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This article describes the operational practices of the city morgue in Santiago, Chile and their effects on the family members who come to claim the bodies of their loved ones. It explores the impact of the body‘s passage through the morgue on the observance of rituals surrounding death and mourning. An underlying conflict can be identified between the states partial appropriation of and interference with the body and intrinsic needs associated with the performance of funeral rites in accordance with cultural and religious precepts.

Human Remains and Violence: An Interdisciplinary Journal
Curatorial bodies, encounters and relations

ka kakau (traditional Hawaiian tattoo) artist Keone Nunes completed a Hawaiian uhi (tattoo) in full view of an audience including faculty and students from the university, visiting artists and members of different Pacific Island communities (Figure 18.5). People could sit in the gallery, listen to the sound of him tapping, watch and ask questions, or view the action from outside through large glass windows. As curator and photographer, I, Moana Nepia, was also part of the audience, shifting focus between my responses to the performance in front of me, what my

in Curatopia

, performance and translation, across generations, and across fraught borders of culture and place. It was a time when we were coming to see the borders of identity as dynamic, continually transgressed and remade, in specific historical relations of power, often unequal, but never static or unidirectional. Mary Pratt’s concept of the ‘contact zone’, drawn from colonial situations of dominance and transculturation, gave me a way of reconceiving the hierarchical, authoritative spaces of the Western museum. Readers may recall that the essay ‘Museums as Contact Zones’, which

in Curatopia
From Samoa with Love? at the Museum Fünf Kontinente, Munich

different. As descendants pointed out to me quite definitely, in all three ethnic shows there were persons of rank who travelled to Germany, for example in 1900 Te’o Tuvale (1855–1919) and in 1910 Tupua Tamasese Lealofi (1863–1915). Te’o and Tamasese, apparently like many Samoans, perceived the ethnic show tour as a kind of malaga,13 or diplomatic visit. In Germany, the high chiefs did not of course participate in the performances, but supervised them. As persons of rank, they expected to meet German dignitaries and to engage with them in the exchange of gifts and other

in Curatopia
Learning from experiment and experience

Collection (Warminster: Aris and Phillips). Phillips, J. P. (2002), The Columns of Egypt (Manchester: Peartree). Szpakowska, K. (2007), Daily Life in Ancient Egypt: Recreating Lahun (Oxford: Wiley-Blackwell). University of Swansea (2010), ‘Experiment and Experience: Ancient Egypt in the Present’, conference, 10–12 May, programme at (last accessed 3 January 2015). Watkins, C. with Carnell, E., Lodge, C., Wagner, P. and Whalley, C. (2001), ‘Learning about learning enhances performance’, NSIN Research Matters 13 (Spring), 1–9. Watkins, C., Carnell, E

in Mummies, magic and medicine in ancient Egypt

: British Museum Press). Baines, J. (1995a), ‘Kingship, definition of culture, and legitimation’, in D. O’Connor and D. P. Silverman (eds.), Ancient Egyptian Kingship (Leiden: Brill), 3–47. Baines, J. (1995b), ‘Origins of Egyptian kingship’, in D. O’Connor and D. P. Silverman (eds.), Ancient Egyptian Kingship (Leiden: Brill), 95–156. Baines, J. (1996), ‘Myth and literature,’ in A. Loprieno (ed.), Ancient Egyptian Literature: History and Forms (Leiden: Brill), 361–77. Baines, J. (1999). ‘Prehistories of literature: performance, fiction, myth’, in G. Moers (ed.), Definitely

in Mummies, magic and medicine in ancient Egypt

regular performance of rites and the supply of provisions for the deceased. Animal cults which underwent a considerable degree of development and proliferation during the Saite era flourished. They now required additional staff and mummification facilities to meet the increased demand, suggesting that the cults were now available to greater numbers of people. The changes in landownership associated with the increase in commercial activity and   egypt of the saite pharaohs agricultural output helped to boost the economy and enlarge the tax base, and brought

in Egypt of the Saite pharaohs, 664–525 BC
Remaking the ethnographic museum in the global contemporary

Stanley Baldwin. A photographic performance work, We Bury Our Own (2012), was the fruit of the first collaboration, and his latest piece was created five years on in 2017.33 Thompson wanted to work directly – physically and emotionally – rather than digitally with the photographic collection. He was moved by the ‘ethnographic’ portrait images of men staring straight at the colonial lens of the camera, and the head and shoulder framing showing traditional scarification and body painting, as well as Western hair combing. His ancestors touched Thinking and working

in Curatopia
Taking care of difference in museums

facets of cultural behaviour, and in fact all human behaviour. These behaviours make the object a taonga, they bring it back to life, and in doing so, bring life to the descendants of those taonga.32 In other words, the activation of Paikea by his descendants was a curatorial act; an act of pastoral care with life-giving ramifications. In the days that followed, Paikea was greeted each morning, talked to, embraced, lifted gently on and off stage for public performances, and shaken by stirring renditions of his haka (Figure 14.3), then carefully and somewhat

in Curatopia

casting each individual chisel in a clean crucible. Upon becoming cold, each casting immediately received a sequential identity project number punched into it before its designated flat or crosscut taper was hammered to shape. This number referred to its metallic content, its scientifically determined hardness and its performance in cutting different wood and stone types (Stocks 1988, II: appendix C, 1–4; appendix H, 1–6). The casting of the chisels took place in open sand moulds. Six chisels were designated as copper tools, project nos. 1–4, 6 and 26, and six chisels

in Mummies, magic and medicine in ancient Egypt