Canadian Museums Association launches $1m programme to recognise indigenous culture

The Art Newspaper, April 18, 2019

“The Canadian Museums Association (CMA), which includes around 2,600 member institutions, announced on Tuesday that it will be awarding more than $1m to a programme that aims at reconciliation and collaboration with indigenous groups. The initiative comes out of a broader movement across Canada to repair relations with First Nations communities following a 2015 report by the Truth and Reconciliation Commission into the damage caused by the residential school system. “It’s time to push the reset button,” the president of the CMA, Karen Bachmann, said at a press event. 

Gary Anandasangaree, the parliamentary secretary to the Minister of Canadian Heritage and Multiculturalism, explained the initiative as “a national review of museum policies… in collaboration with indigenous peoples across Canada”. The programme will organise workshops, online learning modules, a national museum-worker bursary, reports and publications. Funding will come from the government’s Museums Assistance Program (MAP).”

More here.

Position Announcement: Community Engagement Specialist, Haffenreffer Museum, Brown University

Working with the Manager of Museum Education and Programs, the Community Engagement Specialist will provide substantial administrative and operations support for the Museum's programming and education efforts as we prepare for the Museum's relocation to Providence, RI. During the move, the Community Engagement Specialist will work collaboratively with Museum staff and stakeholders (particularly with Indigenous/Tribal communities) to develop, implement, and evaluate programming and education initiatives that: 1) forge partnerships and take advantage of opportunities created by the Museum's new location, 2) align with the Museum's short-term and long-range planning, and 3) integrate the needs of the diverse communities the Museum serves with the perspectives of local Indigenous communities and Tribal organizations.

Working with the Manager of Museum Education and Programs and the Museum's Deputy Director/Chief Curator, the Community Engagement Specialist will develop the framework for an exhibition on Native American communities in New England, building on the alliances and collaborations built through this position to create a multi-vocal presentation, engaging with community interests.

The ultimate goal of this project is to prepare the Museum to have newly renewed or well-developed new relationships with the region's Indigenous/Native American communities and, through them, to be prepared to offer improved educational outreach and in-house programs for schools and to have developed the framework for an exhibit that engages Native American perspectives in telling this region's stories by the time we open our doors in our new location.

To achieve our goals, the person in this position may supervise student employees or interns from academic programs at Brown or beyond.

This is a limited-term, full-time position with benefits, funded through a four-year grant from the Andrew W. Mellon Foundation.

More here.

Fellowship Announcement: Amon Carter Museum of American Art, Fort Worth, Texas

The Amon Carter Museum of American Art invites applications for the 2019/2020 Davidson Family Fellowship. The fellowship provides support for scholars holding a PhD (or equivalent) or PhD candidates to work on research projects in American art that advance scholarship by connecting with objects in the museum’s permanent collection. The stipend rate is $3,000 per month for a minimum one-month to a maximum four-month period of full-time research at the museum.

The application deadline is July 1, 2019, for a fellowship to begin on or after October 1, 2019, and end by September 30, 2020. Housing and travel expenses are to be managed and funded by the fellow.

Full description, including application form and guidelines: http://www.cartermuseum.org/library/davidson-family-fellowship

 

Fellowship Announcement: Wenner-Gren Foundation SAPIENS Public Fellowship

The Wenner-Gren Foundation invites applications for the first year of its SAPIENS Public Fellowship program. The program will place one recent PhD, in anthropology or a closely aligned discipline, in a two-year term fellowship at SAPIENS, the Foundation’s online magazine. The Fellow will gain experience in the work of the magazine, expand their professional networks, and receive professional mentoring. The Fellowship comes with a stipend of $50,000 per year.  

Acknowledging the precarity faced by many early career anthropologists, the Foundation has designed the fellowship to meet the needs of scholars for whom relocation can be a hardship. The Fellow will choose between telecommuting or working at the Foundation’s headquarters in New York City. The Foundation cannot sponsor a U.S. visa, but the successful applicant may be a non-U.S. citizen and undertake their fellowship outside the U.S. 

This initiative aims to expand opportunities in our field by demonstrating that the skills developed in the advanced study of anthropology have wide application, both within and beyond the academy. The program helps recent PhDs build careers in public media and science communication.

