In this blog I am going to talk about my co-authored chapter in the new book which came out at the beginning of this year.
As you will have seen from the previous blog, Curatopia: Museums and the future of curatorship was published by Manchester University Press in January 2019. This volume argues that curatorship may be ‘recalled’ and remade through collaborative relationships with communities leading to experiments in curatorial theory and practice. What can museums of ethnography in the Americas and Europe learn from the experience of nations, such as Aotearoa New Zealand, where distinctive forms of Indigenous museology are emerging and reshaping the conventions of curatorial practice?
In chapter 13, myself, Philipp Schorch and Arapata Hakiwai address ‘The figure of the kaitiaki’, referring to the notion of kaitiakitanga or guardianship which has been a feature of Māori museology in the last twenty years. The current chapter draws on research by the authors, including interviews with Māori curators, museum professionals, academics, and community leaders, exploring connections with the wider Pacific and the world. The ‘figure of the kaitiaki’ has developed historically as a particular local development of curatorship, drawing on Māori customary concepts and frameworks such as tikanga Māori (culture/practices) and Mātauranga Māori (knowledge).
It concludes that museums across the world can learn from Pacific experiments and become active agents in shaping cultural revival and future potentialities on a global scale. Other chapters in the book echo and extend these arguments, particularly one by Wayne Ngata, Billie Lythberg and Amiria Salmond on tribal engagements with Māori collections in an American museum, one by Paul Tapsell about a ‘post-indigenous’ tribal exhibition in Canada, and one by Sean Mallon about the politics of co-collecting Pacific cultures.
In particular the chapter deals with precedents from the early 20th century in which Māori intellectuals engaged with museum anthropology, the dramatic changes in museums after the Te Maori exhibition of the 1980s, and current thinking about curatorial practice by leading Māori curators in the field. See above a photograph of Thomas Heberley at the Dominion Museum in the 1930s, a taonga (treasure) from the Mana Whenua exhibition at Te Papa opened in 1998, and below Prof Hirini Moko Mead speaking during the Te Maori exhibition at the National Museum in 1986.
Whew what a year – thank goodness 2018 is behind us.
Heres one of the reason’s why I needed a break at Xmas. My latest book, co-edited with Philipp Schorch, was launched in December in London and Leipzig. This large 350 page collection made up of 20 chaps, published by Manchester University Press, explores museums and the future of curatorship in Europe and the UK, North America, and the Pacific.
The book was a culmination of conferences in Wellington in 2011 and Munich in 2016. This project was nurtured by the lively discussions spurred by papers presented, and benefited from the ongoing intellectual engagement with conference participants as well as other authors we commissioned. It is therefore the product of the associated scholarly network, including university academics, museum professionals and community leaders, who are devoted to (re)thinking curatorship for the museums of the future.
The contents are a who’s who of contemporary museology, anthropology, and curatorial theory and practice. The writing on a wide range of case studies and topics is distinguished by a deep and genuine engagement with Indigenous scholarship and museum practice. In this and following blogs I will provide a taste of some material from this new book.
I would like to thank my colleague and co-editor Philipp for his tireless efforts on this project – he was a pleasure to work with – and also extend my thanks to the many authors who contributed to the book.
See here for the link to the MUP website with a Q & A with the two editors:
Q and A
Here’s a profile of the book, the table of contents, and a sample chapter:
Curatopia on MUP website
In February 2018, NZ’s national museum will celebrate its 20th anniversary. The most visited museum in Australasia, The Museum of New Zealand Te Papa Tongarewa (Te Papa) is well known around the world for its innovative approach to audience engagement, commercial savvy and ground-breaking collaboration with indigenous Maori.
In 2017 I was commissioned by Te Papa Press to write a history of the institution 1998-2018. The book charts the background to the establishment of the Museum of NZ in the 1980s and 1990s, particularly in terms of NZ society and the new museology, and analyses the day one exhibitions and what made them so successful with the public, including the controversial art exhibition Parade. It also contains a chapter on biculturalism (and its discontents), current developments, and a comprehensive chronology and references.
The research and writing were completed in double quick time, former staff helped out with photos, documentation and memories, and Nicola Legat and her team at Te Papa Press did a great job on the production. Here is the advance copy being toasted on the deck in early summer (late 2017).
You can find more about the book, and read an interview with the author, here:
Author interview, bio and profile of book
On Feb 14 1998 at Te Papa there was birthday celebration, a panel of speakers, and a giant birthday cake, as well as the book launch:
Te Papa’s 20th birthday
As you have not heard from me for a while, you may have wondered what I have been doing. In a word: writing. This year, I have had two books out, and I am now busy finishing three more which are due out next year.
