Museum Anthropology Review <p><em>Museum Anthropology Review</em> (MAR) is an open access journal whose purpose is the wide dissemination of peer-reviewed articles, reviews, essays, project reports, and other content advancing the field of material culture and museum studies, broadly conceived. <em>Museum Anthropology Review</em> is the scholarly journal of the Mathers Museum of World Cultures. ISSN&nbsp;1938-5145.</p> Mathers Museum of World Cultures en-US Museum Anthropology Review 1938-5145 Authors who publish with this journal agree to the following terms: 1. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal. 2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this journal. 3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work. 4. While MAR adopts the above strategies in line with best practices common to the open access journal community, it urges authors to promote use of this journal (in lieu of subsequent duplicate publication of unaltered papers) and to acknowledge the unpaid investments made during the publication process by peer-reviewers, editors, copy editors, programmers, layout editors and others involved in supporting the work of the journal. Digital Representation of Indigenous Peoples through Sharing, Collaboration, and Negotiation: An Introduction <p>In the past decade, digital media have been increasingly employed in museums in a variety of ways. This practice capitalized on the new medium’s effectiveness in connecting a variety of stakeholders across multiple key issues. Projects representing Indigenous communities are not an exception to this trend. This special issue critically reflects on the politics of representation in the process of reframing culturally specific concepts in a digital environment. In addition to discussing potential benefits of digital media to working with Indigenous communities, papers in the special issue also carefully weigh the benefits and shortcomings virtual environments may bring to digital collaborations with Indigenous communities.</p> Christina Gish Hill Medeia Csoba DeHass ##submission.copyrightStatement## 2018-08-10 2018-08-10 12 2 40 54 10.14434/mar.v12i2.23540 Cheyenne Odyssey: Representing Removal in an Educational Video Game <p>This articles reflects on the process of creating digital media in collaboration with Native communities, using the example of Cheyenne Odyssey, a game from Mission US, to argue that such media can illuminate the perspectives of Indigenous peoples for a wide audience while also creating digital repositories for both visual and narrative forms of knowledge. This game takes on the difficult challenge of portraying very sensitive moments of US history to middle school-age children. The game walks the player through the Battle of Little Big Horn, the forced removal of the Northern Cheyenne people, their harrowing journey home again, and even the massacre of Dull Knife’s band at Fort Robinson. The creators of the game brought Cheyenne perspectives to the process by consulting Northern Cheyenne elders, historians, and even school children, as well as archival materials, and scholars of Cheyenne history, including the author. This multifaceted collaboration resulted in a game that presented Cheyenne history in a way that reflected Cheyenne values while providing non-Cheyenne people with an accessible narrative that, nevertheless, disrupts the familiar history of westward expansion in the United States. At the same time, the game makes new a history familiar to every Cheyenne by presenting it in a fresh medium that captivates young people. The public nature of this online game empowers Cheyenne people to take pride in their own historical narratives.&nbsp;</p> Christina Gish Hill ##submission.copyrightStatement## 2018-08-11 2018-08-11 12 2 55 74 10.14434/mar.v12i2.22420 Intimate Clips: Sealskin Sewing, Digital Archives and the Mittimatalik Arnait Miqsuqtuit Collective <p>This article reflects upon the interplay of digital, material, and social relations in the context of a small-scale digital archiving project currently being undertaken by a group of women ethnographers, videographers, and sealskin seamstresses in&nbsp;the&nbsp;Canadian Eastern High Arctic Inuit settlement of Mittimatalik (Pond Inlet). I illustrate the documentation work of our Mittimatalik Arnait Miqsuqtuit Collective, situating it in the new media landscapes that have developed in the Canadian Arctic, and draw on case studies to challenge claims that new communications technology has led to the breakdown of social and environmental relationships. Clips from our digitizing work in progress offer insight into the relational ecologies emergent the making of this archive: illustrating how the unique materiality of sealskin and digital archives, the politics of Inuit hunting, the sensibilities of family and friends, and the challenges of broadband connectivity in Arctic settlements shape this initiative. Technology also emerges here as a key agent, enabling new collaborative relationships, political voice, and forms of knowledge production, but also denying others.