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This article reflects on the curatorial practices in the Brontë Parsonage Museum's 2022 Defying Expectations costume exhibition, to assess its strengths and weaknesses and to identify opportunities for similar exhibitions to be launched and improved upon in the future. The Defying Expectations exhibition included interactive art installations, recreations and illustrative reconstructions alongside traditional display methods, and this article evaluates the effectiveness of such a blended approach. Written from the perspective of a museum professional, the article considers how the exhibition developed contemporary curatorial practices and its legacy. Drawing on heritage studies and curatorship, the article juxtaposes information gleaned from literary analysis with an assessment of material culture. It assesses the exhibition's aim of reinterpreting Brontë's reputation as choosing plain and practical clothing by foregrounding her interest in colourful and multicultural textiles, which raises questions of individual, local and national identity as well as regarding the effects of colonisation. [ABSTRACT FROM AUTHOR]

The scholarly debate in translation studies and related fields has extensively addressed the definition, scope, and limitations of translation. We contend that museum translation, which encompasses both the traditional "translation proper" as well as the non-verbal and multimodal aspects of translation, is central to this debate. Museum translation covers an extensive spectrum of perspectives, which contribute to the expansion of the concept of translation and the field of translation studies. It capitalizes on the intrinsic interdisciplinarity of museum studies and translation studies, fostering a profound exchange of disciplines and serving as an ideal foundation for discussing the boundaries of translation. It has a dynamic nature that can contract or expand to suit the researcher's perspective and disciplinary concentration. A comprehensive examination of the intricate procedures encompassed by museum translation is, therefore, timely. In this article, we examine and compare different applications of this concept and provide an overview of how various disciplines and research foci have approached this area of study. We aim to contribute to the ongoing development of the concept of museum translation and its position in translation studies, a call further addressed by each author in this special issue titled "Museums as Spaces of Cultural Translation and Transfer." [ABSTRACT FROM AUTHOR]

This article analyzes the recently renewed, permanent exhibition of the Royal Museum for Central Africa (AfricaMuseum) in Tervuren, Belgium. The museum is seen as a translational space, considering the parallels between, on the one hand, curatorial strategies to represent cultural otherness and, on the other, processes of cultural and interlingual translation (Sturge 2007). We draw on an interdisciplinary mindset of translation as change and choice, as a multimodal and multimedial activity, and as an inevitably meaning-transforming process. Pressured to keep pace with the rapidly evolving public debate on decolonization, the curators-translators of the AfricaMuseum are aware that they are dealing with "sensitive texts" (Simms 1997) and have, accordingly, adopted a set of strategies to reduce perceived "translation risks" (Pym and Matsushita 2018). The article explores these strategies at three levels of translation operating in the museum: cultural, intersemiotic, and interlingual. In particular, we reveal the inherent tensions in the current display by discussing scenographic interventions that undermine the decolonization efforts in a number of galleries. These tensions are conceptualized as incomplete or incoherent forms of translation and illustrate the "work in progress" in the AfricaMuseum. [ABSTRACT FROM AUTHOR]

This article delves into the world of collecting, collections, and collectors during the nineteenth century. It focuses on the English inclination to amass objects and the intricate networks that arose from this practice. The article explores how collecting encompassed a wide range of objects and served as both a material and intellectual pursuit, reflecting a desire for organization and display. It also delves into the connections between collecting and empire, material culture, natural history, and the origins of museums. The essays in the special issue cover various topics, including gender dynamics in collecting, the role of travel writing in understanding Japanese culture, and the intellectual practice of music collecting. The text further examines different aspects of collecting and curating in the nineteenth century, such as the aesthetic value of tobacco in gardens, the legacy of botanical illustrator Anna Atkins, the literary function of museums, the Ottoman Imperial Museum, the material and emotional aspects of collecting, and the curation of texts in a digital archive. The essays shed light on the complexities and contradictions inherent in collecting and curating, emphasizing the importance of critically examining these practices. [Extracted from the article]

