Collaboration and Co-Creation in

Museums, Heritage, and the Arts

Collaboration and Co-Creation in Museums, Heritage, and the Arts examines

collaborative practices in museums, heritage and the arts. It offers an
interdisciplinary approach combining both practical and theoretical perspectives
from leading scholars and practitioners to better understand and support co-creation
and collaboration in the cultural sector.
The volume is divided into five parts, offering contemporary perspectives on
core topics and their interconnections. Themes include the politics of engagement,
sharing and recentring authority, decolonising research and practice, facilitating
partnerships, and structuring co-creation and community empowerment. Through
global case studies and theoretical analyses, contributors explore the challenges
and opportunities of collaborative practices, exploring intersecting dynamics,
motivations and constraints. The book examines various scales of co-creation, from
interpersonal dynamics to community contexts and institutional transformations.
The work contributes to ongoing discussions about the future of cultural institutions
and the role of culture work in fostering perspectives and practices informed by
diverse perspectives and generating multiple values. It emphasizes co-production
as a crucial capability for the sector moving forward.
Collaboration and Co-Creation in Museums, Heritage, and the Arts is essential
for students, academics, communities and cultural practitioners interested in the
complexities and rewards of collaborative work. It offers valuable insights into
the theories and practices that shape collaborative projects across different cultural
contexts and disciplines, making it an indispensable guide for anyone engaged in
or studying the cultural sector.

Anna Edmundson is Curator, Public Programs, Access & Engagement at the

National Archives of Australia (NAA) and an Honorary Lecturer in the Centre for
Heritage and Museum Studies at the Australian National University (ANU).

Maya Haviland is Translational Fellow and Senior Lecturer in the Centre for
Heritage and Museum Studies in the College of Arts and Social Sciences at the
ANU.
Collaboration and
Co-Creation in Museums,
Heritage, and the Arts

Edited by
Anna Edmundson and Maya Haviland
First published 2025
by Routledge
4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
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Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2025 selection and editorial matter, Anna Edmundson and Maya Haviland;
individual chapters, the contributors
The right of Anna Edmundson and Maya Haviland to be identified as the
authors of the editorial material, and of the authors for their individual
chapters, has been asserted in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
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any information storage or retrieval system, without permission in writing
from the publishers.
Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
ISBN: 9781032118611 (hbk)
ISBN: 9781032120515 (pbk)
ISBN: 9781003222804 (ebk)
DOI: 10.4324/9781003222804
Typeset in Times New Roman
by Deanta Global Publishing Services, Chennai, India
Contents

List of figures viii

Acknowledgements xi
List of contributors xiii

Towards Shared Ground: Collaboration and Co-Creation in

Museums, Heritage, and the Arts 1
ANNA EDMUNDSON AND MAYA HAVILAND

PART 1
The Politics of Engagement 17

1 Community Consultation to Co-Creation: A History of Talking

Past Each Other? 19
LAURAJANE SMITH

2 Context Is Everything: Museums and the Politics of Collaboration 31

KYLIE MESSAGE

3 Socially Engaged Art Within and Beyond the Museum 43

GRANT KESTER

PART 2
Decolonising, Indigenising and Non-colonial Interventions 55

4 Seeding Authority: A Conversation on Museum Decolonisation

in Hawaiʻi and Beyond 57
HALENA KAPUNI-REYNOLDS, NOELLE MKY KAHANU, KAREN KOSASA,
AMY LONETREE, AND BEN GARCIA

5 Non-Colonial Indigenous Creative Action in Heritage Museums 71

DAVID GARNEAU


vi Contents

6 Collaboration as a Relational Process: Co-Creating

Relationships and Making Connections 85
CHRISTINA KREPS

7 Nuyayanlh, Learning How to Heal with Heritage 99

JENNIFER KRAMER, EMILY JEAN LEISCHNER, SNXAKILA CLYDE TALLIO

8 Gulahallat – Discussing Community-Based Co-Acting,

Co‑Knowing and Co-Thinking among Sámi Research, Museum
and Art 111
SANNA VALKONEN, ÁILE AIKIO, SIGGA-MARJA MAGGA, SAARA ALAKORVA,
AND STINA ALETTA AIKIO

PART 3
Revitalisation and Return 125

9 Songlines Singing the Museum 127

DIANA JAMES

10 Co-Creation as relational relay: Reflections on Navigating

Across Protocol, Translation, Time and Space 145
MAYA HAVILAND

11 Digital Returns in the Archival Multiverse 158

ANNA EDMUNDSON

12 From Co-Creation to Empowerment: Documenting the Genesis

Myth in the Creation Ritual Poetry of the Indigenous Lotud
People in Sabah, East Malaysia 171
YUNCI CAI​ AND ​​JUDETH JOHN BAPTIST​

PART 4
Brokering Engagement 183

13 In the Way to Become Civic Museums 185

ALMUDENA CASO

14 ‘The Tikar Not the Table’: Community, Collaboration and

Co-Creativity in Contemporary Southeast Asian Art 200
MICHELLE ANTOINETTE
 Contents vii

15 You Can’t Always Collaborate Your Way Out!: Reflections on

the Ghetto Biennale 215
LEAH GORDON

16 Co-Creating Site-Specific Performances for Social Change –

Reflections from Participatory Art Experiences in Vanuatu and
Senegal 229
MARILENA CROSATO

PART 5
Scaffolding Co-Creation 245

17 Engaging Young People in Heritage Contexts: Design-Led

Approaches to Support Collaborative Participation Within the
Cultural Sector 247
MARIANNE MCARA AND LYNN-SAYERS MCHATTIE

18 Dimensions of Curation Competing Values Model: A Gestation

Story from Theory Development to Practice in Collaboration
with Professional Communities 263
ANN ROWSON LOVE AND PAT VILLENEUVE

19 Intangible Cultural Heritage as Co-Creation: Challenges,

Pathways and Conditions 276
YUJIE ZHU AND JUNMIN LIU

20 Co-Creating Heritage Safeguarding and Marketing Strategies

with Communities in West Bengal, India: Experiences from the
HIPAMS Project 287
HARRIET DEACON, DIEGO RINALLO, NILOY BASU, ANANYA BHATTACHARYA,
SIDDHARTHA CHAKRABORTY, RAJAT NATH, KAVYA RAMALINGHAM,
ANINDITA PATRA, JUNE TABOROFF, BENEDETTA UBERTAZZI, AND
CHARLOTTE WAELDE

21 Emotions in Collaborative Museum Practice 302

MARZIA VARUTTI

Index 317
Figures

9.1 Songlines Project Governance Structure, Credit Alive in the

Dreaming! Songlines of the Western Desert 135
9.2 Ngintaka Tjukurpa-Perentie Man Story, 2012 by the Tjala
Arts Collaborative- Paniny Mick, Tinglia (Yaritji)Young,
Tjunkara Ken, Freda Ken, Marinka Tunkin and Sandra Ken,
Synthetic polymer paint on linen, 197 X 198 cm. Courtesy
Ananguku Arts Community Collection 138
12.1 Working with Tantagas on Documentation of the Lotud
Mamanpang 172
13.1 This figure is a a visual representation of the idea that
museums can create connections with people and
communities beyond their walls 188
13.2 The ‘Six Strength Lines’ represent the structural design of
the Department of Public Activities 192
13.3 Representation of relevant actions developed by each
museum, showing commonalties and differences 197
14.1 Yee I-Lann (b. 1971, Malaysia) Tikar-A-Gagah 2019 (front)
Pandanus weave and commercial chemical dye. With
weaving assistance from Bajau Sama DiLaut weavers led by
Kak Roziah: Kak Anjung, Makcik Bagai, Makcik Billung,
Makcik Braini, Kak Budi, Kak Ebbuh, Makcik Gangah, Kak
Ginnuh, Kak Gultiam, Makcik Indah Laiha, Kak Kanuk,
Kak Kinnuhong, Makcik Kuluk, Adik Lornah, Kak Norbaya,
Kak SanaDusun and Murut weavers led by Julitah Kulinting:
Julia Ginasius, Juraen Sapirin, Lili Naming, Mohammed
Shahrizan Bin Rupin, S. Narty Abd. Hairun, Siat Yanau,
Zaitun Abdullah Hairun. An OUTBOUND commission by
the National Gallery Singapore. Image courtesy of National
Gallery Singapore 201
14.2 Yee I-Lann (b. 1971, Malaysia) Tikar-A-Gagah 2019
(reverse) Split bamboo weave and black natural dye,
stitched together with bamboo weave. With weaving
assistance from Bajau Sama DiLaut weavers led by Kak
Roziah: Kak Anjung, Makcik Bagai, Makcik Billung,

 Figures ix

Makcik Braini, Kak Budi, Kak Ebbuh, Makcik Gangah, Kak

Ginnuh, Kak Gultiam, Makcik Indah Laiha, Kak Kanuk,
Kak Kinnuhong, Makcik Kuluk, Adik Lornah, Kak Norbaya,
Kak SanaDusun and Murut weavers led by Julitah Kulinting:
Julia Ginasius, Juraen Sapirin, Lili Naming, Mohammed
Shahrizan Bin Rupin, S. Narty Abd. Hairun, Siat Yanau,
Zaitun Abdullah Hairun. An OUTBOUND commission by
the National Gallery Singapore 202
16.1 The three circles of the experimental community engaged
in Aelan Gel performance in the Market House (Vanuatu,
25 November 2015). The image represents the levels of
interaction of the co-creative participatory performance. It
illustrates the core circle including the performers reading
a poem by Grace Molisa and the facilitator caring for the
progress of the action; the partners, here a representative of
a supporting institution sitting at the table, a photographer
and the visual artist who draw this illustration; the audience
tasting the food, listening and discussing around the table
or watching the scene as passer-by in the market. Some of
the objects creating the setting of the performance in the
market’s public space are also highlighted: the swing, the
poem’s book, a microphone 233
16.2 The experimental community in action. The experimental
community in action in the performance Slammigration
(Ouakam, Dakar, 8th March 2019). The photography shows
the interaction between the actors belonging to the different
groups, or circles, engaged in the co-creation. Young
slam performers, Lebou dancers in traditional clothes,
contemporary dancers and musicians are portrayed in the
foreground and behind the cart; together with the facilitator,
featured in the back, they represent the core circle. The
photographer, a journalist, civil society organisations’
members and returned migrants – first-hand witnesses of
migration experience – are supporting the performers in the
first line and belong to the partner’s circle. The audience,
including neighbourhood residents, family members of the
performers, other artists and civic associations is following
the itinerant performance. The objects visible in this scene
are a suitcase, a travel bag and a microphone evoking
migration stories 239
17.1 Pre-Assembled Bamboo Structure (2019) 252
17.2 The Co-Creation of the Pavilion (2019) 252
17.3 Engaging in Studio (2019) 253
17.4 Heritage Artefacts Provided by the Participants in the
Shetland Studio (2020) 255
x Figures

