Scholars, authors and artists from different countries who are experimenting different ways to move beyond the material, archival, and philosophical terms of museum objects.

Sani Yakubu Adam

Bayero University Kano

Sani Yakubu Adam is a lecturer in the Department of History, Bayero University, Kano, Nigeria. His broader area of interest is the history of Islam in northern Nigeria. He was a fellow of All Africa House Fellowship of the University of Cape Town in 2015 and presently a grantee of Next Generation Social Sciences in Africa Doctoral Completion Fellowship. He is currently working on a PhD dissertation focusing on the formation and expansion of the book market of Kano, the major entrepot of northern Nigeria. The thesis examines the book business located in this space but also beyond its boundaries. It looks at all the major players that make up the book market from writers to copyists to printers and also the readers, as consumers, and other intermediaries. 

The Benin Plaque and Competing Narratives of the African Art

Photo: © Sani Yakubu Adam

Rachael Minott


Rachael Minott is a Jamaican-born artist, curator and researcher. Previous curatorial work has included working as Curator of Social Practice Anthropology at the Horniman Museum and Gardens, the exhibitions The Past is Now: Birmingham and the British Empire (2017), Within and Without: Body Image and the Self (2018) with Birmingham Museums Trust. As an artist she has exhibited in the 4th Ghetto Biennale in Port au Prince, Haiti in 2015, and the Jamaica Biennial in 2017. Rachael is a Trustee of the Museums Association where she is the chair of the Decolonising Guidance Working Group.

Head to Head: Masculine and Feminine Approaches to Decolonisation.
Taino sculptures from the Caribbean

Photo: © Outroslide Photography, 2018

Laura Osorio Sunnucks

British Museum

Dr. Laura Osorio Sunnucks is Head of the Santo Domingo Centre of Excellence for Latin American Research at the British Museum. Previously she was Mellon Postdoctoral Curatorial Fellow for Latin America at the Museum of Anthropology (MOA), University of British Columbia. She has also worked on the Indigenous and Minority Fellowship Programme at UNESCO Paris and in Anglophone education at the Louvre Museum. She holds a PhD in Mesoamerican Art and Heritage from the Faculty of Archaeology, Leiden University.

A Dolphin Tooth Necklace from the Rubber Boom Genocide Collections at the British Museum

Photo: © Laura Osorio Sunnucks

María Mercedes Martínez Milantchí

British Museum

María Mercedes Martínez Milantchí is Project Coordinator for the Santo Domingo Centre of Excellence for Latin American Research at the British Museum. She holds a Bachelor of Arts from Yale University and an Erasmus Mundus masters in Archaeological Material Sciences (University of Evora, Sapienza University and Aristotle University) with a focus on pre-Columbian Caribbean archaeology. Previously, she has experience working and researching at the Smithsonian’s Office of International Relations and Museum Conservation Institute, the Yale Art Gallery, and the Peabody Museum of Natural History. Her current research focuses on the archaeology and materialities of European/Indigenous encounter as part of the Corazón del Caribe project based on Mona Island, Puerto Rico. 

A Dolphin Tooth Necklace from the Rubber Boom Genocide Collections at the British Museum

Photo: © María Mercedes Martínez Milantchí

Juan Alvaro Echeverri

Universidad Nacional de Colombia

Juan Alvaro Echeverri has a PhD in Anthropology from the New School for Social Research in New York. He is currently a full professor at the Amazonia Campus of the Universidad Nacional de Colombia. He is a specialist in native Amazonian Indigenous populations with work and research experience in social anthropology, ethnohistory, traditional knowledge, linguistic documentation and revitalization, Indigenous education, Indigenous territories, and ethnobotany in the Amazon. He is also the author of Cool Tobacco Sweet Coca (ThemisBooks). 