In 2016 the National Museum in Oslo launched a nationwide touring exhibition that allowed visitors for the first time to touch the sculptures of modernist Aase Texmon Rygh. The aim was to encourage visitors to experience these abstract stone works through the body before engaging with various contextualising practices for a more comprehensive process of meaning-making. Allowing members of the public to touch original sculpture in an exhibition context was new not only for the National Museum but also internationally, and the exhibition generated considerable professional and media attention. In my role as the exhibition's curator, I set out to investigate the interdisciplinary process of developing the exhibition concept and the audience response through a practice-led research project. Drawing on different theoretical perspectives, such as learning theory and interdisciplinary sensory research, and audience surveys which were conducted during the exhibition, I wanted to learn more about how audiences experienced touching the sculptures, and how touch affected their process of meaning making. In this paper, I share some of my findings and also reflect on the importance of practitioners doing research on their own practice. [ABSTRACT FROM AUTHOR]

Dorothy Shepherd (1916–1992), a scholar of Ancient Near Eastern and Islamic art, helped lay the groundwork for scholarship in her field during a period when curatorial work and scholarship was dominated by men. She attended the University of Michigan and after graduation was appointed assistant curator of decoration at the Cooper Union Museum, New York. During World War II Shepherd served in the newly formed Monuments, Fine Arts, and Archives Section of the United States military and in 1947 was appointed associate curator of textiles at the Cleveland Museum of Art (CMA); she retired from the CMA in 1981. During Shepherd's tenure, the CMA acquired textiles and Islamic objects, and organized textile exhibitions showcasing Cleveland's collection; Shepherd also authored numerous publications. In addition, Shepherd produced a significant but as yet unpublished catalog of 280 Islamic textiles in Cleveland's collection. All of this is evidence of a noteworthy career that deserves further study and recognition. [ABSTRACT FROM AUTHOR]

Using a practical case study co-curated by the author and Garazi Ansa as a departing point for reflection, this article addresses a number of questions that arise when organizing exhibitions of female artists in collections. First, it examines the danger of falling into categories such as "women artists." Second, it discusses the possibilities for the exhibition to have an impact on other activities of the museum, such as collecting. Finally, it proposes alternatives to extend the curatorial purpose on time by other by-practices, such as editing children's book about the exhibited artists. [ABSTRACT FROM AUTHOR]

Emerging research points to the increasingly expansive ontologies of gender that young people engage with in contemporary society. This paper examines the representations of gender that emerged in one urban site: a science gallery exhibition in London that sought to de-centre fixed binary gender categories – a site where gender is explicitly being 'redone' (West & Zimmerman, 2009). Drawing on research work on curation (Acord, 2010) we examine data (drawings and text) produced by 516 young people who attended the exhibition, exploring the ways gender is narrativised and re-curated within the physical and discursive space(s) of the gallery. Our findings show the ways that gender was felt and represented in these recurations, as fixed and unfixed, and productive and unproductive. The participants reassembled the ideas of gender presented within the gallery through representations imbued with affect. This included representations that conflated sex and gender and privileged bio-essentialist narratives, as well as representations that drew on binary models and logics. These re-curations, we argue, point to the ways that young people are making sense of gender (im)possibilities. We argue that these narratives highlight the ways young people are grappling with discourses of gender as they transition into adulthood in contemporary society. [ABSTRACT FROM AUTHOR]

The Science Museum Group Journal's Issue 21 Editorial discusses a special collection of articles that explore the scientific acquisitions of Professor Stephen Hawking's office at the Science Museum Group and his papers at the University of Cambridge. These acquisitions provide insights into the practices of theoretical physics, academic collaboration, and the realities of living with a degenerative disease while being a celebrity. The articles also highlight the work of curators and archivists in acquiring, cataloging, and understanding museum and archive collections. The issue also includes discussions on curatorship, research, and audience engagement in other areas, such as the interactions of psychiatry and cinema. [Extracted from the article]