17.5 Zoetrope-Making Studios (2020) 256

17.6 Participants’ Zoetrope Illustrations (2020) 257
18.1 The Initial 2-D Competing Values Exhibition Model 265
18.2 3-D Competing Values Model with Example Pop-out 267
18.3 Dimensions of Curation Competing Values Exhibition
Model, ‘exhibitions that ___.’ 267
19.1 The Pathway to Co-Creation 280
19.2 Conditions of Co-Creation 282
20.1 The HIPAMS Canvas (Deacon et al. 2021:20) 291
Acknowledgements

This volume, Co-creation and Collaboration in Museums, Heritage, and the Art is
the result of collaborative effort by its editors, Dr Anna Edmundson and Dr Maya
Haviland, who are listed alphabetically. We want to acknowledge each other’s con-
tribution and the journey that producing this book has taken. This has been a much
longer process than we first anticipated. It has weathered the COVID-19 pandemic,
family health issues, job changes and restructures. The project has been both a
marathon and a relay. There have been times when one editor needed to lead when
the other didn’t have capacity. The baton then passed on and the process reversed.
We want to begin, then, by acknowledging the work of each other. We jointly
developed the initial concept and thematic structure of the volume and equally shared
responsibilities in soliciting contributions, communicating with authors and making
decisions about the inclusion and organization of chapters. We shared responsibility
for reviewing and providing feedback on the chapters, with both editors reviewing
and approving the final versions of all chapters and preparing the manuscript for
publication. The introduction was co-written in a joint process of drafting and revi-
sion. The alphabetical listing of editors on the cover and title page reflects our equal
intellectual contribution and shared responsibility for the work as a whole.
We also wanted to acknowledge the considerable contributions and patience
of the chapter authors, who have been unfailingly cooperative in this long twist-
ing journey. Áile Aikio, Stina Aletta Aikio, Saara Alakorva, Michelle Antoinette,
Niloy Basu, Ananya Bhattacharya, Yunci Cai, Almudena Caso, Siddhartha
Chakraborty, Marilena Crosato, Harriet Deacon, Ben Garcia, David Garneau,
Leah Gordon, Diana James, Judith John Baptist, Noelle MKY Kahanu, Halena
Kapuni-Reynolds, Grant Kester, Karen Kosasa, Jennifer Kramer, Christina Kreps,
Emily Jean Leischner, Junmin Liu, Amy Lonetree, Sigga-Marja Magga, Marianne
McAra, Lyn-Sayers McHattie, Kylie Message, Rajat Nath, Anindita Patra, Kavya
Ramalingham, Diego Rinallo, Ann Rowson Love, Laurajane Smith, June Taboroff,
Snxakila Clyde Tallio, Benedetta Ubertazzi, Sanna Valkonen, Marzia Varutti, Pat
Villeneuve, Charlotte Waelde, and Yujie Zhu: Thank you!


xii Acknowledgements

We want to acknowledge the community of colleagues who have contributed

in different ways commenting on the book’s structure proposal and text including
Howard Morphy and Laurajane Smith, as well as acknowledging the work of Heidi
Lowther from Routledge Press.
And, finally to our families and our partners: you know who you are.
Contributors

Áile Aikio (she/her) is a Post-Doctoral Researcher at the University of Lapland,

Finland. Her research interests include Sámi studies, Sámi art, cultural heritage,
decolonisation and indigenisation of heritage institutions and multispecies coex-
istence. She holds a PhD in Social Sciences and an MA in Ethnology. Currently,
she is contributing to the project ‘Sámi Political Traditions and Thought in
Co-becoming with the Environment,’ funded by the Academy of Finland. Prior
to her doctoral studies, Aikio served as a Curator at the Sámi Museum Siida,
where she deepened her expertise in Sámi cultural heritage and Sámi art.
Stina Aletta Aikio is a Deatnu Sámi experimental artist and a doctoral researcher
in Sámi Studies at the University of Lapland. Their work focuses on questions
of Sámi place relations and futurities. They are also interested in the tensions
in societies and questions of justice, as well as relationship between the local
environment and looming global threats – including climate change, pollution
and consumer culture. They have also worked actively in the Nordic queer Sámi
movement – and the positions of minorities within minorities are close to their
heart.
Saara Alakorva is a University Teacher who is currently completing her PhD in
political science at the University of Lapland. Her research focuses on Sámi
political history within the context of Indigenous nationhood, particularly
exploring the political thought related to the Sámi concept of nation. She is one
of the editors of The Sámi World, a book published by Routledge in 2022.
Michelle Antoinette is Associate Professor in Art History and Theory at Monash
University, Melbourne. She lives and works on the Country of the Boon Wurrung
people of the Kulin Nation. Her research focuses on modern and contempo-
rary Asian art histories, especially the contemporary art histories of Southeast
Asia on which she has published widely. She has held prestigious Australian
Research Council awards researching developments in Asian contemporary art
and museums, including for ‘The Rise of New Cultural Networks in Asia in the
Twenty-First Century’ (DP1096041), ‘Asian Art Publics’ (DE170100455), and
from 2025 ‘Care and Repair: Rethinking Contemporary Curation for Conditions
of Crisis’ (DP240102206). Her significant publications include Reworlding
Art History: Encounters with Contemporary Southeast Asian Art after 1990


xiv Contributors

(Brill | Rodopi, 2015) and with Caroline Turner, Contemporary Asian Art and
Exhibitions: Connectivities and World-making (ANU Press, 2014). In 2019,
with Wulan Dirgantoro she co-curated the exhibition ‘Shaping Geographies:
Art, Woman, Southeast Asia’, held in Singapore.
Judeth John Baptist is the Founder and President of the Sabah Seamex Association,
an NGO that aims to support cultural documentation and research on Indigenous
cultural heritage in Sabah. She recently retired from the Sabah State Museum
in 2018 as Curator and Head of the Research and Resource Division. Over her
37-year tenure with the Sabah State Museum, she has conducted extensive eth-
nographic research and curated numerous exhibitions on the material culture
and ritual practices of different ethnic groups in Sabah, especially among the
Lotud, the Kadazan Dusun, the Kuijau Dusun and the Sama Bajau communities,
and was instrumental in developing its ethnographic collection.
Niloy Basu is General Manager, Operations at Contact Base, trained in safeguarding
of ICH from ICHCAP, South Korea and is working on livelihood enhancement
of traditional artists, protection of their rights and registration of Geographical
Indications. He worked in West Bengal on the HIPAMS project (Heritage
Sensitive Intellectual Property and Marketing Strategies) funded by the British
Academy, as ‘Celebrating local stewardship in a global market:community her-
itage, intellectual property protection and sustainable development’.
Ananya Bhattacharya is the Director, Contact Base, trading as banglanatak dot
com, is an electrical engineer with a master’s in Sustainable Development spe-
cialising in gender, culture and sustainability. She worked with artist commu-
nities in West Bengal on marketing and promotional tools for the HIPAMS
project, as co-Investigator. https://orcid​.org​/0000​-0001​-5341​-2795
Yunci Cai is an Associate Professor in Museum and Heritage Studies and the
Director of Education at the University of Leicester. She is a critical heritage and
museum studies scholar, specialising in the cultural politics and museologies in
and of Asia. Trained as a geographer/anthropologist, she has interests in non-
Western and Indigenous museology, post-colonial studies, developmental stud-
ies and critical heritage studies, with a regional focus on Malaysia, Singapore and
China. She is the author of Staging Indigenous Heritage: Instrumentalisation,
Brokerage and Representation in Malaysia (Routledge 2020) which explores
the politics of heritage-making at four Indigenous cultural villages in Malaysia;
and the editor of The Museum in Asia (2025) which is the first academic book
to examine museums in Asia from a theoretical perspective informed by critical
museum and heritage studies.
Siddhartha Chakraborty is a Senior Theatre Director who specialises in commu-
nity theatre and children’s theatre and worked on participatory methodologies
as a Theatre in Development Resource Person for Contact Base on the HIPAMS
project.
 Contributors xv