A Dolphin Tooth Necklace from the Rubber Boom Genocide Collections at the British Museum

Photo: © Santo Domingo Centre of Excellence for Latin American Research

Oscar Romualdo Román Jitjudtjaaño

Murui-Muina elder

Oscar Romualdo Román Jitjudtjaaño is a Murui-Muina elder from the enokayaɨ (mafafa) clan. He was born in Entrerríos (Cahuinarí River, Colombia) in the 1930s. He completed traditional studies in material and sociocultural disease cure (with master cacique Eugenio Manaɨdɨkɨ).
Publications: “Cocamyth: Management and its Consequences” (Mundo Amazónico 2010), “Witoto Ash Salts from the Amazon” (Journal of Ethnopharmacology 2011) and “Ash Salts and Bodily Affects” (Environmental Research Leers 2013). 

A Dolphin Tooth Necklace from the Rubber Boom Genocide Collections at the British Museum

Photo: © Santo Domingo Centre of Excellence for Latin American Research

Alicia Sánchez de Romualdo

Murui-Muina elder

Alicia Sánchez de Romualdo is a Murui-Muina elder from the aimenɨ (garza) clan. She was born in La Chorrera (Igaraparaná River, Colombia) in 1937 and is the daughter of the cacique Joyánɨraɨ. She received her primary education in the Indigenous orphanage in La Chorrera, and her later education in the Murui Indigenous culture. She has knowledge in local farming and homerearing, and is mother to eight children and grandmother to fifteen. She speaks the Mɨnɨka and Nɨpode dialects and the Murui-Muina language.

A Dolphin Tooth Necklace from the Rubber Boom Genocide Collections at the British Museum

Photo: © Santo Domingo Centre of Excellence for Latin American Research

María Fernanda Esteban Palma

British Museum

María Fernanda Esteban Palma is a Curator in the Santo Domingo Centre of Excellence for Latin American Research at the British Museum. She combines her background as a registered lawyer in Colombia with her anthropological training to better understand how contemporary communities produce and negotiate their culture. She has worked extensively with urban Indigenous groups from central Colombia. In addition to her ethnographic research, she is interested in the role of objects within ritual practice and how these objects are managed by museums and other institutions such as universities and cultural centres. She holds a law degree from the National University in Colombia, a Master of Arts degree in archaeology from the University of Exeter in the UK, and a PhD in anthropology from the University of Pennsylvania in the USA.

A Dolphin Tooth Necklace from the Rubber Boom Genocide Collections at the British Museum

Photo: © Santo Domingo Centre of Excellence for Latin American Research



Asah is the lead musician and the Technical Manager of Kwan Pa (the right path in the Akan language of Twi), a four-member band that produces music of the Palm Wine genre. Kwan Pa was formed in 2017 to bring to the forefront and expand indigenous music of Ghanaian origin. In their music, Kwan Pa uses instruments like the acoustic guitar, Seprewa (harp-lute), Frikyiwa (castanet), Shekere (big rattle), Gome (square bass drum), Djembe, and Kpanlogo drums. They released their first album in March 2019.

The Akan Drum: An Instrument for Conversation


Photo: © Kwan Pa

Heba Abd el Gawad


Heba Abd el Gawad is the research assistant for the AHRC-funded project: Egypt’s Dispersed Heritage at the Institute of Archaeology, UCL. She has previously roles co-curating Two Temple Place’s 2016 Beyond Beauty exhibition, project curator of the British Museum’s Asyut Project, and more recently has guest curated Listen to Her! Turning up the Volume on Egypt’s Ordinary Women at the Petrie Museum of Egyptian Archaeology. She specialises in the history of Egyptian archaeology with particular focus on past and present Egyptian perceptions and representations of the collection of archaeological finds from Egypt to the world.

(Re)claiming the Rosetta: The Rosetta Stone and the (re)writing of Egypt’s Modern History

Photo: © Heba Abd el Gawad

Si Xiao

University of Exeter

Si is a third-year PhD candidate in History of Art at the University of Exeter. Before arriving at Exeter, she undertook her Master’s Degree in Museum Studies with a focus on art reproductions at UCL and a Bachelor’s degree from East China Normal University. Trained as a Calligrapher, Si studied Chinese Calligraphy for almost twenty years. This experience enables her to have later working experiences in the museum. Currently, her PhD project attempts to reconstruct the multiple layers of the life of Huangchao liqi tushi (Illustrations of Imperial Ritual Paraphernalia) from Qing period to contemporary contexts.