In February 2023, the Manchester Museum opened its new South Asia Gallery. Co-curated by a collective - 'individuals from British Asian communities in and around Manchester and fellow experts', the gallery encapsulates a unique curatorial spirit, and challenges traditional spatial juxtapositions in museum spaces. This review explores the collection and spatial experience of the gallery, examining the relationship between content and curatorial priorities. The gallery stands out in its unique telling of a people's history of large-scale global events, in the ways it traces the relationship between the everyday and empire, and between belongings and artefacts. This however brings with it certain lacunas in the 'global' connections of South Asia, and the need for future opportunities to explore under-represented voices. [ABSTRACT FROM AUTHOR]

This article introduces a special issue on Tim Hetherington and conflict imagery, which is the result of an international research project led by the University of Leeds and the Imperial War Museum. The project aimed to understand Hetherington's work by engaging with his associates, contemporary photojournalists, scholars, and the public. The special issue explores themes such as humanitarian photography, military masculinity, and the changing landscape of image-making during conflict. It includes articles that analyze Hetherington's representations of Afghanistan, focusing on aesthetic themes, soldiers' experiences, historical context, and audience interactions. The article concludes by encouraging further research using the Tim Hetherington collection. [Extracted from the article]

According to the Association of African American Museums (AAAM), there are more than 200 African American history and cultural museums—or other sites with substantial African American collections such as libraries and archives—across the U.S. Many of these museums had their start shortly after the height of the Civil Rights Movement, with a surge in establishments in the 1970s. Black museums serve to decenter White stories of America and refocus on Black experiences. While geographers have studied an array of memory, heritage, and tourism sites, museums remain understudied and under-theorized. Building upon the subfields of Museum geographies—particularly by considering the concept of museums as theatres of pain—and Black geographies, our research examines the ways these museums are integral to the relationships between Black placemaking and the tourism landscape, which remains steeped in anti-Black racism. Using museum exhibit documentation, semi-structured interviews of museum staff, and content analysis of online travel reviews (primarily TripAdvisor and Google Reviews), this paper analyzes two case studies: The National Afro-American Museum and Cultural Center in Wilberforce, Ohio, and The Colored Girls Museum in Philadelphia, Pennsylvania. Through our two case studies, we show how Black museums enact curatorial practices of commemorative geographies and create redemptive spaces that cultivate not only a homeplace for visitors, particularly for Black Americans and people of the African diaspora but also serve as sites of belonging and joy. [ABSTRACT FROM AUTHOR]

The article recounts the life and work of Polish art historian and art critic Helena Blum and reflects on the integration of women into the historiography of art history. Information is provided on the education and earlier career of Blum including as curator of the National Museum in Krakow, Poland. It offers a look into Blum's anachronistic approach art history, her modernist research method and challenge to the patriarchal canon of art history and ocularcentrism, and curatorial strategies.

This article explores a recent trend in Estonian museums -- the increase in the auxiliary collections against the background of the general slowdown in the development of the main collections. The article demonstrates that the rise of auxiliary collections occurred because of the tension between the regime of eternal preservation supported by the national heritage practice and the new museum practice of active collections implemented by the museums. Based on a study of 20 state-administered museums, the article examines the ambivalent status of the auxiliary collection by juxtaposing its legal and practice-based conceptualisations. The article will demonstrate that auxiliary collections confer on museums the necessary buffer zone to navigate the state's regulations and the lack of resources. In the context of the eternal preservation regime, an auxiliary collection is a liminal collection waiting to be made meaningful by administrative, curatorial, and preservation processes. However, auxiliary collections tend to dominate exhibitions and programs that understand heritage as emerging through active co-creation and sensory engagement. The rise of the significance of auxiliary collections can be anticipated vis-à-vis the national heritage repository plans as they offer solution for museums to maintain their relevance in the local communities. [ABSTRACT FROM AUTHOR]

