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

treasures and need to have a connection to the people, then that’s enough in order to take care of them. But if they accept this living connection and allow it to generate the kinds of social change that we are doing here, then that’s awesome!54 Notes  1 We would like to thank Awhina Tamarapa for reading and commenting on a draft of this chapter, as well as agreeing to be interviewed. See also A. Tamarapa, ‘Museum Kaitiaki: Māori Perspectives on the Presentation and Management of Māori Treasures and Relationships with Museums’, in M. Ames and M. McKenzie (eds

in Curatopia
Post-connoisseurial dystopia and the profusion of things
Sharon Macdonald and Jennie Morgan

diversifying voices’, or, in the case of her museum, ‘to make sure our collections are as diverse as the city we live in’. Social diversity – and the potential fragmentation within that – adds to the range of what needs to be collected.26 Within the UK, this is typically framed through a discourse of museums as having the capacity to be agents for social change and/or inclusion.27 The anxieties that curators express over the potential difference of perspective of future generations is reproduced here too in the form of anxiety over which identities should be represented and

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

stories of African American people to take their rightful place on the National Mall. On 24 April 2015, eighteen months before opening, the NMAAHC presented a symposium examining race, justice and community activism. The event, generously hosted by director Kevin Gover at the National Museum of the American Indian (NMAI, Washington, DC), was entitled History, Thinking and working through difference Rebellion and Reconciliation: Communities Mobilized for Social Change. In the video recording the day, available from the NMAAHC website, we can hear a myriad of voices

in Curatopia
Foe, facilitator, friend or forsaken?
Bryony Onciul

of facilitation and the role of the curator as an expert within the forum. There is a need for a more nuanced understanding of the role of contemporary curatorship, especially in the context of increasing expectations of community engagement and decreasing resources to support museological work. The current climate of austerity in the UK threatens the future of specialist curatorship and collections. In recent years, owing in part to economic and social changes, there has been a move away from the presumed Community engagement, Indigenous heritage need for

in Curatopia
Lifeblood of the tower house
Victoria L. McAlister

thought that women and younger residents would have been dispatched (Costello, 2016a ; McDonald, 2016 ). However, these conclusions were based on studies of more modern transhumant practices and so may not directly apply to the Middle Ages. Another transhumant practice was creaghting. A factor in the spread of pastoralism was the decline of betagh status, which gave tenants a lot more mobility, lending itself to herding. Increasingly they were termed ‘poor husbandmen’ or ‘tenants-at-will’. The social changes of the later Middle Ages are

in The Irish tower house
Abstract only
Rick Peterson

-Orientales (Baills and Chaddaoui 1996, 367), is not very precisely dated but is later, in the late fourth or early third millennia BC. Secondary burial rites did take place in British caves. However, this review has highlighted that there was not a single secondary burial rite for caves. The physical and social changes which created the specific temporality of the intermediary period, the need to deal with incomplete exchanges, grief, unpaid obligations and bodily decomposition, were responded to in different ways. In some places, as for example with the midden burials, then it

in Neolithic cave burials