Curatorship

Anthropology ◽  
2020 ◽  
Author(s):  
Steven Lubar ◽  
Allyson LaForge

The traditional work of curators—collecting, caring for, researching, and exhibiting artifacts in museums—has expanded in many directions in recent years. Curators today connect as well as collect. They work with several diverse communities: source communities, museum visitors, and researchers. While much of their work remains rooted in material culture and museums, they increasingly work with intangible cultural heritage and consider digital manifestations of culture. This bibliography offers historical and contemporary as well as theoretical and practical perspectives on curatorship. It begins with a listing of journals and organizations useful to scholars of curation and museum practitioners. The following sections, which list foundational texts and books of collected essays on museum curatorship, offer an introduction and overview of the field. Next is a section providing historical perspective on curatorship, including writing on important museums and exhibitions. This history is followed by sections describing the dual objects of curatorial work: intangible cultural heritage and material culture. Next is a section on curatorial work, divided into subsections that address theory, practice, and digital approaches. Decolonizing curatorial practice, which involves challenging museums’ colonial practices and including Indigenous people in the conservation, interpretation, and display of their material culture and histories, is a necessary corrective to and extension of this traditional work; subsections include shared authority, repatriation and restitution, and indigenizing curation. The bibliography ends with perhaps the most important topic: curatorial ethics. The focus is on anthropological curatorship, but we have included material from nearby fields, including art and history curatorship, when the additional perspective seems useful. The geographical focus is on the United States, and to a lesser extent Great Britain, Canada, New Zealand, and Australia, with a few entries describing European museum work. There are several other bibliographies in the Oxford Bibliographies in Anthropology that complement this one. See the separate Oxford Bibliographies articles Museum Anthropology, Cultural Resource Management, and Public Archaeology.

2019 ◽  
Vol 43 ◽  
pp. 25
Author(s):  
Sudipa Saha

<p class="Default"><em>Ivory carving from Thiruvananthapuram, the capital of the Indian state of Kerala, was once appreciated internationally for its outstanding craftsmanship. The origin of the industry can be traced back to 17th century CE or before that, and grew as a full fledged industry under the patronage of the Maharajas of Travancore from the 19th century onwards. During the old period it was practiced by Brahmins and goldsmiths, and later by the carpenters (achary) as well. Though they are very few in number, some craftsmen are now continuing the art on alternatives to ivory such as rosewood, white cedar and, even more rarely, sandalwood. After the ban on ivory in 1990, this practice—emblematic of Intangible Cultural Heritage—looked on the brink of disappearing. In an example of Cultural Resource Management (CRM) success, the traditional carvers of Thiruvananthapuram were shifted to sandalwood carving. Presently, sandalwood is a vulnerable species and extremely expensive. In addition to the threats mentioned in the UNESCO Paris convention (UNESCO 2003), some elements of Intangible Cultural Heritage are also disappearing due to the conflict that arises from the cultural use of natural heritage, leading nature’s beings toward extinction. The aim of the current research is to analyze these problems and to formulate fruitful strategies for the safeguarding of the age-old craft with sustainable use of natural raw materials and alternative materials. </em></p>


Anthropology ◽  
2015 ◽  
Author(s):  
Patrick H. Garrow

Cultural resource management, normally referred to as “CRM,” may be defined as cultural heritage management within a framework of federal, state, and local laws, regulations, and guidelines. Cultural heritage, in terms of cultural resource management, may be defined as those places, objects, structures, buildings, and evidence of past material culture and life that are important to understanding, appreciating, or preserving the past. CRM is similar to heritage programs in other countries, but the term and practice of CRM as defined here is unique to the United States. America’s concern with cultural resources was reflected early in the 20th century with passage of the American Antiquities Act of 1906, which authorized the president to establish national monuments of federally owned or controlled properties, and for the secretaries of the Interior, Agriculture, and the Army to issue permits for investigations of archaeological sites and objects on lands they controlled. The National Park Service was created in 1916 and assumed responsibility for cultural resources associated with national parks and monuments. Archaeology played a prominent role in the Works Progress Administration (WPA) and other relief programs during the Great Depression, and large-scale investigations that employed thousands were conducted across the country. Cultural resource management, as it is currently practiced, was a product of the environmental movement of the 1960s, when federal cultural resources were given the same level of protection as elements of the natural environment, such as wetlands and protected plant and animal species. Cultural resource management deals with a range of resource types, and the breadth of the field will be reflected in the discussions that follow.