The book "Museums and Wealth: The Politics of Contemporary Art Collections" by Nizan Shaked critically examines the relationship between museum collections and wealth, particularly in the United States. Shaked argues that the current art market and museum structure reinforce class hierarchies and inequality. The book features diverse case studies and explores topics such as the role of wealthy donors, the publicness of museums, and the need for changes in museum evaluation and governance. While some of Shaked's proposed solutions may be idealistic, the book raises important questions about the function and curatorship of museums in today's society. [Extracted from the article]

An introduction is presented in which the guest editors discuss the theme of the issue The Educational Turn in Curatorial Practice, Radical Forms of Pedagogy in the Museum Field, Pedagogy and Curating, Learning and Co-learning through Curation and other topics.

Copyright of Journal of Latin American & Caribbean Anthropology is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Museums often prioritize connecting with their audiences, but they may neglect the importance of providing internal spaces for staff to communicate openly. This article thinks through the first Prep Room project at the GRASSI Museum für Völkerkunde in Leipzig, Staatliche Kunstsammlungen Dresden, whose invited residents were brought together in a process of dialogical curating museums staff. The goal was to transcend classic notions of curating by focusing on the processual aspects of co-creating multilayered transdisciplinary methodologies to foster an informal space for reflection and exchange. During these in-depth discussions, the participants explored the practical implications of having diverse ontologies in their collections and had an opportunity to reflect on their everyday practices. [ABSTRACT FROM AUTHOR]

This article seeks to bring value to the claims of Indigenous Peoples in Brazil through 'encyclopedias', libraries or dictionaries, forms of expression that indicate respect for elders and ancestors. It is developed within the political context of a struggle for constitutional rights, where land rights are at the center of complex historical issues marked by violence and violations. It recognizes the role of museums as active agents, especially with respect to collaborative actions in which indigenous groups and their representative agencies directly participate in museum actions with their ancestors' objects. A collaborative experience is described in relation to the exhibition Resistência Já! Strengthening and Unity of Indigenous Cultures - Kaingang, Guarani Nhandewa and Terena, MAE-USP. Throughout the discussion, reflections on museal collaboration are raised and indigenous authors embedded with the aim of expanding the point of view of museums and their working methods with comprehensive and active indigenous participation. The position of indigenous actors on cultural knowledge transmission and the elders' role results in an increased political appreciation of the 'encyclopedias'. [ABSTRACT FROM AUTHOR]

A commentary on the article "Curation by the Living Dead: Exploring the Legacy of Norwegian Museums' Colonial Collections," by Josephine M. Rasmussen and Vibeke M. Viestad, is presented. Topics discussed include use the Kon-Tiki Museum (KTM) in Oslo, Norway, as a case of contemporary colonial museum practice, and how explorer Thor Heyerdahl's legacy manifests in the museum's exhibition, and its 'decolonisation' process to repatriate Rapa Nui (Easter Island) material, and in current research.

A response by Josephine M. Rasmussen and Vibeke M. Viestad to a commentary on their article "Curation by the Living Dead: Exploring the Legacy of Norwegian Museums' Colonial Collections", is presented. They note the attempts of the Museum of Cultural History to revise their exhibition practices of objects taken from Congo to Norway during the reign of King Leopold II and by Kon-Tiki Museum to repatriate collections taken from Indigenous people during Thor Heyerdahl's scientific expeditions.

Indigenous artists in Brazil have increasingly demanded the insertion of their bodies in museum spaces, as they aim to challenge the invisibility of native peoples in the country and deconstruct ethnocentric stereotypes often associated with these cultures. In this sense, building dialogue with institutions has been an arduous task, since the structure of these spaces sometimes repels the indigenous subject with its own philosophies, languages, cosmogonies, and ways of thinking about aesthetics. Taking into account the relevance of this debate, this article intends to analyze the curatorial work of Sandra Benites and Naine Terena in the exhibitions Dja Guata Porã: the Indigenous Rio de Janeiro (2017), held at the Art Museum of Rio (MAR), and Véxoa: we know (2020), which took place at the Pinacoteca do Estado de São Paulo, respectively. It is worth examining how these two indigenous women interacted with traditional Brazilian museums, seeking to execute other ways of curating an exhibition. To this end, some notions, such as contemporary indigenous art (Jaider Esbell, 2018) and curation as resistance (Moacir dos Anjos, 2017), are resorted to. Thus, the study demonstrates that Indigenous curators have sought to establish intercultural dialogues with museums, but often the institutions are not prepared to deconstruct their Eurocentric thinking. [ABSTRACT FROM AUTHOR]

