In 2022, the Centre for Global South Asia (CGSA) at Royal Holloway University of London developed a small research project entitled ‘Exhibit Asia’. The aim was to explore the use of exhibitions in nation-making in postcolonial South and East Asia in contrast to the scholarly preoccupation with investigating the region’s history of museums and exhibitions primarily in a colonial context. Its academic outcomes were to be a conference and related publication; but we also wanted our research to be relevant to our students. The resulting intervention in the teaching and learning of history took the form of a curatorial fellowship for an international cohort of ten students from Taiwan, Japan, India, Pakistan and the UK, leading to a co-curated online exhibition. The first section of this article sets out the development, design and delivery of the fellowship and discusses the viability and relevance of such projects. The subsequent three sections are co-authored by several of the participating students. They outline their methods, reflections and learnings; share their insights on the role of exhibitions in perceptions of Asia in the UK today; and analyse responses to ‘Tea and Tigers’, the online exhibition that was the outcome of the fellowship.

This essay will discuss the issue of Native American history and periodization where we are not allowed “premodern” histories. History prior to European contact is relegated to terms like “Pre-Columbian” and consigned to the domain of archeologists. As a reclamation of Native sovereign ancestral presence, I am interested in public humanities as an interdisciplinary way to push against the myths and stereotypes that both confine Indigenous people to static pasts, either displacing ancestors into settler national memory or oblivion. My goals in public humanities are to work toward reclamations of ancient pasts in the so-called Americas from the limited imaginations of settler skull- and arrowhead-collectors toward reasserting the ongoing lived relationships that Natives have with spaces condemned as ruins and materials as relics. I briefly mention my own work in digital curation, Red Coral Stories, to provide counternarratives from European conquest toward expanding Native American presence across space and time.

The Inclusuem is a collaborative project established in 2012 with international reach and global impact. The three co-directors, Aletheia Whitman, Dr. Rose Paquet, and Dr. Porchia Moore share a mission to “advance new ways of being a museum through dialogue, community building, and collaborative practice related to inclusive practice in museums.” We have provided a platform for over a decade which prompts arts and cultural heritage professionals to push the bounds of museum work to be as expansive and inclusive as possible while enacting structural change. In this piece, we focus on museums as sites where the humanities are made public. Our manifesto proposes a vision for the public humanities in a changing political landscape and will introduce new perspectives for both an emerging museum and an emergent new understanding for the public humanities within museums faced with an antagonistic intellectual and cultural ecosystem.

Museums and news organizations make up major parts of the structure that maintains an informed community essential to democracy. As resources for both of these institutions dwindle, it’s more important than ever for these sectors to work together toward their common goals – not only with each other, but with their respective communities in ways that are collaborative and egalitarian. The following outlines Civil Wrongs, a program started at the University of Memphis Department of Journalism and Strategic Media in 2022, as an emerging example of how these institutions can work together and learn from each other for the sake of a more informed community. Civil Wrongs is both a journalistic project of the nonprofit Institute for Public Service Reporting, and an academic class for junior and senior college students from multiple disciplines, including journalism, history, and political science. Through narrative podcasting, the program aims to examine past cases of racial terror in the Mid-South and analyze their connection to present-day injustices. It is a break from the traditional journalistic model that focuses solely on the present with little historical context and therefore naturally creates a bridge to museums that are grounded in history education.

Inspired in large part by the author’s residence on the grounds of a former plantation in Stafford County, Virginia, Sparking Freedom highlights local stories of enslaved resistance. The program incorporates stops at multiple National Park Service sites, as well as several other historic locations and the Fredericksburg Area Museum. Combining historical documentation and archival research, the tour features accounts of enslaved resistance including an uprising of enslaved men at Chatham Plantation in the winter of 1805, the story of Anthony Burns, an enslaved man who escaped to Boston in 1853 but was later apprehended under the Fugitive Slave Law of 1850, and enslaved individuals like Bethany Veney who resisted sales and auctions. Sparking Freedom is a highly personal example of innovative and engaging public history work honoring enslaved communities.

The ethical treatment of human remains after excavation is a core debate in archaeology. This project explores the treatment of human remains in some European museums with an aim to support open discussion of complex ethical issues among research and heritage professionals involved in the care of human remains.