Almudena Caso (she/her) is a PhD Candidate in Art History at the University

of Zaragoza, Spain. Her research explores museum studies, cultural dis-
tricts, urban heritage, and socially engaged art. She is a member of the
research project “Museum Cultural Districts, Galleries, Establishments, and
Urban Heritage Landscapes” (PGC2018-094351-B-C41). She holds an MA
in Arts Administration and an MA in Art Education. Caso is the director of
Rompepuertas, a cultural action and participation project at the Municipal
Museums of Zaragoza. Designed for young people aged 16 to 22, the program
offers practical training in museology, cultural management, activity facilitation,
and event production. It emphasizes action-based learning, teamwork, youth
empowerment, accessibility, and inclusion, fostering greater youth engagement
in museums and cultural institutions. She has developed and implemented arts
education programs for museums and nonprofits and has led community arts
projects in Spain, the UK, Mexico, and Nicaragua. Additionally, she has worked
as a Consultant and Trainer in participatory and socially engaged art, supporting
educators, artists, and researchers.
Marilena Crosato is a Performer, Theatre Director and Writer, expert in social
theatre and communication for development. Her work focuses on a cross-dis-
ciplinary approach to co-creativity based on site-specific performance, social
theatre, ethnography and activism. Her academic career ranges from artistic
disciplines (degree in Architecture at IUAV-Venice, Arsenale Theater School
in Milan) to International Cooperation (master’s degree in Human Rights and
Ethics of International Cooperation and certificate in Psychosocial Interventions
in Migration, Emergency and Displacement at Sant’Anna School, Pisa). Since
2011 she has been leading collaborative artistic projects aiming at the promotion
of gender equality and empowerment of vulnerable groups in Italy, Colombia,
Haiti, Vanuatu, Niger and Senegal. She produced site-specific performances
that have been displayed in both community settings and international festi-
vals. Recently she has been working with several NGOs and the UN Migration
Agency (IOM). She conducted awareness campaigns with returning migrants
and cultural development programmes for vulnerable communities in Haiti,
Niger and Senegal.
Harriet Deacon is a Lecturer at the Centre of Excellence in Data Science, Artificial
Intelligence and Modelling (DAIM), and Research Associate of the Wilberforce
Institute at University of Hull, UK, specialising in ethics and digital humanities.
She is a historian with interests in tangible and intangible heritage management,
public policy on heritage, intellectual property law and the intersection between
culture and health. She worked on the intersection between heritage safeguard-
ing and sustainable development for the HIPAMS project.
Anna Edmundson is Curator, Public Programs, Access & Engagement at
the National Archives of Australia (NAA) and an Honorary Lecturer in the
Centre for Heritage and Museum Studies at the Australian National University
(ANU). Her work involves connecting communities, archives and objects
xvi Contributors

(predominantly in Australia and Papua New Guinea) across a wide range of dis-
ciplinary fields including heritage and museum studies, history, visual anthro-
pology, digital humanities and curatorial practice. Her current research centres
on colonial collecting and governmentality in Papua New Guinea, Indigenising
museums in Australia and the Pacific, and reconnecting communities and col-
lections through new models of digital access and engagement.
Ben Garcia (he/him) has worked to help museums become places of welcome
and belonging for all people. He started as a gallery guide and educator, moved
on to exhibition development and then served in middle- and upper-manage-
ment administrative roles, before joining the American LGBTQ+ Museum
as Executive Director. He has presented and published regularly on creating
structural equity in museums through transparency, accountability, fair labour
practices and by adding missing voices and perspectives. Prior to joining the
American LGBTQ+ Museum, Ben has worked in various roles as an educa-
tor and administrator at the J. Paul Getty Museum, Skirball Cultural Center
and Hearst Museum of Anthropology. He has served as Deputy Director of the
Museum of Us and as Deputy Executive Director and Chief Learning Officer at
the Ohio History Connection. He is well-versed in museum interpretation, oper-
ations, management and fundraising. Ben led initiatives to return Indigenous
ancestral human remains and belongings in San Diego and Ohio. He serves
as a Board Member at Equality Ohio and as Vice President of the Association
of Midwest Museums. Ben graduated from the University of Massachusetts at
Boston with a BA in Art and from Bank Street College of Education with an MS
Ed in Museum Leadership.
Leah Gordon is a Photographer, Film-maker, Curator, Collector and Writer. In the
1980s she wrote lyrics, sang and played for the feminist folk punk band, ‘The
Doonicans.’ Leah makes work on Modernism and architecture; the slave trade
and industrialisation; and grassroots religious, class and folk histories. Gordon’s
film and photographic work has been exhibited internationally including the
Museum of Contemporary Art, Sydney; the Dak’art Biennale; the National
Portrait Gallery, UK; and the Norton Museum of Art, Florida, as well as broad-
cast on Channel 4, Arte and PBS. Her photography book Kanaval: Vodou,
Politics and Revolution on the Streets of Haiti was published in June 2010. She
is the co-director of the Ghetto Biennale in Port-au-Prince, Haiti; was a cura-
tor for the Haitian Pavilion at the 54th Venice Biennale; was the co-curator of
‘Kafou: Haiti, History & Art’ at Nottingham Contemporary, UK; was on the
curatorial team for ‘In Extremis: Death and Life in 21st Century Haitian Art’
at the Fowler Museum, UCLA; and was the co-curator of ‘PÒTOPRENS: The
Urban Artists of Port-au-Prince’ at Pioneer Works, NYC, in 2018 and MOCA,
Miami, in 2019. In 2015 Leah Gordon was the recipient of the Colección Patricia
Phelps de Cisneros Travel Award for Central America and the Caribbean.
Maya Haviland is a Researcher in co-creation methodologies and a facilitator
of collaborative processes with extensive experience in intercultural contexts.
 Contributors xvii

Her practice is grounded in listening, experimentation, and adaptation, always

seeking to tailor methods to the real needs of the groups she works with. As
a Translational Fellow at the Research School of Humanities & the Arts and
Senior Lecturer in Museum Anthropology at the Centre for Heritage and
Museum Studies, Australian National University, she leads the Scaffolding
Cultural Co-Creativity Project, an international multi-partner initiative devel-
oping tools and curriculum to support co-creative practice. Through this work,
Maya has developed Cobeo, a suite of tools and methods that support collec-
tive work. Maya has conducted collaborative research with communities across
Australia—particularly in the Kimberley region—as well as in Mexico, the
USA, and Vanuatu. Her work spans community-led cultural research and partic-
ipatory approaches, resulting in films, podcasts, exhibitions, and internationally
exhibited photographic works. With over 20 years’ experience as a collabora-
tive social researcher and community development practitioner in Australia, the
Pacific, and North America, Maya is also an Adjunct Research Fellow at the
Nulungu Research Institute (University of Notre Dame Australia) and producer/
co-host of Collaboratory Podcast.
Diana James is an Honorary Senior Research Associate in the School of
Humanities and the Arts at the Australian National University, and Honorary
Senior Visiting Fellow, CASM, National Centre for Aboriginal Language and
Music Studies at the University of Adelaide, South Australia. Diana has worked
collaboratively with Anangu Pitjantjatjara Yankunytjatjara (APY) people of
the Western Deserts of Australia over the last 40 years as an anthropologist,
oral historian and ethnomusicologist. In 1975 she learnt Pitjantjatjara while
working in arts and community projects on the APY Lands. Since 2009 she
has worked as a senior researcher at the Australian National University (ANU),
with Martu people on the Canning Stock Route ARC and then co-ordinating
research on the Alive with the Dreaming! Songlines of the Western Desert
ARC Linkage Project from 2011 to 2016, http://sev​ensi​ster​ssongline​.com. The
Songlines Project was initiated by Anangu and Martu peoples of the Western
Desert requesting assistance from the ANU to record the cultural heritage of
their Songlines in multi-media archives. Major outcomes of the collaboration
included the Kungkarangkalpa Seven Sisters Inma in 2013 and the exhibition of
the Songlines, Tracking the Seven Sisters displayed in 2017–18 at the National
Museum of Australia.
Noelle M.K.Y. Kahanu (Kanaka ʻŌiwi/Native Hawaiian) worked for 15 years
at the Bishop Museum, where she worked on the renovation of Hawaiian Hall
(2009), Pacific Hall (2013) and the landmark E Kū Ana Ka Paia exhibition
(2010). She has a law degree from the University of Hawaiʻi at Mānoa, where
she currently serves as an associate specialist in Public Humanities and Native
Hawaiian Programs within the American Studies Department. Her current
research and practice explore the liberating and generative opportunities of
museums deciding to ‘seed’ rather than ‘cede’ authority.
xviii Contributors

Halena Kapuni-Reynolds (Kanaka ʻŌiwi/Native Hawaiian) was born on Hawaiʻi

Island and raised in the Hawaiian homestead community of Keaukaha and the
upper rain forest of ‘Ōla‘a. He received a BA in Anthropology and Hawaiian
Studies from the University of Hawaiʻi at Hilo in 2013 and an MA in anthro-
pology with a focus in Museum and Heritage Studies from the University of
Denver in 2015. He is currently a PhD student in the Department of American
Studies and the Museum Studies Graduate Certificate Program at the University
of Hawaiʻi at Mānoa. For his dissertation, he is writing a critical place-based
history of Keaukaha.
Grant Kester is a Professor of Art History at the University of California, San
Diego, and the founding editor of FIELD: A Journal of Socially Engaged Art
Criticism (field​-journal​.​com). Kester is one of the leading figures in the criti-
cal dialogue around socially engaged art practice. His publications include
Art, Activism and Oppositionality: Essays from Afterimage (Duke University
Press, 1998), Conversation Pieces: Community and Communication in Modern
Art (University of California Press, 2004, second edition 2013), The One
and the Many: Contemporary Collaborative Art in a Global Context (Duke
University Press, 2011) and Collective Situations: Readings in Contemporary
Latin American Art 1995–2010, co-edited with Bill Kelley (Duke University
Press, 2017). Kester’s essays have been published in Art in Theory: The West
in the World – An Anthology of Changing Ideas (Wiley/Blackwell, 2020),
A Companion to Public Art (Oxford, 2016), The Blackwell Companion to
Contemporary Art Since 1945 (Blackwell, 2006), Theory in Contemporary
Art Since 1945 (Blackwell, 2004), Poverty and Social Welfare in America: An
Encyclopedia (ABC-Clio, 2004), Politics and Poetics: Radical Aesthetics for
the Classroom (St. Martins Press, 1999) and the Encyclopedia of Aesthetics
(Oxford University Press, 1998). His most recent book is The Sovereign
Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke
University Press, forthcoming).
Karen Kosasa is the Director of the Museum Studies Graduate Certificate Program
and Associate Professor of American Studies, University of Hawai‘i at Mānoa.
She is a third-generation Japanese American whose research interests are in
museum studies, visual culture, critical pedagogy and settler colonialism. She is
especially interested in the relationship between settler populations and indig-
enous peoples, the representation of this relationship in museum exhibitions,
and the educational programmes offered by museums.
Jennifer Kramer holds a joint position at the University of British Columbia as
Associate Professor in the Department of Anthropology and Curator, Pacific
Northwest at the Museum of Anthropology in Vancouver, Canada. She strives
to be both a collaborative museologist and a critical museologist, merging prac-
titioner/curator and theoretician/critic as she partners with Indigenous com-
munities to co-create ethnographic writing, exhibitions and digital resources.
Recent exhibitions include: Nuxalk Strong: Dancing Down the Eyelashes of the
 Contributors xix

