Museum Cooperation between Africa and Europe

Name: Museum Cooperation between Africa and Europe | A New Field for Museum Studies
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A New Field for Museum Studies

Thomas Laely Marc Meyer Raphael Schwere(Herausgeber*in)

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Erschienen am 20. Juli 2018

272 Seiten

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Cover
Contents
List of Figures
Figure 1.1: Craft centre linked to the Museu Nacional de Arte, Maputo, Mozambique, 2013
Figure 4.1: A ritual hut erected by a spirit medium at Ntabazikamambo/Manyanga archaeological site in western Zimbabwe
Figure 4.2: The Mukwati Walking Stick. Zimbabwe Museum of Human Sciences. According to the agreement between the NMMZ and the descendants of Mukwati, this artefact must always remain covered with a black ritual cloth. It can only be unwrapped in the prese
Figure 5.1: The Abasuba Community Peace Museum seen from its garden
Figure 5.2: The Museum of Acholi Art and Culture under construction
Figure 6.1: Signage in the garden of Aboke Girls' School
Figure 6.2: Mato-oput, Lukodi
Figure 6.3: Exhibition poster, Uganda National Museum, 2013
Figure 7.1: A basket with a lid woven from dried grasses. From the Junod Collection at the Museum of Anthropology and Archaeology at Unisa. Accession No: 1/75/11
Figure 7.2: A letterhead stamp carved from wood. It reads: 'C.P.21L.MD.*HAJ*'. From the Junod Collection at the Museum of Anthropology and Archaeology at Unisa. Accession No: 1/75/52
Figure 7.3: The divination set, or Bula, found in the Museum of Anthropology and Archaeology at Unisa. Accession No: 1/75/9a-w. Note Junod's handwriting on some of the pieces
Figure 8.1: Mrs Magdalena Kaanante, the curator of Nakambale Museum and Ms Charmaine Tjizezenga of the Museums Association of Namibia examine a pot from the Rautanen collection
Figure 8.2: A specimen Ekola from the museum collection at the University of Oulu
Figure 8.3: Catalogue number 5620 - 'Piece of Ondonga sacred stone, Oshipapa. The piece is from a meteorite fallen on the Earth in 1883 or 1886. Power stones are believed to symbolise good government, stability and connection with the forefathers' spirits
Figure 8.4: The second stone was described in the translation from the FELM catalogue as: Artefact Catalogue number 8248 - 'Ritual stone from Angola or Namibia, a "rain stone", may be a kind of stone with the help of which rain could be roused or engender
Figure 8.5: The original Finnish caption for this photograph was simply translated as 'Native attire'.
Figure 9.1: The poster publicising the exhibition
Figure 9.2: (Left to right) Tony Eccles, Curator of Ethnography, Royal Albert Memorial Museum, Exeter, UK, Kiprop Lagat and Juma Ondeng, both from the National Museums of Kenya, examining the beadwork collection from East Africa at the British Museum Ethn
Figure 9.3: A display unit depicting the Hazina exhibition layout
Figure 10.1: Photograph of an exhibition in the gallery space, ca. 1970. Self-published catalogue
Figure 10.2: Painting by Fabian Kamulu Mpagi, title and year of production unknown. Oil on hardboard, 57.5cm x 46 cm. Collection Klaus Betz
Figure 10.3: Balthazar Sanka, 'Lady watch your step'. Print 1/10. Jochen Schneider Collection, Weltkulturen Museum Inv. No. 62725
Figure 12.1: Two exhibits from the exhibition Femmes, bâtisseurs d'Afrique, which were offered to Benin and presented to the Maison du Brésil at Ouidah
Figure 12.2: A photographed papyrus representing the pharaoh worshipping the sun
Figure 12.3: Signs in Porto-Novo (left) and Cotonou (right) illustrating extraversion at work
Figure 13.1: King Njoya sitting on his beaded throne in front of his palace. The male twin figure holds a glass bottle in his hand, which was replaced when the throne was given as a present to Kaiser Wilhelm II
Figure 13.2: The new throne of Sultan El Hadj Ibrahim Mbombo Njoya was produced in a modern court style by the beadworker Ndam Mama for the Nguon festival 2008
Figure 13.3: The New Palace Museum of Bamum Kings (near completion) combines traditional symbols of the Bamum Kingdom with a modern museum architecture
Figures 13.4 and 13.5: This wooden throne is associated with King Nguwuo and was transformed into an 'ancient-modern object' after being covered with beads
Acknowledgments
Preface
Heterodoxy and the Internationalisation and Regionalisation of Museums and Museology
Building a Critical Museology in Africa
Introduction
Rethinking Museum Cooperation between Africa and Europe
PART I - Mapping the field - the history and context of Museum Cooperation between Africa and Europe
Connected by History, Divided by Reality
Cooperation between European and African Museums: A Paradigm for Démuséalisation?
PART II - Local communities and international networks - relations of partnership?
Shifting Knowledge Boundaries in Museums
Who Shapes the Museum?
The Road to Reconciliation
PART III - Accessibility of collections from Africa
The Junod Collection
The Africa Accessioned Network
The Hazina Exhibition
Artworks Abroad
PART IV - Critique and evaluation of museum cooperation
New Considerations in Afro-European Museum Cooperation in Africa
Investigating Museum Development in Africa: From Museum Cooperation to the Appropriation of Praxis
Conservation and Restoration as a Challenge for Museum Cooperation
Conclusion
What are the Opportunities, Challenges and Modalities for African and European Museum Cooperation?
Index
List of Contributors

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