Specific activities will include but not be limited to:

  • Managing the online submission system

  • Identifying articles by anthropologists for republication

  • Uploading new pieces and proofreading with the team

  • Contributing to the title decision process and social media plans

  • Assisting in selecting and commissioning art and photos for articles

  • Collaborating with technical contractors to maintain website functionality

  • Organizing workshops

  • Writing articles for publication

  • Gaining skills for development editing


The Foundation seeks applications from recent PhDs who aspire to careers beyond academia by choice rather than circumstance. Competitive applicants will be able to demonstrate a sincere interest in public anthropology and will have a record of success in both academic and extra-academic endeavors.
 

To apply, you must complete an online form, providing:

  1. Personal information (including name, birthdate, gender, and citizenship)

  2. Information on your education accomplishments (including dates of conferral, institutional affiliation, and dissertation supervisor)

  3. Information on your professional background (listing employment positions since graduation)

  4. A statement of interest describing how your past experiences have led to your interest in this fellowship

  5. A statement of your vision for the mission of public communication, the future of SAPIENS, and your own future as a practitioner in this field

In addition, you must upload a one-to-two page résumé, as well as a separate document providing the names and contact information for two references.

Please note that finalists may need to provide institutional documentation of PhD conferral (or, if the degree has not yet been conferred, an institutional statement from the registrar attesting that the dissertation defense and deposit have been completed and confirming the degree conferral date).

Position Announcement: Senior Assistant Curator in Archaeology, Museum of Archaeology and Anthropology, University of Cambridge

The appointee will contribute to the work of an internationally-respected, dynamic research museum, in particular to the care, documentation and exhibition of the Museum's extensive archaeological collections. He or she will help make the collections accessible to researchers, students, public audiences and source
communities, and will be expected to supervise staff, volunteers and students, contribute to Museum
administration and programmes, and to University teaching. The appointee should anticipate leading the
redisplay of world archaeological collections, which occupy the Museum's second-floor Andrews Gallery.

Once an offer of employment has been accepted, the successful candidate will be required to undergo
Certificate of Good Conduct, a basic disclosure (criminal records check) check and a security check.
The closing date for applications is 30 April 2019. It is anticipated that short-listed candidates will be interviewed on Friday 24 May. We particularly welcome applications from women and /or candidates from a BME background for this vacancy as they are currently under-represented at this level in our department.

Informal inquiries may be addressed to the Museum's Director, Professor Nicholas Thomas.
General queries about this vacancy and the application process may be addressed to the Museum
Administrator on wmb24@cam.ac.uk

Please quote reference JU18552 on your application and in any correspondence about this vacancy.
The University actively supports equality, diversity and inclusion and encourages applications from all sections of society. The University has a responsibility to ensure that all employees are eligible to live and work in the UK.

Candidates should hold a PhD in archaeology or a related subject, with research expertise in a region other than Europe; preference may be given to a candidate with expertise in Africa or in South America. Candidates should have experience of curatorial work, research in a museum, and museum-based public engagement.

Teaching experience in archaeology and involvement in exhibition development are highly desirable.

Applications should include a personal statement, not exceeding three A4 pages, a curriculum vitae and a list of publications. Candidates are also asked to identify one article-length piece of work, published or in press, which they would like the Appointments Committee to read.

Call for Papers: 2019 Visual Research Conference

The Thirty-Fifth Annual Visual Research Conference will take place in Vancouver, British Columbia, Canada this year, November 18-20 at the beginning of the joint conference American Anthropological Association and Canadian Anthropology Society (CASCA) meeting. An informal no-host dinner takes place on Monday evening and interactive presentations take place all day Tuesday and until 3pm on Wednesday. The Conference will be held in the Vancouver Convention Center.

The Visual Research Conference provides an opportunity for professionals and students to dialogue about visually engaged works-in-progress. There are no specific themes to follow, though we are most interested in new ideas and projects under development in the study of visual signification, visual communication, and visual forms of representation, and/or utilizing visual media (photo, film, web, polymedia, intermedia, multimodal media). Forty minute time slots allow for substantive presentations that include viewing of visual material as well as ample give-and-take with an actively participating audience. Further discussion takes place during poster presentations. Many informal discussion periods between the interactive formal presentations, plus conversations at lunch and dinner, create multiple situations for networking and exchange of ideas. Members and non-members of the American Anthropological Association and Society for Visual Anthropology are welcome and there is no charge to attend. This is a productive way to meet and interact with others who do anthropological and anthropologically-related visual research.