Sun (2025–2026); Shake Up: Preserving What We Value (2018–2023); Nuxalk

Radio: One Nation, Many Voices (2018); Kesu’: The Art and Life of Doug
Cranmer (2012–2013); and Together Again: Nuxalk Faces of the Sky (2012).
She is co-editor of the multiple award-winning anthology: Native Art of the
Northwest Coast: A History of Changing Ideas with Charlotte Townsend-Gault
and Ki-ki-en, UBC Press 2013, and Switchbacks: Art, Ownership, and Nuxalk
National Identity, UBC Press 2006.
Christina Kreps is a Professor of Anthropology and Director of the Museum of
Anthropology and Museum and Heritage Studies Program at the University of
Denver. Her recent book, Museums and Anthropology in the Age of Engagement
(Routledge 2020), examines the public role of museums from historical, com-
parative and critical perspectives. In addition to her scholarly work, she has
worked on museum development and training projects in Indonesia, Vietnam
and Thailand as well as on projects in Europe devoted to museums and com-
munity engagement.
Emily Jean Leischner is a Non-Indigenous Writer, Community-based Scholar,
and Historian who studies and works with museums, archives, and librar-
ies that hold Indigenous collections. She has a PhD in Anthropology from the
University of British Columbia, and was most recently a postdoctoral fellow
at the Center for Native American and Indigenous Research (CNAIR) at the
American Philosophical Society. She has been working collaboratively with
the Nuxalk First Nation since 2016 and is the former co-host of the program:
“Using and Refusing Museums” on Nuxalk Radio.
Junmin Liu is an Assistant Professor at the City University of Macau. Her research
focuses on cultural heritage and everyday life.
Amy Lonetree is an enrolled citizen of the Ho-Chunk Nation and a Professor
of History at the University of California, Santa Cruz. Her scholarly research
focuses on Native American history, public history, visual studies and museum
studies, and she has received fellowships in support of this work from the
School for Advanced Research, the Newberry Library, the Georgia O’Keeffe
Museum Research Center, the Bard Graduate Center, the Institute of American
Cultures at UCLA and the University of California, Berkeley Chancellor’s
Postdoctoral Fellowship Program. Her publications include Decolonizing
Museums: Representing Native America in National and Tribal Museums
(2012); a co-edited book, The National Museum of the American Indian:
Critical Conversations (2008); and a co-authored volume, People of the Big
Voice: Photographs of Ho-Chunk Families by Charles Van Schaick, 1879–1942
(2011). Her articles have appeared in the Public Historian, the American Indian
Quarterly and the American Indian Culture and Research Journal. She is cur-
rently working on a book focusing on the history of the Ho-Chunk Nation that
explores family history, tourism, settler colonialism and Ho-Chunk survivance
through an examination of two exceptional collections of studio portraits and
xx Contributors

tourist images taken between 1879 and 1960. She is also pursuing research on
the history of Indigenous child removal in the United States.
Ann Rowson Love is an Associate Professor and Director of the Museum Education
and Visitor-Centered Curation MA/PhD programme in the Department of Art
Education at Florida State University. She is the faculty liaison to The Ringling,
where she teaches and conducts visitor studies with her students. As a board
member of the American Alliance of Museums (AAM) Curators’ Committee
(CurCom), she was a judge for the National Excellence in Exhibitions
Competition 2017–2019; coordinated the Southeast Museums Conference
(SEMC) Exhibition Competition 2018–2020; and served on the National
Program Committee for AAM and SEMC in 2019. Her research focuses on
collaborative curation, exhibition interpretive strategies and visitor studies in
art museums. Ann co-edited Visitor-Centered Exhibitions and Edu-Curation in
Art Museums with Pat Villeneuve and Systems Thinking in Museums: Theory
and Practice with Yuha Jung, both published by Rowman & Littlefield in 2017.
She is co-author with Deborah Randolph of an upcoming book, An Introductory
Guide to Qualitative Research in Art Museums, to be published by Routledge
in 2021.
Sigga-Marja Magga works as a university Lecturer and a Leader at Giellagas
Institute, the centre of Sámi cultural studies and languages at the University
of Oulu. She is an Adjunct Professor of duodji, Sámi handicraft. She focuses
on histories, design and symbolic meanings of duodji that reflect and create
the Sámi political, cultural and social realities. Her recent publications include
the book The Sámi World (Routledge 2022, co-edited); the dissertation Sámi
Handicrafts as the Builder of Unity (2018); and articles Gákti on the Pulse of
Time: The Double Perspective of the Traditional Sámi Dress (2022) and From
Research on Sámi Handicraft to Duodji Research (2022).
Marianne McAra is a Research Teaching Fellow at the School of Innovation and
Technology at The Glasgow School of Art (GSA). Marianne’s research cen-
tres on design-led approaches to support youth engagement, design pedagogy,
and studio-based collaboration. These interests, which seek to better to under-
stand the relational, experiential, and contextual dimensions of participation,
span diverse contexts including the Scottish island archipelagos, Malaysia and
Borneo. She leads the Masters in Transformation Design at GSA, which centres
on change-oriented approaches that engage with complex social and systemic
challenges.
Kylie Message is a Professor of Public Humanities and Director of the Humanities
Research Centre at the Australian National University. Her work focuses
specifically on the relationships between cultural organisations, citizenship,
government and political reform movements. Working with interdisciplinary
methodologies drawn from History, Anthropology, Sociology and Cultural and
Museum Studies, her research investigates the role that museums and other forms
of public culture play as sites of political exchange. She has written extensively
 Contributors xxi

about the ways that museums across the world have conducted contemporary
collecting and been involved in and identified as sites of activism and contro-
versy. Her focus on institutional ethnographies and organisational histories has
led to new ways of addressing relationships between racism and contested his-
tories in organisational and public/community settings, and her documentation
of curatorial and social activism within multicultural policy climates since the
1970s has made significant contributions to the way various participants and
stakeholders understand the political history and impact of culture.
Rajat Nath, PhD scholar in Museology, is a former Research Associate at Contact
Base who worked with artist communities in West Bengal on marketing and
promotional tools for the HIPAMS project.
Anindita Patra, MPhil in International Relations, is a former Research Associate
at Contact Base who worked with artist communities in West Bengal on market-
ing and promotional tools for the HIPAMS project.
Kavya Iyer Ramalingam has a Master’s in Dance Knowledge, Practice, and
Heritage (Choreomundus) and a Master’s in International Development; cur-
rently a freelance dance artist and a project manager at Akademi based in
London, she worked as a research assistant on the HIPAMS project
Diego Rinallo is an Associate Professor of Marketing at emlyon Business School
(France), an expert in consumer culture, cultural heritage, fashion, food, busi-
ness ethics, branding, collective approaches to marketing, and trade shows, spe-
cializing in qualitative and critical research methods. He worked on the role of
marketing in the promotion of ICH for the HIPAMS project.

Laurajane Smith is the Director of the Centre of Heritage and Museum Studies,
Research School of Humanities and the Arts, the Australian National University.
She is a fellow of the Society for the Academy of the Social Sciences in Australia.
In 2010–12, she worked to co-found the Association of Critical Heritage Studies;
she is editor of the International Journal of Heritage Studies and is co-general
editor with Dr Gönül Bozoğlu of Routledge’s Key Issues in Cultural Heritage.
Her books include Uses of Heritage (2006) and Emotional Heritage (2021), and
she has edited numerous collections most notably Intangible Heritage (2009)
and Safeguarding Intangible Heritage (2019), both with Natsuko Akagawa, and
Emotion, Affective Practices, and the Past in the Present (2018, with Margret
Wetherell and Gary Campbell) and Heritage, Labour and the Working Class
(2011, with Paul A. Shackel and Gary Campbell).
June Taboroff is a Senior Cultural Economics and Evaluation Consultant (UK),
specializing in the economics of culture and evaluations in this field. She worked
on cultural economics and evaluations for the HIPAMS project.
Snxakila Clyde Tallio is a Member of the Nuxalk First Nation, whocompleted
years of traditional training with 15 Nuxalk elders to be initiated as an Alkw (a
xxii Contributors

ceremonial speaker and knowledge keeper). A fluent Nuxalk speaker, Snxakila

has dedicated the past 20 years to the revitalisation of Nuxalk culture, language
and ceremonies. His work has made a lasting impact on Nuxalk education,
stewardship and governance, and he has worked with museums, governments
and academic institutions from around the world. At present, Snxakila is the
Cultural Director of the Nuxalk Nation, where he is managing the development
of the Nation’s first Big House in over 100 years.
Sanna Valkonen is a Sámi Scholar from Northern Finland. She is a Professor of
Sámi research at the University of Lapland and an Adjunct Professor (docent)
of research on Sámi society at the Giellagas Institute. Valkonen has a PhD in
political science and she specializes in developing the field of social scientific
Sámi research since 2001 drawing from community-based engagement. Her
research focuses on Sámi society, politics and thought. Her recent publications
include the book The Sámi World (Routledge 2022, co-edited).
Marzia Varutti is currently a Research Fellow at the Center for Affective Sciences,
University of Geneva, Switzerland. She has held research and teaching posi-
tions in museology in various countries and academic institutions, including the
School of Museum Studies, University of Leicester (UK) and the University of
Oslo (Norway). In her writings, she has explored relationships between muse-
ums and Indigenous Peoples (with a special focus on Taiwan) as well as various
aspects of the politics of representation in museums – this was also the topic of
her monograph Museums in China: The Politics of Representation After Mao
(Boydell & Brewer, 2014). She is currently exploring the role of emotions in
museum practice and the development of emotional resilience in the face of
ecological destruction.
Pat Villeneuve is a Professor and Director of Arts Administration and a Fulbright
scholar. She has published and presented extensively on art museum educa-
tion, visitor-centred exhibitions, systems thinking and paradigmatic change and
is currently working with Ann Rowson Love on the Dimensions of Curation
Competing Values Framework, a model to promote reflection and deliber-
ate curatorial practice. Pat and Ann promote edu-curation, their vision of a
blended, inclusive approach to exhibition making, and teach the edu-curation
programmes (MA and PhD) in the Department of Art Education at Florida State
University, USA. Pat will speak on edu-curation as an invited keynote speaker
for the ICOM International Committee for Education and Cultural Action
(CECA) in Leuven, Belgium, in 2021.
Yujie Zhu is an Associate Professor at the Centre for Heritage and Museum
Studies at the Australian National University, Australia. His research focuses
on the cultural politics of the past within diverse heritage and memory spaces.
His recent books include China’s Heritage through History (2024), Heritage
Tourism (2021), Heritage Politics in China (2020, with Christina Maags)
and Heritage and Romantic Consumption in China (2018). His work has shown
heritage to be a powerful instrument of identity-making, nationalism, memory
 Contributors xxiii