In ‘About’ you will see a link to a co-edited collection in memory of the late Maori art historian and curator Jonathan Mane-Wheoki which was published by VUP at the end of July.
Earlier in the year a co-authored monograph came out with Duke University Press which was the outcome of an ARC funded research project led by Prof Tony Bennett from the University of Western Sydney. This book Collecting, ordering, governing: Anthropology, museums and liberal government uses Assemblage Theory to rethink the relations between museums, anthropology and social governance in Australia, NZ, the US, France and French Indo-China and the UK between 1890-1940. My chapter on NZ, co-written with Fiona Cameron, is based on extensive archival research including Maori sources, and situates the Maori engagement with museums and ethnology within this wider context. It offers a fresh interpretation, challenging much previous scholarship, showing how indigenous people participated in official heritage projects on their own terms, employing Boasian ideas of culture adapted from US anthropology. The book has been praised by Fred Myers (NYU) for a ‘sustained rethinking of the history of anthropology, collecting, museums, and liberal governance,’ and Barabara Kirshenbltt-Gimblett (NYU) has hailed it as a ‘magisterial work of breathtaking theoretical richness’.
For more about the book see the DUP website:
For a sample of the Introduction, see:
Lastly, two experienced scholar professionals round off Museum Practice in their afterwords: Anthony A. Shelton, Director of the Museum of Anthropology at the University of British Coumbia in Vancouver, and Eithne Nightingale, a writer, artist and consultant who worked in the Diversity programme at the Victoria and Albert Museum in London. Each present short pieces which reflect on their own experience, respond to the contents of the book and the contributions by the authors gathered here, provide their particular perspective on current museum practice, and offer their view of the important issues coming up over the horizon.
Chapter 25 tackles the digital: one of the most fast changing and powerful areas of modern society, which, despite its profound impact on museums and other “memory institutions,” is not dealt with adequately within the literature of museum studies, although discussed extensively in related fields such as media studies. Gillian Oliver and Shannon Wellington, who work, teach and research in and between the entities that make up the GLAM sector in New Zealand (Galleries, Libraries, Archives and Museums), set out to review the ‘‘digital heritage landscape’’.
This traversal of a complex, fragmented and ephemeral domain treats digital heritage as “more than the sum of these digital media tools and platforms,” and aims to understand “the engagement between cultural heritage and technology through the application of a broader socio-cultural lens.” Taking a multidisciplinary approach, and avoiding the utopian, technical or pessimistic rhetoric that often marks writing on this topic, they review the history, use and application of digital technology in cultural heritage environments, which has now become so ubiquitous that the term ‘new’ media seems obsolete, discussing the opportunities and challenges facing museums today.
They argue that museums “must embrace the opportunities inherent in digital media,” but we “must be mindful to do so within the wider socio-cultural constructs of digital heritage.” This construct, which they refer to as digital heritage, “considers not just the outputs of the intersections of digital and heritage, but also the engaging influence of those intersections with past, current and future practice.”
In my latest book Museum Practice, which was published by Wiley Blackwell last year, the final section includes chapters dealing with the public face of the contemporary museum at work. Chapter 24 grapples with a central dimension of museum practice, namely learning and public programmes. It was written by two leading scholar-practitioners with years of experience at the front line of museum education as well as academic research and teaching in universities.
“The role and place of learning in museums has been transformed in the past twenty years,” write Reeve and Woollard, not just in the UK and the USA, “but also through a shared global community of practice from Brazil to Japan.” These transformations in museological practice have seen education and learning move “from margin to core” of what a museum or gallery is. The chapter surveys this transformation in numerous examples of current practice, where there has been much progress but a lot still to do to make learning the core of museum work in a sustainable way. The authors claim that “Museum learning specialists should continue to expect and claim a major role in the increasingly multi-skilled museum profession.” “They should themselves become more multi-skilled and more often leave their comfort zones and education centres to advocate, campaign, curate, lead, direct,” they add, and thereby “become a less uncertain profession however uncertain the times.”
Authors John Reeve and Vicky Woollard assessed the nature of the changing UK museum in The Responsive Museum – Working with audiences in the 21st century (with Caroline Lang, Ashgate 2006.) Both authors have been museum education officers in major museums and subsequently as university teachers of MA students in museum and gallery learning, management and cultural policy. Both have also advocated museum learning as leaders of professional organisations and in campaigning for change. They have worked with museums and students from all over from the world.