Museum Of Mankind Research Articles

Burt, Ben. The Museum of Mankind: man and boy in the British Museum Ethnography Department. viii, 163 pp., illus., bibliogr. Oxford, New York: Berghahn Books, 2019. £89.00 (cloth)

Burt, Ben. The Museum of Mankind: man and boy in the British Museum Ethnography Department. viii, 163 pp., illus., bibliogr. Oxford, New York: Berghahn Books, 2019. £89.00 (cloth)

Sonia Nimr: Author – Palestine

Sonia NimrAuthor – Palestine You Chengcheng Click for larger view View full resolution sonia nimr is a prominent Palestinian author and storyteller, writing for children and youth both in Arabic and English. She was born in 1955 in a small town of Palestine where she finished her elementary and high school education. In her second year at Birzeit University in 1975, she was sentenced to three years in an Israeli prison for political reasons. During those three years, she developed a strong interest in writing children’s books. Still, she did not start writing children’s books until she worked as an education officer at the Museum of Mankind in 1989. In 1990, she received her PhD in Oral History from Exeter University. Currently, she teaches at the Department of Cultural Studies, Birzeit University. Aside from writing fiction, she is also passionate about translating children books from English into Arabic. Sonia Nimr’s preoccupation with oral history motivates her to collect traditional tales from around the world. She is masterful in weaving familiar ingredients of “rich imagery, patterned language and repeated action” into her telling and retelling of stories against the backdrop of Arabian land, culture, and folklore. Nimr hopes that these stories will challenge stereotypes and stimulate the sharing and valuing of folktales from diverse groups of people. Instilling humor and humanistic concerns in the traditional stories, Nimr tries to make each tale attractive to children. By the same token, she resists conservative teaching methods and encourages teachers to meet the children on more open and flexible premises, answering their needs with fantasy and folktales. Throughout her career as a children’s writer, Nimr has published a large number of books for children and young adults and accumulated several awards. She is the recipient of the 2014 Etisalat Award for Arabic Children’s Literature, one of the most important and prestigious awards for children’s literature in the Arab world, for her young adults book Rihlat Ajeeba Fi Al Bilad Al Ghareeba [Wondrous Journeys in Strange Lands]. This novel and Qisah Awalha khayal wa Akherha Khyal [Story that Begins and Ends with Lies] made the IBBY Honor List in 2014 and 2004. Viewing her writings as a mission meant for Palestinian children in particular and also for children that live in zones of conflict and war in general, Nimr is committed to exercising their imagination and keeping them in touch with their cultural heritage. A humanistic perspective emanates from her stories for children. SELECTED BIBLIOGRAPHY Story that Begins and Ends with Lies. Ramallah, Palestine: Tamer Institute, 2002. Print. Google Scholar A Little Piece of Ground. Sonia Nimr with Elizabeth Laird. London: Macmillan Children’s Books,2003. Print. Google Scholar Ghaddar the Ghoul, and other Palestinian Stories. London: Frances Lincoln Children’s books, 2007. Print. Google Scholar Wondrous Journeys in Strange Lands. 2013. Ramallah, Palestine: Tamer Institute, 2014. Print. Google Scholar King of Tales. Ramallah, Palestine: Tamer Institute, 2014. Print. [End Page 46] Google Scholar Copyright © 2016 Bookbird, Inc.

Museum of Mankind

Des l’annee 1832, dans une serie de lettres redigees au pied des Montagnes Rocheuses et publiees par la presse de New York, j’ai propose que les artistes visitent les tribus indigenes d’autres regions du globe et qu’ils collectent leur materiel en suivant le plan de ma propre collection : les fruits de nos labeurs reunis auraient produit l’un des musees les plus interessants et les plus precieux du monde. J’ai travaille, depuis, avec la ferme conviction que je jetais effectivement les fondeme...

Presenting the self for the gaze of the Other: Ethnic identity in portraits by black South African artists

In the holdings of the Museum of Mankind is a pair of busts, made in clay and brightly painted, representing a man and a woman. Recognisable as 'Zulu' through their ethnic markers of headgear, these busts are relatively naturalistic in style and particular in detail.