More here.

Position Announcement: Senior Collections Manager, Maxwell Museum of Anthropology, University of New Mexico

The Maxwell Museum of Anthropology at the University of New Mexico seeks a Senior Collection Manager to manage and care for the Museum’s ethnographic collections and collection documentation.  Founded in 1932, the Maxwell Museum holds large important anthropological collections in its divisions of archaeology, ethnology, osteology and archives. The ethnographic collections of ca. 17,000 objects are particularly strong in the U.S. Southwest and Northern Mexico, but have global representation. The successful candidate will join a dedicated team of collection professionals working to document and preserve the collections, support collection-based research and teaching in a vibrant university setting, build new collaborations with source and descendent communities, and support an active program of exhibitions and public engagement.  

 

Position Summary

 Manages and cares for anthropological collections, with particular responsibility for the Museum’s ethnographic collections and associated research materials. Manages the acquisition, cataloging, documentation, preservation and growth of museum collections and associated materials. Oversees museum records and collections documentation (including accession records, loans, repository agreements, etc.) and participates in development and implementation of collection database and digitization efforts. Collaborates with curators and staff in the development and implementation of collection management policies and procedures. Prepares reports, grants proposals and research papers. Supervises curatorial assistants, volunteers, and field technicians. Interacts with public, university and professional community through collections tours, teaching, lectures, presentations and publications.

 

Minimum Qualifications

Master's degree; at least 5 years of experience directly related to the duties and responsibilities specified.

Completed degree(s) from an accredited institution that are above the minimum education requirement may be substituted for experience on a year for year basis.

 

Preferred Qualifications 

Master’s Degree or other Graduate Certification in Anthropology or Museum Studies.

Demonstrated computer proficiency with museum collections databases, Microsoft Suite. Knowledge of PastPerfect software is desirable.

Familiarity with laws and regulations concerning collections; familiarity with NAGPRA desirable.

Community engagement experience highly desirable

Ability to effectively establish priorities, and perform multiple tasks involving ethnographic collections and museum records

Proven record of being a highly motivated and proactive team player.

Duties and Responsibilities:

1.    Manages all aspects of collection care by following and implementing accepted museum standards for processing and cataloging incoming ethnographic materials, data entry, maintenance of systemic order, and routine care and conservation; evaluates the standards and develops strategies to update the physical condition of the collections and increase efficiency.

2.    Monitors and evaluates the effectiveness of computer database applications and participates in long-term planning for divisional and museum-wide data management protocol and network systems.

3.    Oversees museum records and collection documentation (including creating donor and accession records, loans, repository agreements, etc.). Works with collection staff in other museum divisions (archaeology, osteology, archives) to assure that collections records are complete, well-maintained, and current.

4.    Establishes work priorities and directs staff to effectively accomplish the division’s goals and objectives, recruits, employs, trains and supervises graduate and undergraduate curatorial assistants, volunteers, and field technicians.

5.    In consultation with the curator, Interacts with the national and international scientific community responding to inquiries, facilitating the use of the collections, and managing specimen loans so as to influence the results of scholarly research.

6.    Assists in activities associated with NAGPRA including, but not limited to overseeing inventories of ethnographic collections, working with director, curators and staff in other collections departments to prepare Federal notices and communications, responding to requests and participating in consultations with Native communities, and preparing materials for repatriation.

7.    Assists Interpretation Division (Exhibits, Public Programming, Education) with negotiating and preparing object loans and documentation, including condition reporting and transport records; coordinates shipping. Maintains records of incoming and outgoing exhibition loans.

8.    Interacts with internal contacts such as faculty, curators, museum staff, and various University administrators to exchange information regarding the collections; assists curator with the management of the annual budget, purchase of materials and supplies, development and submission of grant proposals and management of contracts and grants; maintains records on collection use and growth; and assists in the preparation of fiscal year reports.

9.    Conducts public outreach programs, and participates in educational events (tours, lectures, science fairs, etc.).

10.  Represents the museum through professional activities that may include: managing electronic resources, editing publications, organizing workshops, conducting research, teaching, and authoring published publications.

