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Jette Sandahl

Capture’s critical statements resonate with my experience from being closely involved, during its formative years,25 with the German Humboldt Forum, the largest-scale new museum and reinterpretation of ethnographic collections currently under development in Europe. The principle of self-representation never became a significant part or a driver of the discourse of the Humboldt Forum. In the ICOM publication Museums, Ethics and Cultural Heritage from 2016, Richard West and Hermann Parzinger, Director General of the Stiftung Preussischer Kulturbesitz (SPK), the

in Curatopia
Learning from Māori curatorship pastand present
Conal McCarthy
Arapata Hakiwai
, and
Philipp Schorch

term ‘kaitiaki’, and who is looking after whom. Some observe that kaitiaki in museums do not stand in for local iwi, who are the real kaitiaki, while others point out that, in times past, it was the taonga that was the kaitiaki that looked after people, not the other way around. 26 Tamarapa interview 2016. 27 C. McCarthy, E. Dorfman, A. Hakiwai and Ā. Twomey, ‘Mana Taonga: Connecting Communities in New Zealand Museums through Ancestral Māori Culture’, Museum International, 64:3 (2015), 5–15; J. Marstine, ‘Introduction: The Contingent Nature of the New Museum Ethics

in Curatopia
Exhibiting pre-Indigenous belonging in Vancouver
Paul Tapsell

December 2016.  2 Ibid.  3 See for example P. Tapsell, Pukaki: A Comet Returns (Auckland: Reed, 2000); P. Tapsell, ‘Taonga, Marae, Whenua – Negotiating Custodianship: A Maori Tribal Response to Te Papa: The Museum of New Zealand’, in A. Coombes (ed.), Rethinking Settler Colonialism: History and Memory in Australia, Canada, Aotearoa New Zealand and South Africa (Manchester: Manchester University Press, 2006), pp. 86–99; P. Tapsell, ‘Aroha Mai: Whose Museum? The Rise of Indigenous Ethics in Museum Contexts’, in J. Marstine (ed.), The Routledge Companion to Museum Ethics

in Curatopia