Showing posts with label Africa. Show all posts
Showing posts with label Africa. Show all posts

2 August 2022

People and Plants online workshop, by Inbal Livne.

 Part of the 'People and Plants: Reactivating Ethnobotanical Collections as Material Archives of Indigenous Ecological Knowledge' AHRC networking project, this workshop (July 14 2022) bridged the gap between the first two in-person sessions, in March at the Powell-Cotton Museum, and in November at National Museums Scotland. While the in-person meetings are focused on collections particular to each museum, the online session was an opportunity to talk across geographies and institutions, thinking about the connectedness of ecologies and people and plant relations in Australia, Canada and the African continent.

Short talks by each of the invited speakers were made available via the project’s YouTube channel prior to the event. Due to illness speaker Naima Hassan was unable to attend and so the workshop was based on the talks by Nancy Turner and James Tylor.

Nancy Turner, an ethnobotanist who has worked with First Nations elders and cultural specialists in northwest North America for over 50 years, reflected on ethnobotany’s application to contemporary environmental issues. Visual artist, researcher and writer James Tylor discussed the process of reviving, practicing and continuing Kaurna cultural plant knowledge and care of the environment in South Australia, as a living museum collection. 

The discussion began with James expanding on the issues of land management and fragile eco-systems, and the specific impacts of colonisation and European land management frameworks on Indigenous landscapes. Using kangaroo grass as an example, James discussed the nuanced and complex systems of land management by Kaurna people that had allowed the grass to flourish, in contrast to the impact of European agricultural practices (plants and animals) on Indigenous plant health today. A repeating theme of the workshop was this balance of co-existence between species, and the way in which colonial understandings of land use ignored, and continue to ignore, the importance of site-specific ecology. As James noted, today kangaroo grass can mostly be found growing between the roads and farmland, not on the farmland itself, and only at a fraction of its former height.

Nancy responded by noting the parallels between land practices in Australia and Canada, and the similar impacts of colonial land management. She noted the physical changes in the landscape that have come about today, because of the different – European – plants that were introduced by colonisers. Using the example of a species of clover, Nancy spoke about how, much like the kangaroo grass, clover could be found all around Victoria and was a common food source. These changes to the plant-scape over time, as the city changed and grew, are reflected in herbarium collections, forming a historical record. Therefore, she notes, we must continue to document and collect, to keep those records going for future generations.

As Ali Clark, session chair, noted, these institutional specimens become markers of change, and as those people who care for such specimens in museums, we need to better understand their role as a record of the holistic nature of ecosystems.

The conversation then moved on more specifically to land management, and James began with a fascinating and detailed explanation of the importance of Indigenous land management in Australia. Focusing on the area around Adelaide, he described how the land has been damaged by colonisation and the building of the city. Colonisers were wealthy and wanted a British feel to the city, determined to build European landscapes in environmental conditions that were inappropriate. James noted that South Australia has one of the highest rates of plant extinction in Australia, largely due to land mismanagement by colonisers. Burning, James noted, was a particular area in which European land management continued to be hugely detrimental to the landscape. Catastrophic bushfires come from the continued Euro-centric attitude of the Australian government to fire – a position in which fire is a bad thing. Where the fire departments do burn, it is done at the time of year to best remove fuel load, not when is best for the environment and plants. By contrast, Indigenous fire management is about doing it at the right time, in the right part of the cycle of the plants. The optimal time to burn for plants, is late summer/autumn, which goes against European cultural norms. It has taken recent catastrophic fires, which have led to the deaths of millions of animals, for the Australian government to see the advantage of low-temperature, controlled, Indigenous burning techniques.

James passionately talked about how fire has a beautiful cycle. When Aboriginal people arrived in Australia, they realised they could manage the land through burning in a way that was optimal for all ecosystems. It a system that Aboriginal people have been refining through observations of nature for tens of thousands of years.

In response, Nancy reflected on land management systems in Canada, and the impact of Euro-centric systems. She noted that colonisers carved up the land in line with their agricultural traditions and plants in European ways. In Western Canada, colonisers were blind to the nuanced land management systems that already existed. Indigenous communities weren’t growing annual, seeded crops, but were managing perennials that needed year on year cultivation in different ways. These developments are documented in herbarium specimens and ethnographic accounts.