activism and post-conflict reconciliation. He served as Vice-President of the

Association of Critical Heritage Studies from 2014 to 2020.
Benedetta Ubertazzi is an Associate Professor of European Union Law, University
of Milan-Bicocca, a UNESCO facilitator on the 2003 Intangible Heritage
Convention and a practising attorney on intellectual property and business law
in Milan, working on the connections between ICH and intellectual property
law. She worked on the role of intellectual property law in the promotion and
protection of ICH for the HIPAMS project.
Charlotte Waelde is a Professor of Intellectual Property Law, Centre for Dance
Research (C-DaRE), Coventry University, UK,specializing in copyright law
and the connections between ICH safeguarding and intellectual property law.
She was Principal Investigator for the HIPAMS project.
Lynn-Sayers McHattie FRSA is Professor of Design Innovation at The Glasgow
School of Art and Senior Researcher in the School of Innovation and Technology.
Her place-based research interests are located within geographically distributed
and Indigenous, island communities. Her cross-cultural research explores craft
and textile practice(s) as ‘cultural assets’, which connect to the landscape and
culture of communities and the role design-led innovation can play in socio-
cultural renewal. She focuses on the relationship between people, place, and
practice towards a deeper understanding of tacit wisdom as a foundational con-
cept. Her practice encompasses textiles as ‘knowledge artefacts’ that provide an
interdisciplinary link between crafting conversations, materialities of place and
ideologies of identity, which interact to inform a wider research agenda around
the political economy of craft. Lynn publishes widely in peer-reviewed journals
and sits on the Editorial Board of CoDesign. She is a Member of the AHRC
Peer Review College, a Trustee of Craft Scotland and Visiting Professor at The
Belfast School of Art, University of Ulster.
Towards Shared Ground
Collaboration and Co-Creation in Museums, Heritage,
and the Arts

Anna Edmundson and Maya Haviland

In the landscape of 21st-century museum, heritage and arts organisations, the con-
cepts of collaboration and co-creation have become pervasive, often employed to
describe a spectrum of participatory processes that facilitate the generation of joint
or shared outcomes and values. This shift reflects a growing recognition of the need
for diverse perspectives and the potential for collective knowledge production. As
the cultural sector continues to evolve and adapt to the changing needs and expec-
tations of its stakeholders, these terms have gained significant traction, shaping not
only the way institutions approach audiences and communities but also how they
conceptualise their core business and value within society.
The mandate for deeper engagement and participation reflects contemporary
concerns that cultural practitioners and organisations actively address past silences
and inequities in the stories they tell and the work they undertake. In this context,
concepts of collaboration and co-creation are increasingly mobilised as part of a
wider effort to redress power imbalances and encourage more diverse voices and
perspectives, as well as to engage broader cross-sections of society as audiences,
consumers and creators. In practice, however, successfully enacting these agendas
is easier said than done, requiring significant personal, organisational and political
change. Often, expectations are left unmet.
This volume explores some of the ways in which ideas about collaboration and
co-creation are being theorised and enacted across museums, heritage and the arts.
It introduces case studies detailing on-the-ground projects from across the globe as
well as theoretical discussions exploring critical intersections of culture work, dur-
ing what anthropologist Christina Kreps has called ‘the age of engagement’ (2020).
Through different lenses of practice and discipline, contributions offer explora-
tions of motivations and agendas, power and agency, positionality and relationality.
By shedding light on lived experiences and diverse frameworks used to navigate
collaboration and co-creation, the volume aims to provide a deeper understanding
of the challenges and opportunities, heuristics and skills that arise and become use-
ful when working across scales of difference. Contributing to the ongoing conver-
sation about the future of cultural institutions and the role they play in shaping our
understanding of the world around us, we hope to inspire and inform practitioners,
researchers and students alike.

DOI: 10.4324/9781003222804-1
2 Collaboration and Co-Creation in Museums, Heritage, and the Arts

What Is the ‘Co’ in Culture Work?

Co-creation, collaboration, cooperation, community, co-design, co-production –
the prefix ‘co,’ denoting the involvement of two or more subjectivities, has become
increasingly ubiquitous in the broad field of culture work. Even though consulta-
tion, collaboration and co-creation are all relatively new terms in the long durée of
cultural sector practice and theory, their impacts and intersecting lineages should
not be underestimated. While the three fields of museums, heritage and the arts
each have their own genealogies and vocabularies, they share trajectories over the
last 70 years towards more pluralist, collaborative and inclusive practice. Despite
disciplinary differences, all of the contributions in this volume reflect this shift,
highlighting a range of practices designed to bring diverse people into closer
involvement with the process of joint decision-making, design, production, knowl-
edge, authority or actions.
However, what exactly is meant by the ‘co’ in literature, conversational usage,
and even in practice is often opaque, sometimes inscrutable. At its simplest, the
prefix ‘co’ indicates a person or thing that operates ‘jointly or with’ something
else. Collaboration thus refers to the act of working jointly or with another person
or group of people (OED Online, n.d.). While this tells us that people are working
together in some form, it says nothing about the scale of work, who is doing what
or why they are doing it. We know that collaboration in common parlance can have
negative connotations (collaborating with the enemy for example), yet strangely
in culture work it is almost always presented as something benign. Efforts to col-
laborate, embedded as they often are within colonial institutions, power structures
and political dynamics, can have a darker side elided by seemingly good intentions.
As the historical evidence reminds us, no matter the intention of the ‘co’ in col-
laboration or co-creation, it can, in some experiences, stand for co-option, conflict
or coercion (Boast 2011; Lynch and Alberti 2010; Lynch 2011).
Meanings and lived experiences of seeking to enact any of the ‘co’s can be
overlapping but not quite the same. As anthropologist Chris Kelty has written of
the term ‘participation,’ the meanings of such words can be ‘evasive’ and ‘wily’
(Kelty 2020, 1). A quarter of the way into the 21st century, the term consulta-
tion has already fallen out of favour, collaboration is beginning to wane, and co-
creation seems to be waxing. The very ubiquity of these terms means that they will
inevitably be repurposed and replaced with other newer terms as time progresses.
Continuing in its wily ways, the concept of co-creation generally seeks to
extend participatory practice beyond mere consultation or feedback. Its growing
popularity in relation to cultural practices signals a departure from a traditional uni-
directional dissemination of information from ‘expert’ to ‘audience,’ instead mark-
ing a desire to foster more reciprocal relationships between project partners and
between institutions and their publics (Simon 2010;Coombes and Phillips 2015;
Edmundson 2015; Silverman 2015; Onciul 2015). It is often deployed (as both an
idea and a practice) with the intent of more equitable engagement than past prac-
tices have provided, seeking to recognise and value the expertise and perspectives
of diverse participants and hoping to lead to outcomes that relationally benefit the
 Towards Shared Ground 3

multiple parties involved. In the context of culture work, such collaborative models
tend to explicitly emphasise the importance of shared or distributed authority and
mutual learning (Haviland 2017;Peers and Brown 2003; Schultz 2011; Mcara and
McHattie, this volume).
Across disciplines and literature many working definitions of collaboration
and co-creation articulate a process where different agents work collaboratively to
create shared value and meaning. However, since shared value and meaning can
easily be assumed to be the same value and meaning, we find that such working
definitions are somewhat misleading. Numerous chapters in this volume frame col-
laboration and co-creation as relational processes (Kreps; Kramer et al. Volkennen
et al., this volume). Different agents working together rarely share the exact same
meaning or values in a co-creative initiative. Rather the chapters in this volume
point to different ways that relational, positional and attitudinal differences are
always present in one form or another. When they are elided or overlooked, it is
always to the detriment of the collaborative process. As Smith (this volume) attests,
an assumption of shared meaning runs the risk of ‘people talking past each other.’

Who Is Included in the ‘Co’?