11.  Advances professional development through attendance at conferences and workshops, service on advisory panels, holding office or assuming committee assignments in professional organizations in areas such as conservation techniques, integrated pest management, health and safety, and policy development.

12.  Performs miscellaneous job-related duties as assigned.

Campus: Main - Albuquerque, NM

Department: Maxwell Museum (937B)

Employment Type: Staff

Staff Type: Regular - Full-Time

Status:  Exempt

Pay: $3,434.31 to $5,151.47 monthly

Benefits Eligible: This is a benefits eligible position. The University of New Mexico provides a comprehensive package of benefits including medical, dental, vision, and life insurance. In addition, UNM offers educational benefits through the tuition remission and dependent education programs. See the Benefits home page for a more information.

ERB Statement

Temporary and on-call employees working an appointment percentage of 26 (.26 FTE) or greater, per quarter, will be eligible to earn retirement service credits and thus are required to make New Mexico Educational Retirement Board (NMERB) contributions. More information pertaining to your FTE and NMERB contributions can be reviewed on the NMERB Guidelines Clarified webpage.

For Best Consideration Date: 4/26/2019

Application Instructions:  

Applications should be submitted through https://unm.csod.com/ats/careersite/JobDetails.aspx?id=8481&site=14

Please include a letter of interest, a resume/CV, and names and contact information at least 3 references.

Positions posted with a Staff Type of Regular or Term are eligible for the Veteran Preference Program. See the Veteran Preference Program webpage for additional details.

The University of New Mexico is committed to hiring and retaining a diverse workforce. We are an Equal Opportunity Employer, making decisions without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, age, veteran status, disability, or any other protected class.

Chicago Art Institute postpones major Native American pottery exhibit over cultural insensitivity concerns at the last minute

The Chicago Tribune, Steve Johnson, April 1, 2019


”In a move museum leadership is calling unprecedented, the 
Art Institute of Chicagohas postponed a major exhibition weeks before its opening because of concerns over insufficient inclusion of the voices of indigenous peoples in the presentation.

“Worlds Within: Mimbres Pottery of the Ancient Southwest,” a display of some 70 pieces from about A.D. 1100 made in what is now southwestern New Mexico, was slated to open May 26 in Regenstein Gallery, the museum’s primary space for temporary exhibitions.”

But James Rondeau, the Art Institute’s president and director, said that as the show approached it became increasingly clear that more work needed to be done to represent native voices in the project.

“The principal thing that we have not accomplished is to have an aligned indigenous perspective, scholarly and curatorial, with the project,” he said. “And I think that ultimately for us has been the crucial realization that our ability to reflect back what we were learning needed to be done in multiple voices, not just our voice.”

More here.

Call for Fellowship Applicants: 4A Laboratory: Art Histories, Archaeologies, Anthropologies, Aesthetics

The Berlin-based research and fellowship program "4A Laboratory: Art Histories, Archaeologies, Anthropologies, Aesthetics" invites scholars to apply for up to two doctoral and six postdoctoral fellowships for the academic year 2019/2020.

Deadline for applications: April 15, 2019

4A LABORATORY is a joint Fellowship Program of the Kunsthistorisches Institut in Florenz, a research institute of the Max-Planck-Society, and the Stiftung Preußischer Kulturbesitz in collaboration with the Humboldt University, Berlin, the Forum Transregional Studies and other partners. The Stiftung Preußischer Kulturbesitz is an internationally outstanding cultural and scientific institution with unique museums, archives, libraries and research facilities; the Kunsthistorisches Institut in Florenz is a globally connected research institute, with a strong agenda in transcultural art histories.

4A Lab connects diverse disciplines, types of collections and multiple institutions in an innovative way. In particular, 4A Lab attempts to foster dialogues and exchanges between art history, archaeology, anthropology and aesthetics, (4 A), as well as other disciplines concerned with objects, practices, environments and narratives (OPEN).