Religious practice in the Roman world involved diverse rituals and knowledge. Scholarly studies of ancient religion increasingly emphasise the experiential aspects of these practices, highlighting multisensory and embodied approaches to material culture and the dynamic construction of religious experiences and identities. In contrast, museum displays typically frame religious material culture around its iconographic or epigraphic significance. The author analyses 23 UK museum displays to assess how religion in Roman Britain is presented and discusses how museums might use research on ‘lived ancient religion’ to offer more varied and engaging narratives of religious practices that challenge visitors’ perceptions of the period.

Calls for the restitution and repatriation of cultural objects continue to escalate. High-profile cases such as the Parthenon Frieze and the Benin Bronzes dominate international news cycles and provoke fierce debate; however, less attention has been paid to items that are quietly returned and to the potential positive outcomes for the institutions on both sides. This article discusses three Southeast Asian case studies to address this lacuna and urges institutions to become more proactive in their engagement with restitution and repatriation claims.

Between the 1960s and early-1980s the museum sector in the United Kingdom (UK) was rapidly professionalised and systematised. A crucial moment in this transition was the creation in 1967 of the Information Retrieval Group of the Museums Association (IRGMA), and the subsequent launch of its system for the machine encoding and communication of museum catalogue records. The rise of IRGMA marked an inflection point in museological practice and the normalisation of computerised work within the UK museum profession, a moment when the desire for a ‘layman's guide to the scheme’ began to give way to new professional personas and forms of documentary labour. This article asks how cultures of museology and professional labour shifted in response to IRGMA. It argues that between the late 1960s and mid-1980s both the implementation of and the debate around computerised cataloguing disrupted the function of UK museums and how museum professionals imagined their labour. And by tracing the emergence of these cultures and their intersections with professional identity and labour practices, this article seeks to tease out the ways museum history can resonate with wider narratives of labour, expertise and technological innovation in contemporary British history.

Current debates surrounding decolonisation and the democratisation of display are a critical issue for prehistoric collections as well as more recent material. The objects most likely to symbolise prehistory in museum displays, and thus in the popular imagination—those made of precious, skilfully worked materials—are a restricted group of iconic things, often interpreted as reflective of social status rather than anything more personal or spiritual. To contextualise this debate, the authors outline public reaction to the display of alternative objects with more representative messages within The World of Stonehenge exhibition, which was held at the British Museum in 2022.

The purpose of this study was to explore how science and environmentally related museums in Alberta, Canada are digitally engaging with climate change and energy education. This inquiry utilised qualitative discourse analysis to examine the discourses, dynamics and tensions present in digital museum contexts related to climate and energy education in Alberta. Drawing on Eisner’s three curricula — the explicit, implicit and null — the study focused on museums’ websites and social media activity. The museums studied share common foci on science, environment, or energy but range in size and location. As a long-standing energy-based economy, Alberta provides an interesting, and often contested, setting to observe climate and energy education in practice at museums, many of which exist in communities and within governance and stakeholder networks which are connected to the energy industry. Discourse-connected findings, discussion and implications are presented in relation to museums’ institutional mandates, curricular initiatives, pedagogical practices, special events and infrastructure initiatives.

Bamako, March 1991. 100,000 protesters took to the street challenging Mali's military regime. Both men and women participated in six months of protests, their actions shaped by class, gender, and generation. The press, in its reporting, produced a specific, gendered, image of protest, involving young men protesters and their exceptional mères indociles (rebellious mothers) motivated to protest by the risk of bodily harm to their children.1

This article examines how artists, activism, and works of art may contribute to a more textured understanding of debt in contemporary society and culture. The diversity of aesthetic practices and range of strategic interventions in which artists are organizers and activists are manifest in the Global Ultra Luxury Faction (G.U.L.F.), advocacy initiatives by Working Artists and the Greater Economy (W.A.G.E.), and alternative, trans-local projects such as the Arts Collaboratory. These activist interventions provide the context for an examination of how artists have seized upon discourses related to debt and finance to produce works that offer a critical reappraisal of the global economy. Artists’ projects by Martha Rosler, Cassie Thornton, Zachary Formwalt, and Michael Najjar challenge audiences to rethink the invisible networks of debt and exchange by creating new visual vocabularies for ‘seeing’ debt. The emergence of activist groups, such as Liberate Tate, has also signaled renewed interest in the ethics of corporate sponsorships, museums, and environmental issues. A heightened awareness of the ethical dimensions of debt and global support for activist movements may contribute to new notions of citizenship and performative democracy that can incite individual and collective renegotiations of how we might critically rethink debt.