Since the formation of museum anthropology, scholars have been interested in collecting Native American objects of religious and spiritual significance. For many years, these objects predominately served scientific inquiry and public curiosity, but over the last three decades scholars have become increasingly aware of how indigenous communities continue to value these objects despite their radical recontextualization. This article seeks to bring together two concepts—Arjun Appadurai's “trajectories” and Annette Weiner's “inalienable possessions”—to examine how objects come to express particular forms of sacredness. By following the cultural routes of the Zuni Ahayu:da (War Gods), in part through the lens of the Denver Museum of Nature and Science, we can trace what Appadurai calls “diversion” and what Wiener terms the “dilemma of loss.” Diversion and loss caused by antiquities dealers, collectors, and curators have been particularly troublesome for Zunis because the War Gods constitute a unique form of sacred object, a singular type of possession that is intrinsically sacred. Understanding the trajectories of the things taken, returned, and still held by museums will better enable scholars and tribal communities to articulate how sacred objects in museums continue to have power and salience.
The Sacred and the Museum
Repatriation and the Trajectories of Inalienable Possessions
The Olov Janse Case
Johan Hegardt and Anna Källén
This article explores the movements of archaeological and ethnographic objects and museum collections connected with the Swedish-born archaeologist and ethnographer Olov R. T. Janse (1892–1985). Janse pursued a cosmopolitan career in the years between 1920 and 1960, in and between the national contexts of Sweden, France, Indochina, the Philippines, and the United States, where he found himself in different political contexts such as colonialism, nationalism, and the Cold War. He initiated object exchanges between French and Swedish museums, and he collected archaeological and ethnographic objects from Indochina and the Philippines for museums in Sweden, France, and the United States. The complexity of object movements in the wake of Olov Janse's career suggests that we should think and talk about object mobility in terms of translation rather than simple transmission. In seven sections, each exploring one chapter of Janse's life, we discuss how changes in world politics became entangled with changes in Janse's own position as an archaeologist and ethnographer, affecting the movements of objects and contributing to an active translation of their meaning.
After the Return
Digital Repatriation and the Circulation of Indigenous Knowledge Workshop Report
Joshua A. Bell, Kimberly Christen, and Mark Turin
On 19 January 2012, the workshop After the Return: Digital Repatriation and the Circulation of Indigenous Knowledge was held at the Smithsonian Institution’s National Museum of Natural History in Washington DC. With support from the National Science Foundation and the Smithsonian’s Understanding the American Experience and Valuing World Cultures Consortia, this workshop brought together twenty-eight international participants for a debate around what happens to digital materials after they are returned to communities (however such communities are conceived, bounded, and lived). The workshop provided a unique opportunity for a critical debate about the very idea of digital return in all of its problematic manifestations, from the linguistic to the legal, as indigenous communities, archives, libraries, and museums work through the terrain of digital collaboration, return, and sharing. What follows is a report on the workshop’s presentations and discussions.
Shelley Ruth Butler, Conal McCarthy, and Fiona P. McDonald
SANDELL, Richard, and Eithne NIGHTINGALE, eds., Museums, Equality and Social Justice
PHILLIPS, Ruth B., Museum Pieces: Towards the Indigenization of Canadian Museums
BUSZEK, Maria Elena, ed., Extra/Ordinary: Craft and Contemporary Art
HANSEN, Tone, ed., (Re)Staging the Art Museum
"Ceremonies of Renewal"
Visits, Relationships, and Healing in the Museum Space
Access to heritage objects in museum collections can play an important role in healing from colonial trauma for indigenous groups by facilitating strengthened connections to heritage, to ancestors, to kin and community members in the present, and to identity. This article analyzes how touch and other forms of sensory engagement with five historic Blackfoot shirts enabled Blackfoot people to address historical traumas and to engage in ‘ceremonies of renewal’, in which knowledge, relationships, and identity are strengthened and made the basis of well-being in the present. The project, which was a museum loan and exhibition with handling sessions before the shirts were placed on displays, implies the obligation of museums to provide culturally relevant forms of access to heritage objects for indigenous communities.