The Fellowship program invites excelling doctoral and postdoctoral researchers from Africa, Asia, the Americas, Australia and Europe to Berlin. The collaboration promotes the close contact with objects, collections and archives. This includes the collections of the Staatliche Museen zu Berlin (Berlin State Museums), i.e., the Ägyptisches Museum und Papyrussammlung (Egyptian Museum and Papyrus Collection), Antikensammlung (Museum of Classical Antiquities), Ethnologisches Museum (Museum of Ethnology), Gemäldegalerie (Picture Gallery), Gipsformerei (Plaster Cast Workshop), Institut für Museumsforschung (Institute for Museum Research), Kunstbibliothek (Art Library), Kunstgewerbemuseum (Museum of Decorative Arts), Kupferstichkabinett (Cabinet of Prints and Drawings), Münzkabinett (Numismatic Collection), Museum Europäischer Kulturen (Museum of European Cultures), Museum für Asiatische Kunst (Museum of Asian Art), Museum für Islamische Kunst (Museum of 'Islamic Art), Museum für Vor- und Frühgeschichte (Museum of Prehistory and Early History), Nationalgalerie (National Gallery, including Hamburger Bahnhof Museum of Contemporary Art), Skulpturensammlung und Museum für Byzantinische Kunst (Museum for Sculpture and Byzantine Art), Vorderasiatisches Museum (Museum of the Ancient Near East), Zentralarchiv (Central Archive), as well as the unique holdings of the Ibero-American Institute, the State Institute for Musicology, the Secret State Archives and the State Library.

The program focuses on OPEN (objects, practices, environments, and narratives) in their historical, social and historiographical dimensions, including histories of collecting and display. It invites researchers to study the materiality, mediality, agency, ecology and mobility of objects and related discourses. Under such premises, the program aims to create a space for dialogue for university and museum scholars in order to strengthen transdisciplinary collaboration in the proximity of objects, to transcend the borders of the 4A disciplines, to combine their skills and to foster a conversation between more conceptual and more empirical approaches. The program aspires to promote transversal networking and critical reflections on historical and contemporary languages and terminologies.

The scholarly environment of the program is designed as a laboratory to enable and encourage both fellows and the wider community to experiment and redefine transregional approaches to the histories of visual cultures and aesthetic practices, including close collaboration between the fellows and the researchers of the two main partners, as well as scholars of Humboldt University, the Forum Transregionale Studien, and other international and national academic institutions. The program includes joint activities in Berlin, Florence and additional locations. The dialogue is structured by an annual theme, which will be presented and discussed in seminars, workshops, conferences and the like. The annual theme of the academic year 2019/2020 is Plants (see below).

4A Lab takes an active part in transdisciplinary debates concerning a new understanding of provenance and the postcolonial – or rather post-postcolonial – responsibilities of museums and collections. It therefore investigates historical itineraries, complex topographies and biographies of objects from transregional perspectives. The emphasis is not on the single object "in context" but on historically constituted and constantly shifting environments of objects between stability and mobility, as well as in their social, religious, political or aesthetic dimensions. This includes publics and all kind of actors, and the consideration of museums as an eco-system – with their interconnected formats of temporary exhibition, permanent display and storage, constellations of architecture and design, in relation to a variety of visitors, and finally their extension into digital environments. Distinctions between nature, culture and art, craft or material culture, which have dominated museum structures or were supported by them, are now, at best, the framework for narratives to expose or nullify them. 4A Lab invites outstanding international doctoral and postdoctoral scholars to help to shape these horizons, and to take a lead, as part of a group, in an intercultural dialogue across disciplines.

4A LAB is a merging, progression and restructuring of the two research and fellowship programs Connecting Art Histories in the Museum (2009–2019) and Art Histories and Aesthetic Practices (2013–2019). It is based on the experience of past collaborations between the partners and numerous other German and international research institutions. For more detailed information, please visit

https://www.khi.fi.it/4A-Lab

Call for Applications: Doctoral Winter School in Arts and Anthropology, Heritage-Making, and Uses and Museumification of the Past,

Call for applications: Doctoral Winter School in Arts and Anthropology, Heritage-making, Uses and Museumification of the Past, Cape Town and Johannesburg (July 22nd-  August 2nd, 2019), 

Deadline: March 30, 2019


The process of heritage-making in the context of a nation (re)building is multifaceted. In periods of historical transition, challenges are many and the fragility of the political context is fertile ground for revisiting the representation of the past. To understand these processes, an interdisciplinary engagement with contributions from history, anthropology, archeology, political science, art history and museology is necessary. Interdisciplinary collaboration, however, is not always easy to establish within the existing research institutional framework, built around separate disciplines. The main goal of this winter school is to create a doctoral training space and interdisciplinary exchange between researchers working on heritage- making process, uses and "museumification" of the past in connection with nation-building, or, more broadly, the construction of identities. 