2018 ◽  
Vol 23 (3) ◽  
pp. 434-453
Author(s):  
Sarah Baker ◽  
Lauren Istvandity ◽  
Raphaël Nowak

Museums have been central to the institutionalisation of popular music as heritage; yet, there has been little scholarly focus on the curatorial strategies behind the exhibition of popular music’s past. This article outlines an emerging typological framework of structuring concepts in curatorial practice in popular music museums. The typology brings into conversation concepts previously identified by a number of popular music museum scholars. These concepts are critically assessed and built upon substantively by drawing on the subjective experiences of curators involved in the exhibition of popular music in museums in a range of geographical locations. Eight concepts are discussed: dominant (and hidden) histories, projected visitor numbers, place, art and material culture, narrative, curator subjectivity, nostalgia and sound. We argue that such a framework acts as a useful tool for comparing institutional practices internationally and to more fully understand the ways in which popular music history is presented to museum visitors.


2010 ◽  
Vol 2 (5) ◽  
pp. 695-717 ◽  
Author(s):  
Lizette Grad én

Ever since the emigration from the Nordic countries the Old world and the New world have maintained an exchange of ideas, customs, and material culture. This cultural heritage consists of more than remnants of the past. Drawing on theories of material culture and performance this article highlights the role of gifts in materializing relationships between individuals, families and organizations in the wake of migration. First, I build on a suggested coinage of the term heritage gifts as a way of materializing relationships. Thereafter, I map out the numerous roles which a Swedish bridal crown play in the United States: as museum object, object of display and loaned to families for wedding ceremonies in America. The transfers and transformations of the bridal crown enhances a drama of a migration heritage. This dynamic drama brings together kin in Sweden and America and maps specific locations into a flexible space via the trajectory of crown-clad female bodies.


2019 ◽  
Vol 3 (2) ◽  
pp. 8
Author(s):  
Xiangli Zhang

<p>As the carrier of national culture, the characteristic villages of ethnic minorities have obvious cultural characteristics, rich material culture and intangible cultural heritage, and are also the inner core strength of a nation. This paper summarizes the problems existing in the process of the protection and inheritance of the distinctive villages of the Yi nationality in Panzhihua, and puts forward the solutions according to the feasibility. The aim of the paper herein is to provide a theoretical basis for further promoting the protection and inheritance of the distinctive village culture of the Yi nationality in Panzhihua. </p>


2019 ◽  
Vol 13 (1) ◽  
pp. 59-68 ◽  
Author(s):  
C. Kurt Dewhurst ◽  
Timothy Lloyd

Emphasizing its museum-focused sub-project, this report describes the second phase of the China-US Folklore and Intangible Cultural Heritage Project (2013-2016). Supported by the Henry Luce Foundation, the larger project links these two national scholarly societies in a program of professional exchanges, scholarly meetings, and joint inquiry around issues of intangible cultural heritage policy and practice. The museum sub-project has included joint exhibition development work, travel to local communities in the United States and in Southwest China, and other collaborative initiatives. This report describes the project's history, funding, outcomes, and some lessons learned.


2012 ◽  
Vol 627 ◽  
pp. 590-593
Author(s):  
Xiakeer Saitaer

Intangible material culture of all ethnic groups in Xinjiang contains sizable excellent core in art and crafts, which serve as important resources available in current economic and cultural construction in Xinjiang. The long-established and traditional Uyghur handicraft of felt making has over the ages developed unique ethnic distinctives and an inheritable nature. It has value in the historical, cultural, scientific, aesthetic, and economic realms, and thus qualifies as priceless intangible cultural heritage. This paper discusses the raw material in traditional Uyghur felt handicraft and the classification of traditional Uyghur felt.


Ethnologies ◽  
2016 ◽  
Vol 36 (1-2) ◽  
pp. 325-358 ◽  
Author(s):  
Richard Kurin

UNESCO, the United Nations Educational, Scientific, and Cultural Organization, voted overwhelmingly at the biennial meeting of its General Conference in Paris on October 17, 2003 to adopt a new international Convention for the Safeguarding of Intangible Cultural Heritage. That Convention became international law on April 30, 2006. By the end of 2006 it had been ratified or accepted by 68 countries; today, that number is approaching universal acceptance with more than 160 nations having acceded to the convention. At the 2003 session, some 120 nation-members voted for the convention; more registered their support subsequently. No one voted against it; only a handful of nations abstained – Australia, Canada, the United Kingdom, and the United States among them. Within some of those nations, debate over whether to ratify the treaty continues. In this paper, the author considers the convention and unofficially examines the U.S. government position with regard to why support for it was withheld in 2003, how deliberations have proceeded since then, and whether or not the U.S. might ultimately accept the treaty.


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