Abstract
AbstractIn this article, I address collecting and re(p)(m)atriation as research orientations. I draw on examples from Métis music to situate the impact of collection-oriented research, to interrogate my own practice as a Métis-music scholar, and to point to possibilities for the future. In presenting a history of collecting alongside an overview of re(p)(m)atriation, I offer readers an opportunity to meditate on the pervasiveness of collection-oriented research and how we might create a new ethnomusicology—meditations encouraged through poetic expressions. I suggest that twenty-first century ethnomusicology needs to turn towards rematriation, not only as an act of returning artifacts, but also as a way of orienting our work as scholars.
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