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By Mary Bouquet

The museum growth, with its accompanying objectification and politicization of tradition, reveals its counterpart within the starting to be curiosity via social scientists in fabric tradition, a lot of that's to be present in museums. now not strangely, anthropologists specifically are turning their awareness back to museums, after a long time of forget, within which fieldwork turned the hallmark of recent anthropology - rather a lot in order that the "social" and the "material" parted corporation so notably as to provide one of those wisdom hole among old collections and the intellectuals who may need benefitted from engaged on those fabric representations of tradition. additionally it used to be forgotten that museums don't merely current the "pastness" of items. loads of what is going on in modern museums is actually approximately making plans the form of the longer term: making tradition materialize contains blending issues from the earlier, taking into consideration present visions, and figuring out that the scenes developed will form the views of destiny generations. even if, the (re-)invention of museum anthropology provides a chain of demanding situations for educational educating and learn, in addition to for the paintings of cultural creation in modern museums - matters which are explored during this volume.

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This fact alone relates to the ethnography on which this text is based: work in progress related to the Dundo Museum materials of the cultural patrimony of the ex-Diamang. The Dundo Museum was a colonial museum owned, from 1936 to 1975, by the Diamang, The Diamonds Company of Angola, which operated in a concessioned area covering the northeast Lunda district of Angola. After Angolan independence in November 1975, the Company was nationalised and its former Portuguese headquarters closed. In the late 1980s, the Archives from the Cultural Services, which ran the museum from Lisbon, were purchased by the Anthropology Museum of Coimbra University.

42 It is the embodiment of this latter day notion of culture which is most slippery of all, for this notion is conceptually the ‘Other’ of race. The HuntCranmer family (who run both the museum and politics at Alert Bay) have moulded the sequestered Potlach Regalia into the essence of Kwakwaka’wakw culture on the basis of tendentious interpretations of the Boas-Hunt corpus, colonial typographies and territorial definitions. In presenting this image the museum severs all relations with the community it purportedly serves, mystifying its relation to the neo-colonial powers, by whose grace, and on whose terms (recognition, grants, patronage, technology and so on) it depends.

Clearly their public impact is negligible. Only if, in its public presentation, the Koninklijk Museum were to indicate that there is no collecting that is not a facet of colonial infraction, that the history of Midden-Afrika is simultaneously a history of Belgium, that the inscription of unwritten languages34 is collusive with globalisation/re-tribalisation, that value-free Science is a myth, and that the Platonic Form that sustains High Art is in decay, might a dialectical process begin. It might then question whether any museum can be merely ‘cultural’ and/or ‘scientific’, and whether a line between the material and cultural can be drawn.

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