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, necessitating the expansion of existing administrative structures. Such changes were aided by the introduction of Demotic, a simplified and standardised cursive script which became widespread within a generation. Demotic marked the imposition of a new uniform administration across Egypt and by the reign of Ahmose II it had become Egypt’s accepted script for executive, legal and economic documents. There was a widespread temple-building programme, particularly during the reign of Ahmose II, which would have been aided by the political and economic recovery of Egypt. The Saite

in Egypt of the Saite pharaohs, 664–525 BC
Pluralism and the politics of change in Canada’s national museums

Swings and roundabouts: pluralism and the politics of change in Canada’s national museums Ruth B. Phillips What’s lost upon the roundabouts we pulls up on the swings.1 A trio of national museums surrounds the neo-Gothic buildings of the Canadian Parliament. They are destinations along the ‘ceremonial route’ linking major federal buildings on the Ontario and Quebec sides of the Ottawa River that runs through Canada’s National Capital Region. To the east, the modern glass dome designed by Moshe Safdie for the National Gallery of Canada (NGC) echoes the distinctive

in Curatopia
Exhibiting pre-Indigenous belonging in Vancouver

their ongoing tribal stories – rights and responsibilities, colonial anguish and despair, hope and opportunity, from either host or visitor perspectives – which highlighted the growing disconnect with urban-raised grandchildren.9 In the 2000s, my executive role at Auckland Museum facilitated bringing together a Māori values team, comprising urban-raised Māori curators, designers and researchers who, with expansive ‘blue skies’ thinking, built the Ko Tawa exhibition project comprising a travelling exhibition, website, database, book and related programmes (Figure 12

in Curatopia
Curatorial bodies, encounters and relations

, relationships are built, tended and tested through an embodied confirmation of values, practices and ethics. For museums holding Pacific collections, the importance e He alo aˉ he alo / kanohi ki te kanohi 18.1  Office of Hawaiian Affairs Pouhana and Chief Executive Officer Dr Kamana‘opono Crabbe and Noelle Kahanu share a honi (greeting) at Auckland Airport, Aotearoa New Zealand, March 2016. of relationships, and their physicality, persist. The ­increasing acknowledgement of, and interaction with, communities of origin, whose works reside in museums throughout the

in Curatopia
Abstract only
A Tongan ‘akau in New England

validate their early use in that collection. Is this legitimate? Today in the USA, the ‘vanishing Indian’ has vanished, though it took Native American anger translated into political clout to push home the case.10 Many US Americans take it for granted that Native thinkers and cultural guardians should be involved in the care and presentation of items that originated in their own cultural milieux but are now in hegemonic settler museums. This can be seen as a relatively new consensus, finally established in the little more than twenty-five years since the enactment of the

in Curatopia
Foe, facilitator, friend or forsaken?

material evidence of the impact of contact and conquest on Indigenous peoples from around the globe. They are both resources of precolonial knowledge, embodied in material culture  – through art, design, stories and practice – and emblematic of the asymmetrical power relations of colonialism which fractured many Indigenous communities and cultures. As such, the biographies of these collections are intertwined with those of the colonised and colonisers, making museums potentially politically volatile spaces as these collections can be repurposed for different agendas and

in Curatopia