A floating Museum of Mankind?

A floating Museum of Mankind?

Anthropology and the British Museum: A conversation with John Mack

John Mack is Keeper of Ethnography at the British Museum, and until recently was also Senior Keeper. He curated The Museum of the Mind: Art and Memory in World Cultures as part of the British Museum's 250th anniversary programme. Major changes have taken place at the museum, including the return of the Museum of Mankind to the British Museum's Bloomsbury site. This site will by next year also house the Anthropology Library, one of the largest anthropology libraries in the world, the holdings of which were greatly enhanced by the gift of the Royal Anthropological Institute (RAI) Library to the British Museum Ethnography Department Library in 1976. John Mack can be contacted at J.Mack@british-museum.ac.uk.

Atom Egoyan's Steenbeckett—An Installation

Atom Egoyan's Steenbeckett—An Installation. Commissioned and produced by Artangel. Museum of Mankind, London, February 15—March 17, 2002.

The revitalization of the Abomey History Museum and the Web

African states may be lagging behind in the use of the new information and communication technologies (NICTs), but the Internet site that complemented the successful revitalization of the Historic Museum of Abomey has drawn a growing public. While it promotes tourism in Benin and the museum in particular, it has also identified a hitherto unknown public, the Beninese diaspora, descendants of emigrants to Europe and the United States. Given this new public and the future opportunities that it implies, the authors strongly recommend that this emerging group and their strong demand for cultural roots be taken into account when preparing and promoting exhibitions in online sites and museums. Before specializing in the creation of Internet museum sites, Anne Ambouroué Avaro from Gabon had worked in France at the Museum of Mankind, the Museum of the Arts of Oceania and Africa, the Dapper Museum, and the Natural History Museum of La Rochelle. She is at present in charge of special projects at the School of African Heritage. Alain Godonou, who comes from Benin, was the curator of the Royal Palace of Porto‐ Novo in Benin, and the co‐ordinator of ICRROM within the framework of the 1990–2000 PREMA Programme. He is responsible for the co‐ordination of the Project to Rehabilitate the Royal Palaces of Abomey and, since 1997, has been the principal of the School of African Heritage, of which he was a co‐founder.

Histoire des collections d'Asie du Musée de l'Homme

Asiatic collections of the Musée de l'Homme (Museum of Mankind) in Paris amount to 40.000 items, art objets from the XIX and XXe century as well as objects from everyday life. Most of the items were collected, in thefield, since 1880, by travellers, missionnaries and members of colonial administration. Since 1925, a new generation of professionnal researchers have collected thousands of items during the course of their field studies. The Musée de l'Homme do not get any subsides from the French government, relying only on the budget provided by the visitors' entrance. Now, the French government is planning to build, at a cost of 1,5 billion francs (about 200.000.000 US dollars) a new Primitive Art Museum, to exhibit only 3.000 items, out the 300.000 presently kept at the Musée de l'Homme. Budget for buying new art objets amount to 1875 years of the funds devoted to the anthropological department of the Musée de l'Homme.

Anthropological Index Online:

Anthropological Index Online:

The past in the present: India as museum of mankind

The past in the present: India as museum of mankind

Science to stay on top at French museum

paris France is set to abandon controversial plans to turn the world's largest anthropology museum — the Musée de l'Homme (Museum of Mankind) in Paris — into a museum of fine arts.