The discussion turned to knowledge systems and the value we place – now and historically – on different forms of knowledge. In the case of Australia, James noted, the British Empire invaded at the height of its powers. At the same time, ‘science’ was carving up the various academic disciplines, breaking down and categorising the world in a very individualised way. For a culture (European) where an understanding of the world was broken down in this way, the complex way in which Aboriginal communities understood the interrelationships of plants, people and animals in ecosystems, was just too advanced for European thinking. And James notes that how we value Aboriginal knowledge continues to be influenced by historic European scientific thinking but ‘there are 3000 generations of observations of the land in Indigenous communities, but only 300 years of European scientific understanding’. Adding to this, Nancy noted that it is not just eco-systems, but biocultural systems of accumulated knowledge across the generations.

For the last part of the workshop, the floor was opened to questions. The first asked whether indigenous knowledge was, and could be, retained down the generations, or whether there was a risk of loss in the present day. Both James and Nancy felt positive about the future. James also reflected on the fact that living culture is something continuous and active, that would continue to grow and expand. By collecting plants or cultural objects from indigenous peoples, museums have removed these from use. James argued that museums run the risk of becoming stagnant and that it is important for museums to reflect this living culture to avoid presenting cultures as static

The next question was for James, asking what the role of his artistic practice is within the concept of the ‘living museum’. James responded by noting that Aboriginal people practice culture in the broadest sense, not as ‘art’, rather, taking a holistic view.

The final question looked to the future, and asked if the speakers thought, given the discussion on complex and fragile local-ecosystems, museum collecting practices could be adapted to better reflect that holistic view, to make them more relevant and useful outside of the museum, particularly to indigenous communities. Nancy responded by sharing an example of a digging implement, which she had to hand and could share on screen. She discussed the contextualisation of the crop it was associated with and the importance of tools, recordings, photographs and references to writing that pointed people to where they could see these cultural activities in action.

To finish the event, James set us – as museum professionals – a challenge. He noted that living cultures continue to evolve and that museums contain static collections that could become less and less relevant to the communities they represent. He challenged museums to work more with communities, to provide that context and keep that relevance going forward.

For more information on the People and Plants project please visit:

People and Plants: investigating natural history and ethnography collections in museums (nms.ac.uk)

The project is supported by the Museum Ethnographers Group and the Natural Sciences Collections Association.

Inbal Livne

Curator, Diversifying Collections

John Rylands Library, University of Manchester

19 April 2021

Job: Programme Manager: African Histories and Heritage Collaborative Programmes, British Museum

Programme Manager: African Histories and Heritage Collaborative Programmes 

Fixed-Term (5 years)
£49,962 per annum
Application Deadline: 12pm on 27 April 2021

The British Museum is seeking an experienced Programme Manager to plan and deliver an exciting and complex externally-funded research and public engagement programme in collaboration with curatorial and research staff. The African Histories and Heritage Collaborative Programmes will involve working with partners nationally and internationally in the development and delivery of innovative, collaborative projects with a focus on diverse African histories and heritage, including pre-colonial African histories and global connections, and shared African-British history and heritage.

In this role you will lead on strategic budget and resource planning, and the reporting and management of the programme and its projects. This will involve the development and delivery of operational, financial, contractual and governance frameworks to ensure successful collaboration and the timely delivery of the programme. You will be responsible for coordination of the programme and activities with partners, managing dependencies and the different priorities of collaborative partners.

Full details on the British Museum website 

5 October 2020

Ipswich Museum seeks World Art Consultants

Ipswich Museum is seeking consultants to ensure that Ipswich Museum’s important World Cultures Collections are better understood, documented and readily accessible to facilitate use in new displays and decolonisation programme. To contribute towards a smooth, well-documented programme of ‘decanting’ collections in advance of building works.

 

There are 6 packages of work 


Package 1.        Specialist Overview/ report on the World Cultures Collection as a whole

Package 2.        Improving storage and basic documentation – World Cultures collections from Oceania, Indian sub-continent, North America and elsewhere

Package 3.        Improving storage and basic documentation – African Collections

Package 4.        Collections documentation research

Package 5.        Further specific specialist collections advice

Package 6.        Participation in networks with source communities

 

Regarding package 6, participation in networks with source communities, it is the intention of Museum Staff that current contacts and work in the previous 5 packages will inform and connect us with the appropriate activity, in particular the consultant should include recommendations of projects and contacts that would be useful to the work they are outlining.