The debate on whether Pre-Columbian objects should be studied from the discipline of art history or from archaeology has been the subject of various research studies in recent decades. The present essay reflects on this debate in the context of museum curation in the Museo de Arte de Lima (Peru). It presents examples of recent temporary and permanent exhibition displays, focusing on the creation of new narratives and forms of sharing the past, derived from the study of the objects themselves while placing them in a wider context of updated archaeological research. The article concludes by proposing a new form of curation demonstrating that the coexistence of both disciplines is not only possible but necessary. [ABSTRACT FROM AUTHOR]

This article seeks to bring value to the claims of Indigenous Peoples in Brazil through 'encyclopedias', libraries or dictionaries, forms of expression that indicate respect for elders and ancestors. It is developed within the political context of a struggle for constitutional rights, where land rights are at the center of complex historical issues marked by violence and violations. It recognizes the role of museums as active agents, especially with respect to collaborative actions in which indigenous groups and their representative agencies directly participate in museum actions with their ancestors' objects. A collaborative experience is described in relation to the exhibition Resistência Já! Strengthening and Unity of Indigenous Cultures - Kaingang, Guarani Nhandewa and Terena, MAE-USP. Throughout the discussion, reflections on museal collaboration are raised and indigenous authors embedded with the aim of expanding the point of view of museums and their working methods with comprehensive and active indigenous participation. The position of indigenous actors on cultural knowledge transmission and the elders' role results in an increased political appreciation of the 'encyclopedias'. [ABSTRACT FROM AUTHOR]

In this forum, a diverse group of scholars and practitioners reflect upon doing work as Asian Americanists with and for non-academic audiences, or various "publics." Their remarks were originally presented at the Organization of American Historians (OAH) meeting in Los Angeles, California in March 2023. The authors' experiences were wide-ranging, from curating museum exhibits to advocating for K-12 curricular reform. Though their journeys as public-facing or publicly engaged practitioners and scholars did not begin in 2020 or 2021, these years of intensifying anti-Asian racism were a turning point from which they also emerged with a clarity of purpose and resolve. [ABSTRACT FROM AUTHOR]

The text is an editorial from the Journal of Museum Management and Curatorship. The journal aims to support reflective practice and addresses various issues in the museum field, including human resources, museum building, tourism, urban development, repatriation, colonialism, inclusion, and sustainability. It is a leading journal for museum professionals and has been in publication for 39 years. The journal is internationally focused and welcomes contributions from around the world. The current issue explores the impact of digital technology on museum management practices. The editorial encourages readers to contribute their own ideas and emphasizes the journal's commitment to meeting the needs of the museum field. [Extracted from the article]

This study explores how to recontextualise objects in exhibitions to provide a bridge between the objects and visitors in museums by revealing two important strategies, which include establishing specific (sub)themes and frameworks as well as organising objects in groups. First, exhibit themes (reflecting exhibit frameworks), gateway objects, and exhibit atmospheres can be strategically combined to recontextualise objects. Second, objects either associated with or beyond spatio-temporal proximity can be grouped together in exhibit context. Both strategies reconstruct the micro, macro, and/or specific dimension(s) of objects' contexts, weaving together visitors' personal and social contexts to enhance their engagement with the objects. This study is based on fieldwork from thirty-two Dutch museums, a series of semi-structured interviews, and direct observation. The paper argues that using objects' original context is an important source for increasing the creativity involved with curating museum exhibitions. [ABSTRACT FROM AUTHOR]