The South African context is particularly rich and provides complex terrains for considering these issues as “a post-conflict zone whose relationships with the past and sites of memory and trauma are being closely scrutinized” (Meskell, 2012). Whilst Western Europe has long been considered as the laboratory of modern heritage practices, and Germany in particular as a fundamental example for the study of Geschichtsbeweltigung, recent historiography has shown to what an extent South Africa has become in the last decades the site of innovative theoretical approaches and practices (e.g. Nuttall and Coetzee 1998, Davison 1998, 2005, Legassick and Rassool 2000, Coombes 2003, Lalu 2009, Meskell 2011, Esterhuysen 2012, Hamilton et al.2012, Hamilton and Skotnes 2015, Peterson, Gavua and Rassool 2015, to give just some examples) that are breaking new ground in finding ways of coming to terms with difficult pasts, questioning fundamental issues of authority and representation.

The winter school takes the form of specialized training in social science research, developed in collaboration with different institutional partners, scholars, artists and curators working on colonial archives, collections and memories. The first edition was held in Istanbul, at the French Institute of Anatolian Studies (IFEA) (June-July 2016), the second in Cape Town (July - August 2017), the third one in Porto-Novo (July 2018).  


Format of the winter school 

The school has several components

• lecturescovering both the methodology of research and topics such as the history of museums or urban policies in South Africa. In addition to this “classical” format of courses and workshops, lecturers will engage in daily informal discussions with students to help them redesign their research project, develop interview guides, find references and documentary sources, etc.


• a workshop at the Centre for the Less Good Idea in Johannesburg(see below a short description)


• guided visits of the city (museums, contemporary art galleries and art centres, areas affected by contemporary transformations) and, if possible, guided visits to archaeological sites.


• field research project: teams of three students will conduct a research project (interviews, participant observation, research in the central or local national / private archives, etc.).


• a workshop of curatorial practice covering practices in the design of an exhibition, from the museographic project to the development of partnerships and mediation.


• The school will end up with the presentation of results of this preliminary research in a form chosen by the PhD researchers: an oral presentation, a scientific poster, a photo / multimedia exhibition (excerpts from interviews, video material), a documentary film project or a happening in a museum / artist's studio.


Scientific content:

The courses and the PhD research projects will be focused on three main themes, namely: 1. Contemporary artistic practices, 2. Urban policies and politics of memory, 3. Museographies.


1. Contemporary artistic practices: We will interrogate artistic practices operating in relationship with transformations of urban space, political or societal amnesia. By meeting contemporary artists and visiting museums and art spaces we will examine aesthetic, political and epistemological dimensions of the encounter between urban and museum policies and contemporary art. We will specifically interrogate the continuities and differences between art / “anthropological” object(s), as well as the performativity of the body and of the voice in the museum space.  

2. Museographies. We invite doctoral researchers to question the process of rewriting, renegotiation, and appropriation of the past from museum collections (ie. Imperial, colonial, apartheid, etc.). It aims to help students understand, explore and develop curatorial practices for the display of historical, “ethnographic” or art objects. The lectures and museum visits will problematize the power- knowledge inherent in the construction of archives, the production of sources and their use for the writing of history. We will specifically interrogate the continuities and differences between art / “anthropological” object(s), as well as the performativity of the body and the voice in the museum space.  

3. Urban policies and politics of memory. The courses will focus on the representations of the past in the urban fabric of Cape Town. They will also address various methodologies to “read” urban space, including visual ethnography, perspectives from science and technology studies, etc. The intention is to invite students to reflect on how urban space itself (re)presents different historical narratives and builds the cultural memory of the city and the “nation”: How does one rebuild the (post)colonial, post-apartheid city in South Africa? How specific “sites” (places, key events in the history of colonialism, slavery, apartheid) become realms of memory (Nora) or, in contrast, places of forgetting, of political or societal amnesia?