Please contact James Mellish, Heritage Project Manager, Ipswich Borough Council for more information on the roles and the tendering process. 


James.Mellish@ipswich.gov.uk




26 June 2020

What do world art curators do in lockdown?


Rachel's desk (and coworker) while working from home.
A guest blog from Rachel Heminway Hurst, Curator of World Art, Royal Pavilion & Museums, Brighton & Hove and MEG events officer.  Rachel tells us what she's been up to in lockdown, if you'd like to let us know about your lockdown experience then get in touch!

Towards the end of March I was gearing up for spring conferences, research visits, holiday activities,busy juggling multiple project commitments, with core collections work responsibilities that are on-going and seemingly never ending at times, and will no doubt feel a familiar scenario for most museum staff! When all of a sudden we went into lockdown. I left my office as usual on Monday 16th March thinking I would be back there the next day and haven’t set foot in my office, the museum or the stores since. It still felt like winter then, and now we are enjoying full summer weather and have just passed the longest day of the year. 
 
Before the lockdown, I was feeling quite overwhelmed by the number of commitments ahead of me, when all of a sudden everything just ground to a halt. One by one events were cancelled, researchers and project partners stopped emailing, our museum postponed moving to Trust on April 1st 2020, and all the competing deadlines just melted away and everything was ‘postponed’, and not just work, it felt like life had been postponed. 

Like many people in the UK, I developed a mild case of the corona virus during the first week of lockdown, and spent 6 weeks on a bit of a rollercoaster of good and not so good days. My head was foggy during this time and I could only concentrate on one thing at a time and gave up trying to multitask and carry on working as normal. I decided that this was an opportunity to focus on just one task, and finish something I had been working on without much success since 2016. 

I usually work from home one day a week and keep a lot of digital work files on my home computer, and I also have a freelance colleague and project curator, Kathleen Lawther, who is tech savvy unlike myself! So we set about completing a web resource that we have only had the time to work on in a piecemeal way up to now. The lockdown allowed me to focus clearly on one project and one goal, and this felt really liberating.

Myself and Helen Mears, Keeper of World Art have been working on the Fashioning Africa Project since 2015, we have been collecting garments, textiles and art that reflect fashion and style in post 1960s Africa and Africa UK diaspora, this work had been guided by an external Collecting Panel. It turned into a huge but extremely rewarding project, including working with numerous partners and donors, hosting many events and papers given at conferences, some objects from the new collection have featured in displays at Brighton Museum, and some objects will be going on loan. But creating our web resource has at last given us a platform on which to share the new collection and most importantly the stories that accompany these objects.


Working with the Collecting Panel meant we were guided by people who are specialists in African Fashion both through personal experience and through academic training. Their input enabled us to source objects that reflected the personal styles and stories of individuals as well as designers and specific communities. Our focus was on building a collection where individuals voices and stories were told, and we collected photographs of donors wearing their outfits, testimonies, quotes, pamphlets and pieces of creative writing that all accompanied the outfits. As well as film footage and oral histories.

We have collected over 400 objects and although we haven’t yet finished professionally photographing them all or processing all of the accompanying media, creating the web resource has enabled us to provide access to a large number of them with their accompanying stories. If it were not for being in lockdown and being able to work on this in a sustained way and daily over the last few months, creating this resource would not have been possible, and this would have been a missed opportunity. I also feel as if I would be letting people down, people trusted us and offered their objects and stories and wanted to share these. When finishing an interview with Ewe kente weavers and twins Fred and Richmond Akpo in Ghana, I asked if there was anything else they wanted to tell us or share and they said ‘We just want people to know we are here and what we do’. 

This work has also afforded me the time to make contact with donors and partners to check information with them, and through this contact, a chance to check in and catch up with one another. So yes other things haven’t got done, which is hugely frustrating - we don’t have collections database access at home and haven’t been able to access the stores or facilitate events and the uncertainty over budgets and resources means other projects are delayed. But I feel that I have really benefitted from this period of time to take stock, to focus on this important work, gather everything together and process it, and get something finished, and I am really pleased to be able to share the results. The question is now, when things begin to pick up and gather momentum, how do I sustain this focus and clarity? I do know that I will make a concerted effort to try and plan in blocks of time to enable this type of important work to happen.  


Rachel Heminway Hurst, Curator of World Art, Royal Pavilion & Museums, Brighton & Hove.