spheres of engagement in today’s globalised world. While curation is a recognised and respected profession, the proliferation of community engagement since the 1980s has brought increased awareness of the importance

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

good work on cosmopolitanism shows how museums can become a springboard to the future, a cosmopolitan (and curatopian) future where we stand together for human rights.12 ‘Get Up Stand Up’: history, rebellion and reconciliation Bob Marley and the Wailers released ‘Get Up Stand Up, Stand Up For Your Rights’ in 1973, but it took thirty years, until 2005, for the curator Paul Gilroy to raise Marley’s voice in the Museum of World Culture in Sweden. Arguably belated in its embrace of Marley’s beckoning for the political, this was a welcomed shift within a museum landscape

in Curatopia
Philip J. Turner

obelisk at Karnak Temple: ‘as I wear the White Crown, as I appear in the Red Crown, as Horus and Seth have united for me their two halves, as I rule this land like the son of Isis [i.e. Horus], as I have become strong like the son of Nut [i.e. Seth]’ (Sethe and Helck 1906: 366; Breasted 1906: 133). Strength and cunning go together. Assmann (2006: 44) makes the point that the contrast between Seth and Horus symbolises a change from old disorder to new stability, one of reconciliation. In the mythic version of this change as described in ‘The Contendings of Horus and Seth

in Mummies, magic and medicine in ancient Egypt
Learning from Māori curatorship pastand present
Conal McCarthy, Arapata Hakiwai, and Philipp Schorch

used as a blueprint for a process of ­reconciliation in the public sector dubbed ‘biculturalism’.18 Until recently, the last ‘ethnologist’ working under that rubric was Roger Fyfe at the Canterbury Museum in Christchurch. Elsewhere, the curatorial responsibility for taonga Māori rests almost exclusively with Māori staff who work in departments called Mātauranga Māori (Te Papa), Māori values (Auckland War Memorial Museum), or some equivalent title recognising an Indigenous framework. Nevertheless, the work of Fyfe and his immediate predecessors has also been

in Curatopia
Jette Sandahl

So, when White and European museum people, like me, advocate ‘a continuous process of re-conciliation’,41 there is obviously an awareness that the colonial divides run deep and jarringly through the content, methods, staff and governance of museums, and will not be bridged by any one single effort, but will require continuous and painstaking effort by all partners. But in these days of increasing global and intranational inequality, of sharpened economic contradictions and heightened social and cultural conflicts, when I hear myself reciting yet again, in

in Curatopia
Curatorial bodies, encounters and relations
Noelle M.K.Y. Kahanu, Moana Nepia, and Philipp Schorch

. Others have written of the power of exhibitions to bring about peace and reconciliation through collaborative endeavours, by bridging divided communities and institutions, or by engaging in difficult subject matter20 but the healing I speak of is within the context of the physical he alo ā he alo, between the Kū themselves and the Hawaiians of today. Such experiences are not merely figurative or metaphorical for just as we looked upon them, they returned our gaze. I bore witness to those who sat mesmerised for hours, sharing space at the feet of Kū, who expressed anger

in Curatopia
Bronwyn Labrum

Historical Consciousness (Vancouver: University of British Columbia Press, 2016).  2 There was a modest temporary exhibition acknowledging the anniversary on level three, focused on Te Papa’s scientific and taxonomic heritage, www.tepapa.govt. nz/visit/whats-on/exhibitions/you-called-me-what-150-years-scientific-discov ery-te-papa.  3 See J. Sissons, First Peoples: Indigenous Cultures and Their Futures (London: Reaktion, 2005). See also Michael King on ‘settling and unsettling’ in relation to Pakeha settler nationalism and reconciliation with tangata whenua (the people

in Curatopia
From Samoa with Love? at the Museum Fünf Kontinente, Munich
Hilke Thode-Arora

exhibition, or should rather be ‘hidden’ in a publication mostly accessible to academics and a few interested readers. My curatorial stance in this matter was that there is no justification in not acknowledging the wrongs of the past; on the contrary, making them public can be the first step for reconciliation and healing. Before discussing the conceptual planning and involvement in the exhibition from the Samoan side, it ought to be reiterated that museums are more constrained in creating exhibitions than the literature often assumes; institutions and their personnel

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

at realising Conservative commitments to small government, the restoration of British imperialist interpretations of Canada’s past and more narrowly nationalist representations of its present. With the election of a Liberal government led by Justin Trudeau in autumn 2015, the political pendulum began to swing back once again, restoring the earlier focus on pluralism and issues of social justice. The government’s promise to implement the recommendations of the 2015 report of the Truth and Reconciliation Commission on Indian Residential Schools and to comply fully

in Curatopia