As cultural institutions have sought to engage with more diverse audiences and fos-
ter more inclusive practices, the notion of community has become critical to how
ideas of collaboration and co-creation are understood and enacted. Early usages
of the term community in the cultural sector tended to emphasise ‘grounded and
bounded’ notions, which relied on geographic or demographic factors, such as
shared location or cultural background (Crooke 2007). Over time more nuanced
understandings have emerged, acknowledging the complex and fluid nature of
social groupings. Facer and Enright (2016, 13), for example, see community as
‘the very wide range of virtual, physical, geographic, interest and accidental groups
that are formed around interests, issues, places, histories, cultures and professions.’
In a similar vein, Morphy (2009, 115) regards communities as ‘groups of people
bounded by a sense of common affinity or interest.’
The post-digital era has further redefined our understanding of the nature and
scale of communities, as social media enables connections that transcend time and
space. Movements like #MeToo and #BlackLivesMatter exemplify this shift, har-
nessing digital platforms to forge strong bonds among individuals united by shared
values and goals. These online communities often translate their sense of purpose
into real-world actions, highlighting technology’s potential to facilitate meaning-
ful connections and drive social change globally (Morphy 2009, c.f. Message, this
volume).
Like the term collaboration in cultural sector practice, community is a con-
cept which is almost always used in a favourable sense (Golding 2013). Whether
‘cosy’ (Bauman 2001; Smith and Waterton 2009) or ‘nostalgic (Crooke 2007) it’s
another word which can seem to be inherently positive and inclusive, despite the
defining quality that to be ‘in’ a community means that there must be people who
are ‘out.’ Words such as community, heritage or collaboration are arguably better
4 Collaboration and Co-Creation in Museums, Heritage, and the Arts

understood as verbs rather than as nouns (cf. Golding 2013; Smith, this volume).
As anthropologist Howard Morphy reminds us, a community is not a static entity
but is always in flux: it can be ‘inherited, made, disbanded or expanded,’ and like
collaboration ‘it can be experienced, resisted, actively participated in or thrust upon
us’ (2009, 115). Echoing the ‘wily’ nature of terms like participation, collaboration
and co-creation, Morphy observes:
Just because a term defies simple definition or seems to break down under
close inspection, this does not mean that there is not a valid idea behind it. A
term that is used as often as community and that indeed is thought by its users
to have a degree of moral force that implies commitment is likely to signify
something important in human society.
(Morphy 2009, 115)
Following Morphy it can be argued that each of these terms we’ve been exploring
– community, collaboration and co-creation – marks intentions towards relational-
ity and commitment to connected action across scales and qualities of difference:
towards mutual value rather than sameness.

Scales of Engagement
In cultural practice co-creative initiatives are formed across a variety of differ-
ences of position, expertise and scale. In this volume processes of co-creation are
described at various levels – from individual-to-individual interactions to collabo-
rations between groups and organisations, sometimes mediated by objects, col-
lections, technologies and social and political forces. In line with the definitions
given above, these groupings and identities are not always defined by cultural or
geographical boundaries, rather foregrounding affinity-based collaborations, con-
nected through lived experiences and overlapping social and political agendas.
An interesting dynamic explored in this volume is the way in which the pro-
cesses of co-creation themselves become focal points around which temporary or
provisional communities coalesce. As Crosato (this volume) discusses, drawing on
the work of Wodiczko (2015), co-creative cultural initiatives can contribute to the
construction, negotiation, representation and experience of distinct identities and
affiliations. This phenomenon highlights the transformative potential of co-creative
practices in fostering new forms of community and scales of belonging.
Likewise, several contributions highlight the role of ‘brokers’ in facilitating col-
laborations between institutions and communities and between different actors in
collaborative endeavours (Antionette, Gordon, Crosato, this volume), examining
how such intermediaries bridge gaps and can foster more effective partnerships.
Similarly, several contributions highlight the ways in which participants in co-
creative processes often occupy multiple positions, bringing forth their own per-
spectives and experiences while also being tasked with representing or facilitating
others (see for example Cai and Baptist and Valkonen et al., this volume). This
multiplicity of roles adds layers of complexity to the collaborative process and
raises important questions about voice, authority and authenticity.
 Towards Shared Ground 5

Critiques of the ‘co’ have argued that scales of difference cannot always be
bridged. Some scholars question whether collaboration and co-creation can truly
disrupt traditional power structures, given inherent disparities in resources, exper-
tise and decision-making power (Lynch 2011; Kester, Gordon, this volume). Even
well-intentioned efforts can inadvertently serve to reproduce colonial, gender or
class-based power dynamics if not carefully managed (Boast 2011; Lonetree 2012;
Oncuil 2015; Dimitrakaki 2016, Garneau, Message, Smith this volume).

Relationality, Positionality and Decoloniality

Christina Krepps (this volume) notes that collaboration is fundamentally about cre-
ating relationships and making connections. She argues that relational thinking and
ways of working enable more expansive, holistic and integrative approaches that
help to span multiple domains, linking people, ideas, tangible and intangible cul-
tural elements, human and extra-human actors. These relationships may be more or
less equitable, as sometimes the benefits for one party outweigh that of the other.
A focus on the relationality of collaborative practice helps to maintain awareness
that meaning, value and authority are not inherently shared (Gosden and Knowles
2001; Bell 2017; Kreps 2020). Rather, they are constantly negotiated and subject
to change over time.
Consideration of collaboration as a relational process is threaded throughout
the contributions in this volume, with authors drawing on the perspectives of
Indigenous epistemologies and ontologies, contemporary art, anthropology, muse-
ology and environmental studies. Of note is the strong focus on the intersecting
concepts of decolonisation and indigenisation as important relational orientations
which critically intersect with aspirations and (ideally) practices of co-creation
and collaboration in museums, heritage and the arts. These concepts are not only
increasingly deployed in efforts to counteract historic harm but to provide guidance
about dynamics which need attention, and intention, in collaborative culture work,
now and into the future. While the terms indigenising and decolonising are often
used interchangeably, contributors to this volume provide nuanced distinctions
that are important for understanding their implications for relationally oriented co-
creative culture work.
As articulated by Kapuni-Reynolds et al. (this volume) decolonising can be
understood as a process of dismantling colonial structures and practices within
institutions. It involves acknowledging and addressing the historical and ongo-
ing impacts of colonialism. In the context of co-creation, decolonising requires
institutions and their staff to critically examine their power structures and actively
work to dismantle barriers that have historically excluded Indigenous and other
voices. This process often involves uncomfortable truth-telling and confronting
institutional biases. For individuals it means attention to positionality, conscious
use of privilege, and pro-active work to support healing and avoid perpetuating
harm. Decolonising is seen by contributors to this volume as a shared responsi-
bility between Indigenous and settler individuals, with an emphasis on the pri-
mary responsibility of settler allies to lead the work. As Ben Garcia articulates in
6 Collaboration and Co-Creation in Museums, Heritage, and the Arts

Kapuni-Reynolds et al. ‘The work of an ally is simply to never take a day off from
decolonising and to direct my privilege and gatekeeping role toward healing some
of the damage that colonisation has caused.’
Indigenising, on the other hand, is described as the process of centring
Indigenous knowledge, perspectives and ways of being within institutions and pro-
jects. Indigenisation extends beyond the concept of decolonisation by advocating
for the fundamental restructuring of cultural practices and institutions to align with
Indigenous ways of being and knowing. As Amy Lonetree articulates (in Kapuni-
Reynolds et al. this volume), ‘Indigenisation is about bringing Indigenous knowl-
edges and ways of knowing into colonial spaces to transform them.’
Several authors in this volume argue that Indigenising is primarily the work of
Indigenous people to lead (Garneau; Kramer et el., Kreps, Valkonen, this volume).
In collaborative contexts, Indigenising involves creating spaces where Indigenous
decision-making and expertise are prioritised, where Indigenous curators, artists
and communities actively participate in shaping the narratives and ways of work-
ing. The goal of indigenising collections work, for example, is not only to care
for and display cultural objects but to reintegrate them into the cultural life of
Indigenous peoples, recognising their generative capacities and importance in cul-
tural practices now and into the future (James, Haviland, Edmundson, this volume).
The concept of non-colonial approaches, introduced in this volume by artist and
scholar David Garneau, presents a step beyond decolonisation. It involves mod-
elling Indigenous alternatives to colonial structures rather than simply critiquing
or dismantling them. Indigenous non-colonial approaches emphasise active use
and regeneration of cultural practices over mere preservation, or presentation. As
Garneau writes, ‘Non-colonial and Indigenised curation, then, refigures museums
as sites of belonging rather than display alone. Objects are not treated as untoucha-
bles but recognised as relatives enlivened by communion: visiting, touching, and
storytelling.’
All three of these concepts – decolonising, indigenising and non-colonial action
– and the ways in which they are discussed and enacted in the contributions in
this volume, help to draw forth the truth telling and generative possibilities of co-
creation and deepen practices of collaborative culture work. Different outcomes
become possible through embracing these intersecting framings. An intersectional
approach that examines historical power structures and value hierarchies, intention-
ally values multiple worldviews and knowledge forms, and offers generative alter-
natives to previously extractive processes can result in more nuanced approaches
to collaborative practice. Through enacting such nuance perhaps past harms can
move towards healing, and futures can be laid down that are more inclusive and
generative.
However, throughout this volume authors highlight the challenges in imple-
menting such approaches. They note the potential for burnout among Indigenous
professionals, the risk of cultural appropriation when non-Indigenous people
claim to be ‘Indigenising’ spaces, and the need for long-term commitment to
truly transform the baked in coloniality of institutional cultures and individual
practices. Contributions highlight the complex nature of co-creation in culture
 Towards Shared Ground 7

work. Whether we are working across cultural identities or across other constel-
lations of positional difference, collaborative culture work demands clear-eyed
and rigorous negotiation of ideals within political, practical and institutional
realities.
Co-creation is not for the faint of heart or those easily put off by failure and dif-
ficulty. Rather, collaborative culture work requires vigilance, reflection, iteration,
generosity, patience, and sustained and nuanced attention to the emotional as well
as the practical dimensions of engagement (Rowson Love and Villeneuve, Varutti,
this volume). It requires commitment to return to interfaces of difference, under-
pinned by an ethic of care for self, for others and for the constant rejuvenation and
enlivenment of culture through shared action (Deacon et al., Junmin and Zhu, this
volume).
Museum ethnographer Jilda Andrews sees the addition of the ‘co’ to words like
creation or production as a means to help people whose ‘position isn’t as a part of
a collective’ (in Haviland et al. 2022), to draw attention to the ways in which pro-
cesses of creation are always shared, embedded in networks of reciprocity, rather
than singular or individual acts. Her observation points out how the ‘co’ can bring
an explicit attention to the inherent relationality of processes of creation, produc-
tion and communing, which can be elided in the slipstream of cultural hegemonies.
While debates about definition and implementation play out, co-creation continues
to be used as an important framework for understanding how culture work can
become more responsive, relevant and accountable. With Andrew’s framing in
mind, the ‘co’ can perhaps be generously framed as a tool towards de-coloniality,
part of a suite of heuristics and practices supporting critique and dismantling of
colonial attitudes, structures and approaches that privilege some knowledges and
perspectives over others.
The ‘co,’ as a conscious qualifier of practice and approach, can be seen as a step
towards Garneau’s (this volume) idea of the Indigenous non-colonial, where multi-
ple ways of knowing and being are not just tolerated but cared for and actively val-
ued. As contributions in this volume show, the ‘co’ is typically deployed with the
intent to proactively redress historical imbalances of power and prominence in cul-
ture work, imbalances that persist in the resourcing and implementation of cultural
practice within and beyond institutional walls (Caso, this volume). Despite these
intentions, whether the ‘co’ meaningfully assists in resisting tendencies towards
extraction and inequities of access to value in culture work depends on our action
rather than our intent.

