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Open access

Objects as Archives of a Disrupted Past

The Lengnangulong Sacred Stone from Vanuatu in France, Revisited

Hugo DeBlock

these performances and are interpreted only by some local people. The biggest local cultural festival that features in the current cultural revivalist movement in the archipelago, arguably, is the yearly Back to My Roots Festival of Halhal Fantor in

Open access

Sara Selwood and Lillia McEnaney

Attitudes: The 36th Report . London : The National Centre for Social Research . (accessed 1 March 2020 ). Department of Culture Media and Sport (DCMS) . 2012 . “ Performance Indicators 2011

Open access

The Misrepresentation of Hong Kongness

The Revamped Hong Kong Museum of Art

Vennes Cheng

audiences by the actions of throwing and shouting. He throws his calligraphy, painting, and other objects to the audience, and makes irritating noises during the performance. But, unfortunately, the HKMoA turns Frog King's “Ke Bin Lin” into a static

Open access

Art Gallery Education in New Zealand during COVID-19

The Emergence of a Community of Practice

Esther Helen McNaughton

be Learning Experiences Outside the Classroom (LEOTC) contestable governmental funding, which has particular performance criteria; the fact that New Zealand art galleries are cultural institutions that operate within a constitutionally bicultural

Open access

Hinemihi o te Ao Tawhito

How a Māori Meeting House in England cultivated relationships and understanding

Michael Upchurch

Gallop 2007 ). The ceremony (and a further one a month later involving a performance by Ngāti Rānana (London Māori Club) gave Hinemihi a new profile in both the United Kingdom and New Zealand. According to Dean Sully, “she has been re-imbued with a

Open access

Cristiana Bastos

Farmer's Music and Dance, a Chinese Emperor Line Dance, and “performances from Waipahu Intermediate School's Dance Team, Halla Huhm Dance Studio, Marshallese Dancers, Chuukese Dancers, Pohnpeian Dancers, Tamagusuku Ryu Senju Kai Frances Nakachi Ryubu Dojo

Open access

Interruptions: Challenges and Innovations in Exhibition-Making

The Second World Museologies Workshop, National Museum of Ethnology (MINPAKU), Osaka, December 2019

Laura Osorio Sunnucks, Nicola Levell, Anthony Shelton, Motoi Suzuki, Gwyneira Isaac, and Diana E. Marsh

public sphere in, for example, the mainstream media and in subversive noninstitutional educational campaigns like Andrea Fraser's performances, Alice Procter's Uncomfortable Art Tours (see Procter 2020 ) and protests (such as “BP or not BP”). Recent