Egyptian Antiquities and Contested Histories in the Cairo Museum
During the Egyptian revolution in January 2011, the antiquities museum in Tahrir Square became the focus of press attention amid claims of looting and theft, leading Western organizations and media outlets to call for the protection of Egypt’s ‘global cultural heritage’. What passed without remark, however, was the colonial history of the Cairo museum and its collections, which has shaped their postcolonial trajectory. In the late nineteenth and early twentieth centuries, the Cairo museum was a pivotal site for demonstrating control of Egypt on the world stage through its antiquities. More than a century later, these colonial visions of ancient Egypt, and its place in museums, continue to exert their legacy, not only in the challenges faced by the Egyptian Antiquities Museum at a crucial stage of redevelopment, but also in terms of museological practice in the West.
Synthesizing work carried out by the author over the past twenty-five years, this article proposes a tentative disciplinary definition of critical museology, distinguishing its related methodological interdictions and describing its distinctiveness from what is here defined as operational museology. The article acknowledges the diverse intellectual sources that have informed the subject and calls for a reorientation and separation of critical museology from the operational museologies that form part of its area of study. Critical museology, it is argued, is not only an essential intellectual tool for better understanding museums, related exhibitionary institutions, fields of patrimony and counter patrimonies, and the global and local flows and conditions in which they are embedded, but is also crucial for developing new exhibitionary genres, telling untold stories, rearticulating knowledge systems for public dissemination, reimagining organizational and management structures, and repurposing museums and galleries in line with multicultural and intercultural states and communities.
Cultural Collisions in Socially Engaged Artistic Practice
In this article I explore how socially engaged artistic practice draws upon hybridity as a methodological approach advancing social justice. Through the case study of Theaster Gates’s To Speculate Darkly (2010), a project commissioned by the Chipstone Foundation of Milwaukee, Wisconsin, and shown at the Milwaukee Art Museum, I consider how socially engaged practice mobilizes continually shifting notions of postcolonial hybridity to help museums make meaningful symbolic reparations toward equality and inclusivity. The research is based on interviews I conducted with Gates and with the director and the curator of the Chipstone Foundation. The article will demonstrate that, with hybridity, artists have the potential to subvert hegemonic power structures and to inspire reconciliations between museums and communities. While such reconciliations generally involve complex processes with no clear end point, the evolving concept of hybridity is an effective vehicle to foster pluralistic institutions, cultural organizations characterized by practices built upon shared authority, reciprocity, and mutual trust. Theaster Gates refers to the methodology of hybridity as ‘temple swapping’, an exchange of values between seemingly unlike groups, in his case the black church and the museum, to explore their interconnections and relational sensibilities. Temple swapping, I aim to show, is a valuable metaphor through which to examine socially engaged artistic practice and its implications for museum ethics.
Sandra H. Dudley and Kylie Message
Museum Worlds: Advances in Research represents trends in museum-related research and practice. It builds a profile of various approaches to the expanding discipline of museum studies and to work in the growing number of museums throughout the world. It traces major regional, theoretical, methodological, and topical themes and debates, and encourages comparison of museum theories, practices, and developments in different global settings.
The End of the Beginning
Normativity in the Postdigital Museum
This article is an attempt to frame a way of seeing museums after the digital revolution. By introducing the concept of the ‘postdigital’, its aim is to evidence a tipping point in the adoption of new media in the museum—a moment where technology has become normative. The intention is not to suggest that digital media today is (or, indeed, should be) universally and equally adopted and assimilated by all museums, but rather to use the experience of several (national) museums to illustrate the normative presence digital media is having within some organizational strategies and structures. Having traced this perceived normativity of technology in these localized institutional settings, the article then attempts to reflect upon the consequences that the postdigital and the normative management of new media have for our approach to museological research.