DEPARTMENT OF CONSERVATION Preserving Value, Enabling Continuity – Cultural Heritage Conservation and Co-curation with Indigenous Source Communities in a Contemporary Cultural Context Sara Gainsford Degree project for Master of Science with a major in Conservation 2018 , 30 HEC Second Cycle 2018:21 Preserving Value, Enabling Continuity – Cultural Heritage Conservation and Co-curation with Indigenous Source Communities in a Contemporary Cultural Context Sara Gainsford Supervisor: Diana Walters Degree project for Master of Science with a major in Conservation Photo: By Sara Gainsford, restored tukutuku panel, Hotunui UNIVERSITY OF GOTHENBURG ISSN 1101-3303 Department of Conservation ISRN GU/KUV-2018/21-SE UNIVERSITY OF GOTHENBURG http://www.conservation.gu.se Department of Conservation Fax +46 31 7864703 P.O. Box 130 Tel +46 31 7864700 SE-405 30 Gothenburg, Sweden Master’s Program in Conservation, 120 HEC By: Sara Gainsford Supervisor: Diana Walters Title: Preserving Value, Enabling Continuity – Cultural Heritage Conservation and Co-curation with Indigenous Source Communities in a Contemporary Cultural Context ABSTRACT Conservation is part of a large historical and contemporary context in which cultural heritage is made. Cultural heritage preservation includes a multifaceted field including museology, archaeology, and social studies, amongst others. The research for this thesis is based in the segment of objects conservation traditionally called ethnographic conservation . Tangible objects are one of the significant evidences of past times and events, around which institutions and research has evolved. These objects have been de-contextualised and resides in collections with very little of their intangible values intact. For the objects to remain relevant they need be allowed to participate in people’s lives and current debates. They need to have meaning added to their biography and to be allowed cultural continuity. The conservator’s role in this context is profound and generally undefined, nationally and internationally. There is need to acknowledge the impact of conservation actions and the adhering responsibilities. Through a minor survey along with a comparison of cultural heritage management, including conservation, regarding the Sámi and Māori cultural heritage I have explored the underlaying post- colonial structure, still affecting how these collections are perceived and managed today. The survey was based on a formalised questionnaire which was sent out to eight institutions housing Sámi objects collections. It included three national museums, two regional museums, two self-governed museums and one Sámi governed museum. The responses affirmed the findings of the literature review, that there is lack of positioning and structure in Swedish cultural heritage management regarding the Sámi cultural heritage, Sámi objects and potential Sámi claims. The reluctance to define and acknowledge the Sámi community, to grant a higher degree of self-determination has been noted on all levels of Swedish political and cultural structure. As remedial conservation, predominantly, has become more of a commodity there is a risk that these adaptions within conservation towards the contemporary context of a free market system moves the profession further away from the core objectives, preservation of value and significance. A defined national ethical position among conservators I feel would strengthen the sector and enable a more open and including practice. The profession need to revisit core questions like for whom we conserve, what is the purpose and our contribution to the underlaying structures involving cultural heritage making and whose voice is being heard. This research is exploring the contemporary challenges of cultural heritage preservation. The literature review and presented cases in section 6 shows that there is an alternative way to look at cultural heritage and the role of conservation. Title: Preserving Value, Enabling Continuity ––– Cultural Heritage Conservation and CoCo----curationcuration with Indigenous Source Communities in a Contemporary CulturalCultural ConteContextxt Language of text: English, transcript of some interviews and survey in Swedish Number of pages: 104 (120 including appendices) Keywords: conservation , cococo-co ---curation,curation, conservator liaison, source community, post colonialism, continuitycontinuity,,,, objects collections, Sámi, MMMāorioriori ISSN 1101-3303 ISRN GU/KUV-2018/21-SE FOREWORD Writing this thesis was a journey, not always a pleasant one. It has at times been difficult to grasp how imbued one is of one’s own cultural and social context. I know I have reexamined my professional as well as my personal position. I was lucky to be introduced to my supervisor and mentor Diana Walter for the writing of this thesis. She has guided me without altering my voice, she has seen through my short cuts and told me to do better, she has pushed when needed and she has above all encouraged me. Her in-depth knowledge in the academic world alongside her professional position within cultural heritage and its social and political structures has enriched this thesis. My family has been very supportive, this thesis came about at a time when we all had a lot going on. Love you; Matthew, Elin and Frans Contents 1. Introduction ......................................................................................................................................... 7 1.1 Background .................................................................................................................................... 8 1.1.2 Disposition.............................................................................................................................. 9 1.2 Problem statement and research objective .................................................................................. 9 1.3 Limitations ................................................................................................................................... 12 1.4 Theory and methodology ............................................................................................................ 12 1.4.1 Tangible and intangible cultural heritage and its value ........................................................ 16 1.4.2 Definitions ............................................................................................................................ 17 1.5 Review of relevant literature ....................................................................................................... 20 1.5.1 Meaning and Values of objects and collections: .................................................................. 20 1.5.2 Cultural heritage conservation ............................................................................................. 21 1.5.3 Colonial structures and indigenous people – co curation and partnership .......................... 23 1.5.4 Sámi cultural heritage .......................................................................................................... 24 1.5.5 Māori cultural heritage ........................................................................................................ 25 2. Conservation and practise, a Eurocentric model ............................................................................... 27 2.1 Conservation values and ethics ................................................................................................... 30 2.2 Objects and preservation of materiality ...................................................................................... 32 2.3 Conclusion ................................................................................................................................... 34 3. Professional positioning in relation to material heritage and indigenous source communities ........ 35 3.1 National and international policies and standards for conservation; examples of institutional approaches regarding cultural heritage, ownership and indigenous source communities. .............. 36 3.1.1 ICOM-CC International Council of Museums- Committee for Conservators ........................ 36 3.1.2 CCI Canadian Conservation Institute .................................................................................... 38 3.1.3 AIC –The American Institute for Conservation of Historic and Artistic Works ..................... 39 3.1.4 Australian Institute for Conservation of Cultural Material ................................................... 39 3.1.5 E.C.C.O European Confederation of Conservator-Restorers’ Organisations ........................ 40 3.1.6 Icon – The Institute of Conservation .................................................................................... 41 3.2 Conclusion ................................................................................................................................... 42 4. Preservation of cultural heritage and co-curation with source communities .................................... 43 4.1 Relevance and importance of objects and collections related to source communities .............. 43 4.1.1 Kanak cultural heritage ........................................................................................................ 44 4.2 Preserving sacred and sensitive material .................................................................................... 45 4.2.1 Conservation of the Niñopa ................................................................................................. 46 4.3 Collections