Quai Branly in process

October

Volumn , Issue 120, 2007, Pages 3-23

  Clifford, James ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 57749083432     PISSN: 01622870     EISSN: None     Source Type: Journal    
DOI: 10.1162/octo.2007.120.1.3     Document Type: Review

References (11)

1. Michael Kimmelman, "Heart of Darkness in the City of Light," New York Times, July 2, 2006. This widely noticed report, a wickedly acute critique of Quai Branly's central exhibition space and the overall project's neoprimitivist, neocolonial inclinations, was the first prominent break with a generally uncritical press response to the museum's opening. It does not, however, engage with diverse tendencies in the project or take seriously the perspectives of contemporary anthropology and history. Kimmelman sees incoherence, not contradiction or structural tension, and he takes refuge, finally, in the hyperaestheticism of the Louvre's Pavillon des Sessions
2. For a full account of the history sketched here, see Sally Price's forthcoming book, Paris Primitive: Jacques Chirac's Museum on the Quai Branly (Chicago: University of Chicago Press, forthcoming, Fall 2007)
3. Peter Naumann, ed., "Making a Museum: 'it is making theater, not writing history': An Interview with Stéphane Martin, Président- directeur général, Musée du quai Branly," Museum Anthropology 29, no. 2 (2006), p. 122
4. "Allocution de M. Jacques Chirac, Président de la République, à l'occasion de l'inauguration du Musée du quai Branly," June 20, 2006, available on various government Web sites. See, for example, www.quaibranly.fr/index.php?id=933
5. Representatives from five continents shared stories, dances, prayers, and ecological and political visions at a weeklong event, held in Pau. A "Convention de Pau" was signed whose most immediate outcome is an Internet site Indigenous4Earth.org. On the emergence sketched above, see Ronald Niezen, The Origins of Indigenism: Human Rights and the Politics of Identity (Berkeley and Los Angeles: University of California Press, 2003)
6. See, among others, Elizabeth A. Povinelli, The Cunning of Recognition: Indigenous Alterities and the Making of Australian Multiculturalism (Durham, N.C.: Duke University Press, 2002)
7. and Charles R. Hale "Does multiculturalism menace? Governance, cultural rights and the politics of identity in Guatemala," Journal of Latin American Studies 34, no. 3 (2002). 485-524
8. On situational meanings for "tribal" objects, see James Clifford, "Four Northwest Coast Museums," in Routes. 107-46
9. Ann Fienup-Riordan, Hunting Tradition in a Changing World (New Brunswick, N.J.: Rutgers University Press, 2000)
10. Carolyn Brothers, "For Some, A Museum Hits Close to Heart," International Herald Tribune, August 17, 2006
11. On the Vanuatu Cultural Center, see Lissant Bolton, Unfolding the Moon: Enacting Women's Kastom in Vanuatu (Honolulu: University of Hawaii Press, 2002). For Regenvanu's residency at the British Museum and his painting discussed below, see www.vanuatuculture.org/contemporary/20060522-ralphbm.shtml