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

that the programme of the opening ought to be rigidly official, with only classical music, but no Samoan music or dance as these could give the impression of restaging an ethnic show today. On the day of the opening, a large group of Samoans from Germany, Austria and Switzerland arrived to honour the head of state as well as the Samoan delegation, and to show their support for the exhibition. When they heard of the restrictions, they decided to counteract with their own agenda. In order to not get the museum into trouble because of the state officials’ specifications

in Curatopia
Learning from experiment and experience

farming and gardening, furniture making, stone working, writing and painting, and food and beer preparation were set alongside various leisure pursuits: personal hygiene, music and musical instruments and the world of play. The practical craft making drew its inspiration from the University of Swansea’s ‘Experiment and Experience: Ancient Egypt in the Present’ conference (10–12 May 2010) (Graves-Brown 2015), which was made available to a wider audience by streaming the proceedings online.1 Participants were encouraged to include physical demonstrations to support their

in Mummies, magic and medicine in ancient Egypt

the Eye was any of the various lion goddesses, all of whom had a fierce side to their character: Sekhmet, Menhyt, Mehit, Mut, Tefnut and Wadjyt were among their number. Even the apparently docile cat-headed Bastet, usually depicted with kittens emblematic of her fertility at her feet and sistrum and menyet for music-making and festivity in her hands, had a lion-headed form when she too embodied the sun’s vengeful Eye. It is because of this savage aspect of all these goddesses that, even though their usual form might be otherwise, when embodying the Eye they were

in Mummies, magic and medicine in ancient Egypt

Mumie Trolls music video, within the section called Hope in the exhibition No Name Fever: HIV-Aids in the Age of Globalization at the Museum of World Culture, Gothenburg, Sweden, 2005. 77 78 Europe This contemporary approach to ethnography opened up themes like HIV-AIDS and human trafficking, which are global in character and scope, but act and manifest themselves in local, class and gender-specific ways, and which can only be adequately addressed within a profoundly interdisciplinary framework. The complexities and interconnectedness of contemporary society defy

in Curatopia
Learning from Māori curatorship pastand present

beyond categories such as colonial and even postcolonial, as well as traditional notions of Indigeneity, towards what the anthropologist Jeffrey Sissons has called ‘postindigenous’.39 In the cultural sphere, as Hakiwai’s PhD thesis demonstrates, the same resilience, tenacity and dynamism is apparent in programmes for music, language, visual arts and heritage, all of which shape and are shaped by the evolving identity of 219 220 Pacific Ngāi Tahu people.40 Hana O’Regan, for example, sees her Ngāi Tahu identity as constantly shifting and relational: ‘identity is

in Curatopia

invalidate the general idea that the recipients of such dedications may have been persons who could not aspire to the full paraphernalia of formal burial, and that a key function of the objects was to enable these individuals to partake of the benefits of the funerary cult through another medium. Harco Willems has developed the idea further, suggesting that the ‘stick’ shabtis in miniature coffins may have been brought to tombs and dedicated to the deceased in the context of mortuary festivities which included music and feasting, a practice which may possibly have lain at

in Mummies, magic and medicine in ancient Egypt
Remaking the ethnographic museum in the global contemporary

students to study at this prestigious institution. In later years, his concern for the Bidjara traditional language, which is endangered, led to a creative engagement introducing Bidjara back into popular culture through music. Thompson’s collaboration with Pitt Rivers was initiated in 2011, when curator Dr Christopher Morton invited Thompson to engage with the photographic archive of Australian Aboriginal people. This dated from the birth of the museum in 1884 and resulted from the relationship between Pitt Rivers’ first curator Henry Balfour and his Australian friend

in Curatopia
Curatorial bodies, encounters and relations

of the Department of Art and Art History Gaye Chan and other gallery staff. Binding and Looping and ArtSpeak opened together on the same day with a ceremonial Hawaiian launch, introductory talks from the curators, live music, food and impromptu dancing (Figure 18.6). A large number of community members from outside the university attended the opening and a joint programme of public events helped to sustain good attendance figures throughout the duration of the installations. There had not been a major exhibition of art work by Pacific Island artists at the UH Mānoa

in Curatopia
Abstract only
Audiences and objects

the hospitals jointly set about shaping a coordinated ‘Manchester Education Precinct’.87 More than 280 acres were to be landscaped, and connected with overhead walkways. The planners were especially keen that the area should be not only educational but residential, and intended that 43,000 staff, students and general public should live on site. Central to this (unrealised) vision was the notion of a ‘town centre’ on Oxford Road, boasting cultural amenities including the Royal Northern College of Music, the Phoenix Pub, and the Museum. Although the education precinct

in Nature and culture