Convenors: Monica HEINTZ, Université Paris Nanterre; Bronwyn LACE, Centre for the Less Good Idea, Damiana OTOIU, University of Bucharest ; Anna SEIDERER, Paris 8 University ; Jane TAYLOR, University of the Western Cape. 

Lecturers: The lectures and methodological workshops will be given by specialists in urban, political and visual anthropology, arts and art history. (Non-comprehensive) list of lecturers: Andrew BANK, University of the Western Cape; Christine BARTHE, Musée du quai Branly; Felicity BODENSTEIN, Technische Universitat Berlin;Mark FLEISHMAN, Cape Town University; Kim GURNEY, African Centre for Cities; Monica HEINTZ, Université Paris Nanterre;Bronwyn LACE, Centre for the Less Good Idea ; Susan NEWTON-KING, University of the Western Cape; Damiana OTOIU, University of Bucharest ; Jo RACTLIFFE, independent artist ;  Naomi ROUX, University of Cape Town ; Anna SEIDERER, Paris 8 University ; Alexander SCHELLOW, Ecole de recherche graphique, Bruxelles Jane TAYLOR, University of the Western Cape; Paul TICHMANN, Iziko Social History Centre, Iziko Museums of South Africa; Ernestine WHITE, William Humphreys Art Gallery.

Workshop at The Centre for the Less Good Idea in Johannesbourg

The center aims to find the less good idea by creating and supporting experimental, collaborative and cross-disciplinary arts projects. It is a physical and immaterial space to pursue incidental discoveries made in the process of producing work, it follows impulses, connections and revelations. Itis though as physical space for artists to come together over two seasons every year and for curators to bring together combinations of text, performance, image and dance (https://lessgoodidea.com/For Season 6, the first intensive workshop ends on 26-27thof July 2019, Thiresh Govender (architect, urban researcher - https://www.urbanworks.co.za/) and Sello Pesa (choreographer/performer and director of http://www.ntsoana.co.za/) will attempt to pull performance out of the physical confines of The Centre and on to the streets of Joburg through a series of performed processions. For the students of the winter school this would be the “hands on” part of the visual anthropology classes, as some of they will be engaged in recording the event and follow it from the center to the streets, others will subsequently edit and turn it into a short documentary film. 
The doctoral researchers will have the opportunity to meet researchers (anthropologists, sociologists, art historians, etc.) and also artists, museum professionals, architects and urban planners. They will also benefit from the resources that will be made available by different local archives and museums. The PhD students will present and collectively exchange on their PhD research and on the field research projects.
Selection of Participants:

Prospective students should send a brief presentation of their doctoral research (2-3 pages plus bibliography and sources) and a CV, in English, by March 30th 2019 to heritage.doctoralschool@gmail.com.Applicants will be notified of the issue by the April 15th, 2019. 
Logistics:

Participation in the summer school is free. PhD students must cover their own travel expenses. Additional funding covering travel expenses and accommodation (shared double room) is available for students from the region. When sending your application, please indicate if you require such assistance.
Winter school supported andorganized by:

·      Glissements de terrain. Les collections muséales réinvesties par le champ de l’art contemporainproject of Université Paris Lumières, Paris, 

·      The Centre for the Less Good Idea,Johannesburg,

·      Iziko Museums of South Africa, Cape Town,

·       University Paris 8, Saint-Denis, Laboratory Arts of images and Contemporary Arts (AIAC),

·       UPN/ CNRS, Laboratory of Ethnology and Comparative Sociology,

·       The Francophone Regional Center for Advanced Research in Social Sciences, University of Bucharest (CEREFREA),

  • French Institute of South Africa- IFAS Recherche, Johannesburg

The path to colonial reckoning is through archives, not museums

Patrick Gathara, Aljazeera

“As the French President Emmanuel Macron tours East Africa, he is certain to get a cordial welcome. If everything goes to plan, it will be all smiles and few uncomfortable questions. However, this should not be the case. Macron has called for an international conference on the return of African art and artefacts looted during colonialism. But art and artefacts are not the only things that should be returned.

The colonial archive, the thousands of official records and documents that trace the history of subjugation, oppression and looting of the continent by the European powers is largely resident in Europe. And it is not a history that the Europeans have been eager to reveal, preferring to think of their time as overlords of the continent as something of a benevolent occupation.”

More here.