Africa95 at the Museum of Mankind

Quatre expositions au Museum of Mankind presentent des articles de textile : « Display and Modesty: North African Textiles » montre l'art du tissage, les vetements simples ou brodes importants dans les ceremonies de cycles de vie ; « Secular and Sacred: Ethiopian Textiles » expose « shamma », « kamis », et soie tissee ; « Power of the Hand: African Arms and Armour » presente les armes et les armures et « Great Benin », davantage destinee aux enseignants et etudiants, s'interesse aux problemes de l'interpretation historique. L'espace central du premier etage du musee a ete reserve a « Made in Africa », exposition de pieces exceptionnelles. Une derniere exposition est consacree aux masques du Nigeria produits par la sculpteur kalabari Sokari Douglas Camp

‘There’s A Hole In My Shield...’A Textual Footnote

It is unfortunately a truism that by and large archaeologists make very poor use of available historical sources - unless, that is, they are historians by training. The purpose of this brief note is to draw attention to an overlooked reference in Joseph Banks' Endeavour journal which seems to lend further authenticity to the identification of a bark shield now in the Museum of Mankind (British Museum). The possible significance of the shield was first noted by McBryde (1970) and further commented on in Megaw (1972); most recently it has been discussed by the present writer in an essay on surviving pre- c. 1820 Aboriginal material from the Botany Bay-Port Jackson area published in the McCarthy commemorative papers (Megaw 1993, esp. cat. no. 6). The shield, recorded simply in the Museum's register as 'Captain Cook Acc.', can be compared closely with the drawing executed in 1771 for Banks by John Frederick Miller, particularly due to a hole in the shield located close to its carrying handle.

Torday at the Museum of Mankind

Torday at the Museum of Mankind

Living Arctic: At the Museum of Mankind

Living Arctic: At the Museum of Mankind

‘LOST AND FOUND’ AT THE MUSEUM OF MANKIND

Lost Magic Kingdoms and Six Paper Moons from Nahuatl, an exhibition at the Museum of Mankind, London, selected and arranged by Eduardo Paolozzi, 1985; accompanying book by Eduardo Paolozzi, Malcolm McLeod, Dawn Ades, and Christopher Frayling, London: British Museum Publications, 1985, 160 pp., 150 ills, 48 col pls, £8.50

Textiles in the Museum of Mankind

An old photograph of a faded silk shroud from Madagascar in the Museum of Mankind, London, was used to illustrate Sarah Staniforth's article ‘Unsuitable lighting’ in Museum, Vol. XXXIV, No. 1, 1982, pp. 53–54. We received from that museum's keeper not just an indignant protest; better still, he was inspired to write this article on the conservation of textile collections.

Handsome is as Handsome Does: Display and Betrayal in the Wahgi1

OceaniaVolume 53, Issue 4 p. 317-333 Article Handsome is as Handsome Does: Display and Betrayal in the Wahgi1 Michael O'Hanlon, Michael O'HanlonUniversity College London.Search for more papers by this author Michael O'Hanlon, Michael O'HanlonUniversity College London.Search for more papers by this author First published: June 1983 https://doi.org/10.1002/j.1834-4461.1983.tb01996.xCitations: 11 ‡The fieldwork on which this paper is based was conducted between May 1979 and August 1981 in the Wahgi Valley, Western Highlands Province, Papua New Guinea. I am grateful to the Social Science Research Council, the Central Research Fund and the Leverhulme Trust for their generous support during this period, and also to the relevant Papua New Guinea authorities for their kind permission to undertake fieldwork. I am indebted to my supervisor, Professor A. J. Strathern, for his comments and also wish to express my thanks to Dr A. M. Strathern and to those who attended seminars at the University of Papua New Guinea and the Museum of Mankind, London, where I presented an earlier version of this paper. AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Citing Literature Volume53, Issue4June 1983Pages 317-333 RelatedInformation

A new look at Maori carved burial chests

Carved wooden chests to contain the bones of the dead are peculiar to New Zealand and constitute a fine artistic achievement of the Maori people; they are little known or appreciated outside their country of origin. They include some macabre and disturbing imagery, consisting of a variety of divine or heroic figures both male and female, which are decoratively patterned in either incised or relief style. Some 60 examples are known, mostly in the museum collections at Auckland, Wellington and Dunedin, with a few more in small museums in New Zealand and a few in museums overseas, including one in the British Museum (Museum of Mankind) (Cranstone, 1953, 58). They have not hitherto been the subject of a special study and an archaeological appraisal is overdue.