Sociolinguistics can help us grasp how collective memory cultures are (in part) shaped by representations of historic events through varied linguistic – and other – sources (e.g. education, news media, conversations and museum displays). In this study, we specifically zoom in on the curatorial selection process of a Belgian Second World War (WWII) memorial museum, whilst simultaneously exploring the reflexive relation between this curatorial process and the wider WWII remembrance context. To this end, we compare exhibited video testimony fragments to the full testimonies available in the museum's research centre, to examine which narratives were selected or silenced. Additionally, we confront fine‐grained analyses of the testimonies with master narratives on WWII remembrance. As our analyses illustrate, the exhibited fragments align with these – typically coherent – master narratives, while the full testimonies are complex. Overall, we show that museums not only reflect master narratives, but are also sites for forging them. [ABSTRACT FROM AUTHOR]

The article explores stories of mythmaking about creatures or objects from different museum collections and how to curate such objects. These myths include a narwal tusk at the Metropolitan Museum of Art in New York linked to unicorn horns, a unicorn skeleton at the Natural History Museum in Germany identified as a mixture of wooly rhinoceros and mammoth, and a griffin claw at the British Museum connected to St. Cuthbert, whose shrine in Durham, England has two claws and griffin eggs.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

"Do they read? Oh, yes, they do," was the conclusion of a paper identifying the proof of label use in visitors' in-gallery conversations versus the difficulties of observing them reading. This paper -methodologically refines this research question by asking how exactly exhibit labels are used. Answers are derived from an empirical study that analyzed viewing behavior both before and after the reinstallation of a museum's collection through mobile eye tracking (MET), subjective mapping, and questionnaires. As the introduction of interpretive labels was one of the major changes implemented, the paper demonstrates differences in visitors' responses to the artworks with or without contextual information. Analytical emphasis rests on the exploration of patterns in the process of decision making (differentiating between visitors' reading affinities); visual engagement (analyzing the combined activities of looking and reading); and memory (echoing label texts in visitors' artwork reflections). Our findings show that all visitors read, albeit to very different extents, the majority being medium-affinity readers; that the basic viewing pattern "art-label-art" becomes more complex with more text and more -visitors on-site; and that art interpretations deepen and differ through additional information. The power of labels to guide eyes and thoughts suggests their intentional use in museum and curatorial practice. [ABSTRACT FROM AUTHOR]

This article explores the making of the British Museum's Albukhary Foundation Gallery of the Islamic World, which widened the geographical, temporal, and material presentation of the museum's collections, reframing the new display as one of "Islamic material culture" rather than "Islamic art." Discussed from an insider curatorial perspective, it examines how this reconceived framework made it possible to feature multifaceted narratives about the peoples of the Islamic world, as well as the ideas, technologies, and interactions inspiring their visual culture. Representing a transformative practice open to continual adaptation, this epistemic shift in the narrative could serve as a template for other galleries of world civilisations in global museums today. [ABSTRACT FROM AUTHOR]

The exhibition 'An (Un)Pleasant Journey. The Life of Stefan Edlis after HIM' brought Maurizio Cattelan's sculpture HIM to the Jewish Museum Vienna and referred to an indelible part of collective European history from the perspective of the eponymous collector's life story. In this context, Margula Architects realized an innovative exhibition concept for the sculpture, without 'putting it on a pedestal', integrating a very specific museum space, references to different times and places in the life of Stefan Edlis and a notorious piece of contemporary art in a unique design solution. Their spatial installation guides the viewer's gaze through space on an imaginary journey through the collector's life from his emigration to the US in 1941, to successful plastics manufacturer, and finally to famous art collector. The exhibition and the narration of Edlis' life story revolved around 'HIM', one of Cattelan's wax-sculptures, as an example of the collector's approach to contemporary art, also mirrored in the documentary 'The Price of Everything' directed by Nathaniel Kahn. By adopting the concept of spatial collage Margula Architects combined multiple references to different time-spaces, mediated via fragments of design history. A rich spatial narrative was interwoven with the museum's venue, drawing visitors in, guiding them through space and referring to Stefan Edlis' eventful life. Together with the museum's curatorial team, Margula Architects realized a unique exhibition setting for a controversial piece of contemporary art, conceptually challenging traditional notions of exhibition design, while striving for new horizons for communicating meaning, emotions, and history in space. [ABSTRACT FROM AUTHOR]