Towards Shared Ground

One of the unique contributions of this volume is that it incorporates a range of
interdisciplinary perspectives which intersect, and hopefully bridge, the discipli-
nary boundaries of museums, heritage and the arts. Using the metaphor of shared
ground, we have sought in this collection to generate wider and more complex
understandings of how collaboration and co-creation are variously activated in dif-
ferent scales and contexts of culture work and across disciplinary boundaries.
8 Collaboration and Co-Creation in Museums, Heritage, and the Arts

In framing the volume, we asked authors to respond to a range of questions

including: how are practices of collaboration and co-creation commonly and dis-
tinctly activated in museums, heritage and arts organisations; how are cultural and
heritage organisations evolving co-production as a core capability; and when and
where do the parameters of collaboration shift beyond mere discourse into genuine
and mutually beneficial engagement? We invited reflection on what enables co-
creative practice in the lived experiences of contributors, asking what motivates
such work and how expectations are balanced and negotiated in practice? What are
the limits and what are the possibilities?
In responding to these questions, the authors delve into the complex webs of rela-
tionality that underpin co-creative cultural practices, examining issues of power,
position, agency and scale that shape collaborative endeavours in and beyond cul-
tural institutions. The 21 chapters in the book are organised in five loose thematic
groups, but there are many intersecting and cross-cutting themes and issues that
link them as a whole.

Part 1 – The Politics of Engagement

To begin the volume, we asked three leading scholars, Laurajane Smith, Kylie
Message and Grant Kester to reflect on how ideas of collaboration and co-creation
have been variously activated in their respective fields of critical heritage studies,
museology and art history. All three approach the concept of collaboration and co-
creation, first and foremost, as a political act.
In the opening chapter, Laurajane Smith examines how discourses around ‘com-
munity collaboration’ in heritage work often conceal underlying power dynamics.
Noting that the term community might equally include professional communities
of practice, she draws attention to how professional-expert-driven approaches
have dominated heritage practices, fostering professional benevolence while
unintentionally reinforcing knowledge hierarchies. To address the gap between
professional aims and community needs, Smith proposes reframing community
engagement as an ongoing process of power negotiation and advocates for more
explicit attention (in both discourse and practice) to be paid to the needs and priori-
ties of non-professional stakeholders.
As with Smith, Kylie Message cautions against the assumption that collabora-
tion always involves equal power dynamics. In Chapter 2, she challenges the idea
of museums as neutral non-political institutions. Highlighting governments as one
of the primary partners for museums, she notes an increasing shift in museums’
collaborative focus since the 1990s from traditional government partnerships to
engaging with politically diverse communities, including those critical of govern-
ment policies. This change has led many museums to pivot from government align-
ment to supporting social action groups and political causes that may challenge
official stances.
Grant Kester’s analysis of collaboration and co-creation in socially engaged art
practice also aligns with the view that these practices are not inherently positive or
neutral but are deeply embedded in broader societal structures. In Chapter 3, Kester
 Towards Shared Ground 9

explores the nuances of collaborative practices in contemporary art through several

case studies. He examines the potential of ‘collective’ art projects to challenge
or reinforce existing hierarchies, their relationship to social movements, and the
complex dynamics of authorship and artistic authority in collaborative contexts.
Kester observes that collaboration represents a fundamental shift in how artists
mediate new social meanings. However, the creative evolution of socially engaged
art practices continues to reckon with complex power dynamics within the political
and institutional contexts that seed and support them, forming new alliances and
forms of cultural action and resistance.

Part 2 – Decolonising, Indigenising and Non-Colonial Interventions

The complex process of decentring and recentring authority in museum, herit-

age and arts institutions is threaded throughout the book. The chapters in part two
all offer particularly valuable insights into strategies and theoretical framings to
address the deep-rooted colonial structures that shape many cultural institutions
and practices. The discussions in these chapters challenge institutions to funda-
mentally reimagine their roles and structures, develop new governance models that
prioritise Indigenous decision-making and implement curatorial practices that treat
cultural objects as living entities. They advocate shifting from a colonial paradigm
of extraction and display to one of reciprocity, responsibility and relationship. This
approach demands ongoing critical self-reflection and a commitment to long-term,
substantive partnerships across differences of position, culture, identity and forms
of expertise.
Chapter 4 offers a discussion between Halena Kapuni-Reynolds, Noelle MKY
Kahanu, Karen Kosasa, Amy Lonetree and Ben Garcia, who introduce the idea of
‘seeding authority.’ This concept goes beyond sharing authority with Indigenous
communities to actively cultivating spaces for Indigenous decision-making and
expertise within museums. The discussion stresses the importance of truth-telling
in decolonising practices and highlights the emotional labour involved, particularly
for Indigenous museum professionals. The authors emphasise the need for settler
allies to take responsibility in driving decolonisation efforts.
In Chapter 5, David Garneau proposes ‘non-colonial Indigenous creative
action’ as a step beyond decolonisation. While decolonisation critiques colonial
attitudes, non-colonial action models Indigenous alternatives. Garneau envisions
museums transforming from ‘necropolis’ to ‘keeping houses’ where Indigenous
belongings are treated as relatives rather than objects of display. Both Garneau
and Kapuni-Reynolds et al. advocate for fundamental structural changes co-created
with Indigenous people, moving beyond tokenistic collaboration. They reimagine
museums as spaces of Indigenous futurity, balancing preservation with cultural
regeneration. The authors reflect on conceptual shifts, tools and personal chal-
lenges for practitioners aligning with these visions of change.
Collectively, the next three chapters in this section highlight the transforma-
tive potential of Indigenous-led interventions in museum and research practices.
They demonstrate how integrating Indigenous concepts, prioritising community
10 Collaboration and Co-Creation in Museums, Heritage, and the Arts

needs and embracing relational thinking can lead to more holistic, culturally sensi-
tive and future-oriented approaches in culture work. By emphasising the blurring
boundaries between ‘museum work’ and ‘culture work’ (Kramer et al.), the authors
advocate for a reimagining of heritage practices that not only connect to the past
but actively contribute to the health and well-being of Indigenous communities
now and into the future.
Christina Kreps, in Chapter 6, explores how relational approaches can contrib-
ute to the generation of alternative museology. She notes that collaboration, as a
concept, methodology and ethical stance, has been fundamental to indigenising
museums and developing more culturally sensitive curatorial practices. To illus-
trate her points, Kreps examines two case studies: the ‘Each/Other’ exhibit at the
Denver Art Museum and the Blackfoot Shirts Project, an international collabora-
tion involving multiple institutions and Indigenous nations. Through these exam-
ples, she demonstrates how direct engagement with cultural heritage can facilitate
social healing by restoring relationships disrupted by colonialism and other histori-
cal traumas. By embracing relational thinking, she suggests that more expansive,
holistic and integrative collaborative methods emerge.
Chapter 7, by Jenifer Kramer, Emily Jean Leischner and Snxakila Clyde Tallio,
explores the intersection of cultural heritage, Indigenous well-being and museum
collaborations through the lens of two projects with the Nuxalk community. The
authors examine how cultural heritage – encompassing objects, language, stories,
practices and oral traditions – is fundamental to Indigenous health and resilience.
Central to their discussion is the Nuxalk concept of nuyayanlh, which embodies
visible generosity and guides their collaborative approach. This framework allows
the authors to challenge traditional notions of reciprocity in museum-Indigenous
partnerships and envision more holistic, future-oriented collaborations. By cen-
tring nation-specific protocols and priorities, Kramer et al. propose pathways for
reimagining Indigenous healing beyond trauma narratives. Ultimately, the chapter
advocates for a future-focused approach to heritage work, one that not only con-
nects to the past but actively contributes to the health and well-being of Indigenous
communities in the present and future.
In Chapter 8, Sanna Valkonen, Áile Aikio, Sigga-Marja Magga, Saara
Alakorva and Stina Aletta Aikio explore the development and implementation of
community-based, decolonial approaches in Sámi research projects and museum
practices. Drawing from two collaborative projects centred on Sámi cultural herit-
age, the authors examine how integrating Sámi ways of knowing and traditional
knowledge can transform research methodologies and museum representations.
Central to their discussion is the Sámi concept of gulahallat, the ability to hear,
listen and understand each other. This concept serves as a foundation for creating
safe spaces that prioritise Sámi perspectives within academic and museum set-
tings, emphasising the importance of self-determination in Indigenous research
and cultural heritage management. The authors argue that successful decolonial
research emerges from Indigenous peoples’ own standpoints and conceptual
understandings.
 Towards Shared Ground 11