The Traumatic Past of the Admonitions of the Instructress to the Court Ladies

Photo: © Si Xiao

Hooda Shawa 

Hooda Shawa is a Kuwaiti/Palestinian writer living in Kuwait.  She is the recipient of the Sheikh Zayed book Award for children’s Literature in 2008 as well as Kuwait’s National Prize for Children’s Literature in 2018. Her books include: The Birds’ Journey to Mount Qaf, The Animals’ vs the Humans at the Court of the King of the Jinn, The Yellow Man, The Secret Revealer, The Elephant’s Journey, Apollo on Gaza Beach, The Dragon of Bethlehem. She is the founder of Taqa Productions, which creates and produces Arabic theatrical projects and puppet theatre in Kuwait and the Arab region. Productions include Akhnaton, The Yellow Man, Ikara, and the puppet shows; Elephant in the City and Julnar and the Firebird

The Lachish Reliefs: Biblical Archaeology in Contested Lands (essay)

The Lachish Reliefs (podcast)


Sahar Tavakoli 

Cornell University

Sahar Tavakoli is a PhD candidate in Science and Technology Studies at Cornell University. Her work to date has been concerned with the ways in which mundane artefacts – such as clinical gowns, food labels, and nameplates – are recruited into more complex processes institutional organisation and governance. She has also worked collaboratively with Persian language scholars in the assemblage of language learning materials. Her response to the question “so what are you” is most often “5 foot 7”. Other applicable responses would be Iranian, Irani-tork, Australian, and Bowie fan.

The Empire Strikes Through: The Drawing and Redrawing of Political Maps in the British Museum

Theopisti Stylianou-Lambert 

Cyprus University of Technology & CYENS Centre of Excellence

Theopisti Stylianou-Lambert is associate professor at the Department of Multimedia and Graphic Arts of the Cyprus University of Technology (CUT). She is the leader of the “Museum Lab” group at CYENS Center of Excellence and the coordinator of “Visual Sociology and Museum Studies Lab” of CUT. Her research and artistic interests include museum studies, photography, visual sociology, and new technologies for museums. She received her PhD in Museum Studies from the University of Leicester (UK) and is the recipient of several scholarships and awards including a Smithsonian Fellowship in Museum Practice (USA), a Fulbright Fellowship (USA) and an Arts and Humanities Research Council Award (UK). Theopisti has published widely on museums and photography and has exhibited her artwork in Cyprus and abroad. She is the author of The Political Museum (Routledge, 2016) and the editor of Museum and Emerging Technologies: Mediating Difficult Heritage (Berghahn Books, 2022), Museums and Photography: Displaying Death (co-editor, Routledge, 2017), Museums and Visitor Photography (MuseumsEtc, 2016), and Photography and Cyprus: Time, Place, Identity (I.B.Tauris/ Routledge, 2014).

Re-framing Photography: The Shadows of the History of Archaeology

María Bendito 

Universitat de Barcelona

PhD student of Art, Globalization, Interculturality Research Group at the Department of Art History of the University of Barcelona. Graduated in Art History and Master of Advanced Studies in Art History. Currently carrying out a doctoral research entitled Representation, myth and metaphor in the Tower of Babel. From the linguistic configuration of collective identities to the technological identities of globality, in which she develops the conformation of national and digital identities in the historical and global worlds. Author of several articles on the dynamics and meanings of the transformation of art and its new approaches.

Colonial perceptions on the global account of the Flood myth. Examples on the primacy of biblical understanding of ‘otherness’ from Ancient Mesopotamia to 16th century Nahua culture

Photo: © María Bendito

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