This case study traces the initial investigations in developing a culturally responsive intervention in museum education and curation entitled Elusive Desires. I explore the ways in which curatorial and pedagogical work in an art museum may disrupt traditionally held notions of "Canadian art," the archive, and belonging. Embracing an intersectional approach, I take on a queer feminist Asian diasporic lens to thinking through all aspects of the curatorial intervention, from the participating artists and the educational outreach to the community and school groups. I argue that taking on such a lens enacts curating and museum education as a social intervention that counteracts anti-Asian racism, toxic heterosexual masculinity, and settler-colonial logics that are frighteningly prevalent today. [ABSTRACT FROM AUTHOR]

Civic government headquarters and museum; more than a building, ‘place’, subject of historical research in a variety of fields. The idea of a virtual archive of documents, images and communicative solutions is exposed, aiming at a global understanding of the historically fragmented sedimentation and the articulated complexity of its parts.

As museums engage in the increasingly complex issues that are impacting their communities, they confront what are known as "wicked problems". (Keenan [12], np) Where do museums even begin to tackle the many interconnected global problems that we face in 2022, while also continuing with the well-defined functions that museums are so good at? Another recent publication that explores museums' structural barriers to social action is Bronwyn Bevan's I Theorizing Equity in the Museum: Integrating Perspectives from Research and Practice i ([5]). [Extracted from the article]

Decolonizing and Indigenizing work needs to be done in museums and our day-to-day lives. On Turtle Island or so-called North America, the current settler colonial states add urgency to this work. Many settlers live on stolen land and benefit from colonial structures in ways that Indigenous friends, colleagues, and hosts do not. This article presents a self-reflective account of two museum studies courses I have been part of developing and delivering that incorporate decolonizing and Indigenizing principles. From my white settler perspective, I discuss the need for settlers to educate (or reeducate) ourselves as museum practitioners by putting decolonizing and Indigenizing words into conversation with our accountabilities in daily life. [ABSTRACT FROM AUTHOR]

The article provides information related to Uganda Museum, East Africa representing the tribal groups. It discusses the role of the British protectorate, and the presentation of Artifacts in the Uganda Museum. It presents how tribal people participate in exhibiting their authentic crafts in a museum project.

For decades, Museum Studies scholars have called for a new 'critical museology' with greater inclusion of marginalized communities and diversification of exhibition content, but children have been largely ignored in these efforts. This paper explores the possibilities for what I call a new 'Critical Children's Museology' through in-depth analysis of the Anything Goes exhibition at the National Museum in Warsaw, Poland in 2016. Curated by 69 children, this ground-breaking exhibition radically broke from current and traditional museological practice by offering prominent institutional space and professional support for children's cultural production in the form of curated exhibition galleries and programming. I analyze the exhibition, its production process, and its strengths and limitations to consider the possibilities and challenges of bringing child-centred praxis into museology. This work contributes to the larger charge of democratizing museum and curatorial practice by upending the patronizing view of children as passive recipients of museum offerings, focusing instead on their capacities for cultural production, critical interpretation, and curatorial innovation. [ABSTRACT FROM AUTHOR]

The article offers information on the Uganda Museum's tribal representation, citing the colonial repositories and community reconciliation in Uganda. Topics covered include the collaborative community project in Northern Uganda initiated to preserve the memorial landscape, the role of the British protectorate in the Uganda Museum and the interpretation and presentation of artefacts in Protectorate Museum-Uganda. It also examines the relation between the Uganda Museum and nation formation.