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Remaking the ethnographic museum in the global contemporary

collections held in museums in Finland, Germany, Sweden and the UK. A firm knowledge network was established and an extensive number of goodwill partnerships were formed. In 2015, with bilateral assistance from Finland, a Namibian delegation visited the major collections from Namibia held in Finnish museums and produced a country report indicating the type of collaborative projects that might be developed as a result. The report indicates the ways in which the Africa Accessioned project can have a ‘multiplier’ effect in generating increased co-operation between museums

in Curatopia
Foe, facilitator, friend or forsaken?

” and the Future of Anthropology’, Anthropology Today, 4:6 (1988), 6–10; H. Devine, ‘After the Spirit Sang: Aboriginal Canadians and Museum Policy in the New Millennium’, in B. Beaty, D. Briton, G. Filax and R. Sullivan (eds), How Canadians Communicate III: Contexts of Canadian Popular Culture (Athabasca: AU Press, 2010), pp. 217–39; S.R. Butler, Contested Representations: Revisiting Into the Heart of Africa (Peterborough, Ontario: Broadview Press, 2nd edn, 2008); E. Schildkrout, ‘Ambitious Messages and Ironic Twists: Into the Heart of Africa and The Other Museum

in Curatopia

, for example Puerto Rico, and Latin America, for example Brazil, have a very different methodological and museological approach to the colonial divides, in which a bold point of departure in the genocidal violence exerted by the European colonisers towards both the original populations and African people enslaved through the transatlantic slave trade create a consistent interpretative background for the subsequent entanglements and unique cultural métissage between these three groups. 35 The surveys of discrimination in the sector carried out by the UK Museums

in Curatopia

concerned with what lies behind the creation and resourcing of Museum of New Zealand Te Papa Tongarewa (Te Papa), the Musée du Quai Branly or the National Museum of Australia, the ascendancy of the British Museum, or museum-friendly policies on the part of governments and local authorities – though of course there is much to be said about new conceptions of culture and governance, and the growing preoccupation with tourism as a driver for urban regeneration and economic growth. I am interested, rather, in how we (curators of ethnographic collections) conceive of what we

in Curatopia
Open Access (free)
Antonín Salač and the French School at Athens

5 A romance and a tragedy: Antonín Salač and the French School at Athens Thea De Armond Defined, in culture-historical fashion, as the regions occupied by the ancient Greeks and Romans, the ‘Classical world’ once spanned much of Europe and parts of Asia and Africa.1 The study of the Classical world – in particular, its archaeology – has been somewhat more limited in geographical scope, or rather, its most prominent forebears tend to hail from only a few places, namely Germany, Great Britain, France and, perhaps, the United States of America (see Dyson, 2006

in Communities and knowledge production in archaeology

– as essentially conservative. In French, it is unambiguous: conservateur. Museums were collections of valuable things, and the job of the curator was to keep them safe, carefully displayed for public edification, or preserved in storage for research p ­ urposes. I always felt uncomfortable in museum basements: all those undisplayed objects, silenced drums, powerful presences wrapped in plastic. The sheer, historical injustice of massive collections held in Western capitals while few old examples of African, Torres Straits or Alaskan art and culture could be seen in

in Curatopia
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Artefacts and disciplinary formation

’.13 The vestiges of European ancestors were to be found in ethnology collections – European cultures then were explicitly compared with savage cultures elsewhere in the world now. Dawkins selected material to reflect Huxley’s evolutionary journey from Australasia (that ‘palaeontological penal colony’) via the Americas to Asia, the Middle East and finally to Europe (Africa’s place in the scheme was ambiguous).14 In other institutions without Dawkins’s temporal basis for display, cultural items were displayed in picturesque arrangements, or else they were arranged

in Nature and culture
Learning from Māori curatorship pastand present

from their counterparts in the UK and North America.10 Within these institutions, curators – in the scholar or connoisseur mould – went about their work, which typically 13.2  The Maˉori carver Thomas Heberley directing work on the carved store house Te Taˉkinga in preparation for the opening of the Dominion Museum, Wellington, New Zealand, mid-1930s. 213 214 Pacific involved an inward-looking preoccupation with the acquisition, documentation, care, management, research and exhibition of art, history, natural history and, of course, Māori material culture (the

in Curatopia
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Collecting networks and the museum

was no accident that the late nineteenth-century imperial extension was matched by a massive expansion in metropolitan and provincial museums in Britain. The foundation stones of the Manchester Museum were laid as Gladstone’s government hurled the nation into the ‘scramble for Africa’. Many historical studies accordingly focus on this early colonial activity, and much of the literature is concerned with the nineteenth century. And yet the geographical and administrative peak of the British Empire was in the early twentieth century, which was reflected in the

in Nature and culture