Part 3 – Revitalisation and Return

Respectful, reciprocal collaborations can foster cultural revival, restitution and

sovereignty for Indigenous communities, contributing to a broader understand-
ing of dynamic, living archives that serve multiple purposes for different com-
munities of interest. The next four chapters in the volume explore a range of
collaborative research projects which highlight the complexities, dynamics and
value of cultural research. Central to all four case studies is the critical role of
translation in collaborative work. This involves not only linguistic translation but
also the transformation of knowledge between different forms and contexts of
use. The projects demonstrate how collaborative research can span generations
and continents, with knowledge moving between various forms, languages and
custodians.
Diana James’ work on the Songlines project in Chapter 9 demonstrates how
partnerships between Indigenous practitioners, university researchers and museum
curators can empower communities and challenge colonial paradigms. The Alive
with the Dreaming! Songlines of the Western Desert project was initiated and led
by the Ananguku Arts Board and other Western Desert organisations who collabo-
rated with academic and cultural institutions to document and record ‘open’ knowl-
edge of two major songlines. This collaborative effort empowered Indigenous
artists, storytellers, dancers and singers to share their stories on national and inter-
national platforms while creating a valuable digital archive for future generations.
James explores some of the mechanisms that needed to be developed and navigated
to enable and sustain this complex project and create the safe spaces needed for
exchanges of different cultural ways of knowing.
In Chapter 10, Maya Haviland examines the dynamics of co-creation in
another large-scale, multi-sited cultural revitalisation project, the Following the
Trade Routes initiative led by the Kimberley Aboriginal Law and Culture Centre
(KALACC) in northwestern Australia. The project aimed at revitalising practices
of Aboriginal cultural trade across the Kimberley region, Central Australia and
South Australia. Haviland introduces the concept of co-creation as both a ‘relay’
and a ‘dance,’ highlighting the networked nature of collaborative work that spans
geographic, temporal and cultural boundaries. The chapter highlights the layered
processes of reconnecting Aboriginal cultural practitioners with knowledge about
Indigenous cultural trade held in various archives and collections. It explores the
relational work required to translate between the forms in which knowledge is held
and the dynamics of its use and reuse in cultural practice over time.
Anna Edmundson adds another dimension by examining the emergence of
First Nations community archives in Australia. Focusing on the Mulka Centre in
Yirrkala, Eastern Arnhem Land, Chapter 11 delves into the co-creative and collab-
orative nature of both producing and returning documentary films and photographs
while also exploring the long-term impacts and creative heritage these repatriated
archives generate for the Yolŋu community. The chapter underscores the dynamic
nature of cultural archives, viewing them not as static repositories but as living
resources that continue to evolve.
12 Collaboration and Co-Creation in Museums, Heritage, and the Arts

In Chapter 12, Yunci Cai and Judith John Baptist explore a collaborative project
with Indigenous elders from the Lotud community in Sabah, East Malaysia, to
document and preserve a critically endangered oral tradition. The chapter outlines
the design and development of a community-led model for safeguarding cultural
heritage and empowering Indigenous voices. They demonstrate how cultural herit-
age can serve as a powerful tool for Indigenous empowerment and resilience, par-
ticularly in the face of increasing assimilation pressures, and explore the complex
realities of implementation in the lives of those involved.

Part 4 – Brokering Engagement

This section examines how co-creativity is navigated in practice within arts ini-
tiatives and projects, exploring the principles, dynamics and dilemmas posed by
distinct constellations of co-creativity. These chapters collectively illuminate the
complexities of brokering engagement between organisations, artists, cultural
practitioners and community representatives. The case studies highlight the impor-
tance of iteration, flexibility and facilitation in navigating power dynamics to foster
meaningful collaboration across diverse contexts and communities.
In Chapter 13, Almudena Caso examines how institutions are evolving into
‘civic museums’ emphasising social well-being, dialogue and collaboration with
community organisations. She considers the shifts required as organisations tran-
sition towards roles as agents of social change, scaling up collaborative practices
from outreach to engagement and partnership. Caso stresses the processes of struc-
tural transformation underpinning such shifts, including embracing adaptability,
empathy and deep engagement with community needs.
Michelle Antoinette in Chapter 14 presents a case study of artist Yee I-Lann’s
role in brokering collaboration between communities and cultural institutions.
Using a commission from the National Gallery Singapore, Yee challenged tradi-
tional boundaries between artists and craftspeople. Antoinette emphasises the need
for art institutions to be flexible and adaptive to experimental and collaborative art
projects, breaking typical constraints around timelines, form and artists’ needs. She
explores efforts to decolonise art practices, highlighting recognition of Indigenous
creative work and of multiple authorship as tools to enable and render visible co-
creativity in contemporary art.
Leah Gordon’s Chapter 15 considers the emerging form of the Ghetto Biennale
in Haiti across three iterations. Established by the Haitian artists group Atis
Rezistans, the Biennale aimed to foster a ‘third space’ for cross-cultural collabora-
tions and challenge established power structures. This chapter highlights the value
of iterating form and reflecting on intent and unintended consequences. It dem-
onstrates how these practices supported participants and organisers of the Ghetto
Biennale in navigating power dynamics and social contracts in Haiti, addressing
complex issues such as tourism, poverty, voyeurism and ethics.
In Chapter 16, Marilena Crosato draws on her practice as a social theatre prac-
titioner in Vanuatu and Senegal to explore how ‘experimental communities’ can
bring together diverse partners for collaborative creative action. Articulating
 Towards Shared Ground 13

guiding principles for creative and community-building work, Crosato reflects

on the facilitator’s role in brokering encounters between different disciplines, and
the skills fundamental to co-creation. She highlights the different scales at which
co-creation occurs and can have impact, emphasising the importance of fostering
social interaction through sharing, dialogue, mutual respect and horizontal com-
munication to spark co-creativity.

Part 5 – Scaffolding Co-Creation

Facilitating collaborative and creative practice is becoming an increasingly profes-

sionalised skillset in museums, heritage and the arts. Practitioners and scholars are
seeking effective methodologies and frameworks for scaffolding co-creative prac-
tice, integrating principles of stakeholder collaboration, feedback and co-design. This
section explores enablers and dynamics of co-creative practice across scales, propos-
ing research-based frameworks to guide practitioners and collaborative initiatives.
Marianne McAra and Lyn-Sayers McHattie in Chapter 17 explore innovative
methodological approaches to engage and amplify youth voices in cultural heritage
dialogues, addressing the frequent exclusion of young people from meaningful par-
ticipation in this field. Through an ‘Action Heritage’ perspective, centred on design-
led approaches and collaborative participation, they offer insights for practitioners,
researchers and students interested in youth-led perspectives on cultural heritage.
In Chapter 18, Ann Rowson Love and Pat Villeneuve discuss the develop-
ment and application of the ‘Dimensions of Curation Competing Values Model,’
designed to help curators navigate competing values in exhibition decision-mak-
ing. This model addresses key tensions in museum curation, specifically the axes
of interpretive focus and curatorial power.
Yujie Zhu and Junmin Liu propose an analytic framework for aligning Intangible
Cultural Heritage (ICH) with co-creation processes in Chapter 19. They focus on
four key factors: collaborative local governance, relationship building among
stakeholders, collective interpretation, and heritage presentation and promotion.
This framework emphasises a community-centred, bottom-up approach contrast-
ing with traditional top-down models of ICH management.
Harriet Deacon, Diego Rinallo, Niloy Basu, Ananya Bhattacharya, Siddhartha
Chakraborty, Rajat Nath, Kavya Ramalingham, Anindita Patra, June Taboroff,
Benedetta Ubertazzi and Charlotte Waelde form part of a large collective dis-
cussing intangible heritage in India. In Chapter 20 they discuss findings from a
three-year collaborative project involving Purulia Chau dancers and mask makers
from India, a local NGO in West Bengal, and European researchers specialising in
heritage-sensitive intellectual property and marketing strategies (HIPAMS). Their
chapter explores the challenges and benefits of co-creation and collaboration in
such contexts, focusing on the complexities of navigating between market engage-
ment and heritage preservation.
In Chapter 21, Marzia Varutti examines the significance of emotions as an
under-explored facet of museum collaborative practice. She argues for the recog-
nition of emotion-related skills as essential elements of museum competence and
14 Collaboration and Co-Creation in Museums, Heritage, and the Arts

expertise. Drawing on recent developments in affective sciences and social psy-

chology, she examines how affectivity is collaboratively produced and considers
its implications for museum collaborations.
These contributions highlight the importance of structural transformation, col-
laborative decision-making models and community-centred approaches in foster-
ing meaningful co-creation in culture work. They underscore the ongoing desire
from practitioners, scholars and educators for ways to guide and assess the effi-
cacy of collaborative processes occurring at differing scales within cultural sector
practice.

Conclusion
So, what does it mean to share ground? David Garneau once said that for col-
laboration to work both parties need to have shifted (pers. comm. 2015). In this
sense sharing ground means making room for others and allowing for differences
– of opinion, perspective, agenda, expertise. Sharing ground takes much more than
good intentions. As every chapter in this volume attests – collaboration is hard
work.
This volume is arguably an object lesson in the challenges and opportunities of
working across disciplines and within different knowledge systems. There is no
doubt that the form of collaboration that is interdisciplinary research or collabora-
tive cultural production is easier to talk about than to do. From professional-to-
professional collaborations to exchanges between cultural ‘insiders and outsiders,’
and across diverse cultural and disciplinary knowledge systems, the interactions
described in the contributions to this book – and which were needed to bring a
volume like this to life – highlight the difficulties we all grapple with as collabo-
rative practitioners living in challenging times. As editors we recognise that our
inter-disciplinary approach to this volume is inevitably partial and incomplete.
Nonetheless there are many overlaps and productive intersections, which we hope
will be of value to readers.
The prevalence of collaborative projects reminds us that the ‘collaborative turn’
(Marcus and Clifford 1986) is not a new trend in cultural practice. Instead, it builds
upon well-established traditions within and across these fields, becoming an inte-
gral, widely accepted and even expected approach to practice. As cultural institu-
tions seek to redefine their roles and engage more actively with publics, audiences
and constituent communities, co-creation has emerged as a way to approach col-
laborative knowledge and meaning making, inclusivity and to share authority. For
cultural workers of many kinds, the work of recognising positionality, navigating
translations of meanings and form, and attention to the relational negotiations of
shared action have become necessary core skills, enacted and relearnt with each
collaborative project and initiative. Like culture itself, sharing ground is a process
and a practice – something we do, and then do again. If we do it well, we shift and
learn a little more each time we engage.
 Towards Shared Ground 15

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Gulahallat – Discussing Community-Based Co-Acting, CoKnowing and

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In the Way to Become Civic Museums

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You Can't Always Collaborate Your Way Out!

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