Sacredskulls Co / Heritage
When I first began working on exhibitions that included living ritual specialists lending their sacred regalia, I quickly realised that a standard loan form from a museum’s collections team...
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Why this question mattersWhen I first visited a community-run conservation lab in Accra, I was struck by a tension that felt both practical and ethical: how to teach and share specialist conservation...
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When I first heard about a cooperative in Lagos wanting to surface its textile archive under the evocative label àṣẹ threads, I felt an immediate mix of excitement and caution. Excitement...
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When I first started spending time in Accra, it was the small, peer-run repair shops and studio-labs tucked between markets and art spaces that kept pulling me back. These were places where knowledge...
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I remember first hearing about archivebridge at a small gathering of curators and community archivists in Lisbon. Someone passed a phone around and pulled up an interface that looked deceptively...
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When I first started working with diasporic makers—artists and craft practitioners who had migrated or whose families had moved across borders—I was eager, idealistic and, frankly, inexperienced....
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When a museum agrees to display living sacred regalia on loan, it is taking on a responsibility that extends far beyond transport logistics and label copy. These objects are not inert artifacts; they...
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I remember the first time I held an ase thread in my hand — a slender, hand-twined cord whose colours and knots carried meanings that were whispered more than written. In Lagos markets I watched...
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I’ve watched, too many times, an object with a fraught past slip through the formal checks of an auction house and reappear decades later under a new catalogue number and a glossy photograph....
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I remember the first time I sat in a cramped apartment in London listening to field recordings made half a world away. The songs carried weather and kinship and the scent of ceremony; the recordings...
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