</p> Nancy Wachowich ##submission.copyrightStatement## 2018-08-10 2018-08-10 12 2 75 99 10.14434/mar.v12i2.22478 Envisioning Arctic Futures: Digital and Otherwise <p>The production of <em>Never Alone </em>(a recent video game incorporating Inupiaq narrative traditions and aesthetics) is one example of how indigenous peoples use digital technologies to spark young people’s interest in their own knowledge. Using comparative material from game players in Siberia and Alaska, this article explores interfaces between the knowledge needed to play such games and that required for hunting in real time. Combining attention to decolonizing education and new museology strategies, the authors suggest that the pedagogical impact of such games is strengthened when combined with face-to-face interactions with local knowledge holders. This, in turn, suggests the importance of recognizing the work of the museum as its capacity to animate knowledge, not simply to store it.</p> Barbara Bodenhorn Olga Ulturgasheva ##submission.copyrightStatement## 2018-08-11 2018-08-11 12 2 100 119 10.14434/mar.v12i2.23184 3D Technology in Collaborative Heritage Preservation <p>Digital repatriation is one aspect of heritage preservation work that has been increasingly gaining popularity due to its effectiveness in assisting Indigenous communities in connecting with museum collections located at various institutions around the world. It is not simply an alternative for physical repatriation; rather, the two can be used in conjunction, particularly with the incorporation of 3D technology. While digital repatriation can provide new opportunities, it is also a contested concept (Boast and Enote 2013) that is still in the process of shaping future collaborative practices while being shaped by ongoing projects and their outcomes. In this paper, we explore how this technology, structure from motion (SFM) 3D modeling and scanning, provides innovative methods that are especially well suited for successfully contributing to a wide array of heritage preservation objectives. Three-dimensional technology is effective in providing alternative ways to connect with collection pieces and providing origin communities access to museum collections. It can alleviate concerns of chemical exposure from contamination, concerns for the fragility of items, the expense of insurance and transportation, or the need to remove pieces from origin communities. As artifacts transform in the repatriation process by gaining new life and meaning when they enter the contemporary reality of the origin community, the use of 3D technology, as part of this collaboration, can assist Indigenous communities in fulfilling their own visions of heritage preservation.</p> Medeia Krisztina Csoba DeHass Alexandra Taitt ##submission.copyrightStatement## 2018-08-11 2018-08-11 12 2 120 152 10.14434/mar.v12i2.22428 Another India: Explorations and Expressions of Indigenous South Asia <p>This work is an exhibition review considering <em>Another India: Explorations and Expressions of Indigenous South Asia</em>, a project of the Museum of Archaeology and Anthropology, University of Cambridge.</p> Katja Müller ##submission.copyrightStatement## 2018-08-11 2018-08-11 12 2 153 155 10.14434/mar.v12i2.23512 灵力的物化:中国乡村与城市的民间宗教 (Lin). <p>This work is a Chinese language book review considering the title <em>Materializing Magic Power: Chinese Popular Religion in Villages and Cities</em> by Wei-Ping Lin.</p> Lijun Zhang ##submission.copyrightStatement## 2018-08-11 2018-08-11 12 2 156 157 10.14434/mar.v12i2.24922 Sacred Art: Catholic Saints and Candomblé Gods in Modern Brazil (Glassie and Shukla) <p>This work is a book review considering the title <em>Sacred Art: Catholic Saints and Candomblé Gods in Modern Brazil</em> by Henry Glassie and Pravina Shukla.</p> <div class="page" title="Page 1">&nbsp;</div> Ray Cashman ##submission.copyrightStatement## 2018-08-11 2018-08-11 12 2 158 161 10.14434/mar.v12i2.24995 Books and Media Received <p>This item is a listing of scholarly works submitted to the editorial office for possible review.</p> Jason Baird Jackson ##submission.copyrightStatement## 2018-08-11 2018-08-11 12 2 162 162 10.14434/mar.v12i2.24999