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Workshopreport

ConnectingmuseumcollectionswithSouthSudan28-29June2018,UNESCO,JubaOffice,SouthSudan

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SummaryThisworkshopwasconvenedaspartofaresearchnetworkprogrammefundedbytheUKArtsandHumanitiesResearchCouncilandtitled‘NewexplorationsintoSouthSudanesemuseumcollectionsinEurope:ConnectingtheartsandheritageofSouthSudaninEuropeanmuseums’(www.southsudanmuseumnetwork.com).ThenetworkaimstoexplorethepotentialofmuseumobjectstoadvanceunderstandingsofSouthSudan’shistory,globalconnectionsandcreativearts.PreviousworkshopsintheUKprovidedtheopportunityformuseumcuratorstodiscusstheirSouthSudanesecollectionswithacademicsandstakeholdersfromSouthSudanandEurope.TheaimoftheJubaworkshopwastwofold.(1)ToprovideanupdateontheongoingworkonSouthSudan’shistoricalculturalheritageinEuropeaninstitutions.(2)AsanopportunityfordeeperdiscussionoftherelevanceandpotentialofmuseumobjectsfordevelopingculturalandresearchinitiativesthatwillconnectcommunitiesandenrichunderstandingofSouthSudanesehistory,heritageandarts.TheworkshopfacilitatedanextendedconversationamongSouthSudaneseheritageprofessionals,academicsandartistsabouttheprioritiesforfutureresearchandaction.

ListofparticipantsJustinBillyBuwali(UniversityofJuba);ValentinoModi(JubekStateMinistryofCulture);FrazierKenyi(JubekStateMinistryofCulture);JoostFontein(BritishInstituteinEasternAfrica);JandeLasu(RiftValleyInstitute);JimmyWongo(MP,SouthSudanParliament);DengNhialChioh(MaaleHeritageDevelopmentFoundation);MichaelNasr(UniversityofJuba);JacquelineNyiracyizaBwesigye(UgandaMuseum,Kampala);Wafa’aHousseini(UniversityofJuba),AkujadeGarang(FestivalforArts,PeaceandFashion);NickiKindersley(UniversityofCambridge);AlexMiskin(UniversityofJuba,RiftValleyInstitute);JosephBasan(UniversityofJuba);EstherLiberatoBagiRasas(UniversityofJubaandSouthSudanTheatreOrganisation);El-FatihMalukAtem(LikikiriCollectiveandMinistryofCulture,YouthandSports);RebeccaLorins(LikikiriCollectiveandUniversityofJuba);FlorenceKejiHenry(ActorandHeadteacherofPortiBasicSchool,Juba);BecuThomas(UNESCOSouthSudan);CherryLeonardi(DurhamUniversity);PaulLane(UniversityofCambridge);EdwardSettimoYugu(DirectorGeneralforCulture,MinistryofCulture,YouthandSports);JamesAguerGarang(StudioOneand#Anataban);OpokaMusa(NationalArchivesofSouthSudan);YoussefOnyalla(NationalArchivesofSouthSudan);StanislausObede(ActorandMinistryofCulture,YouthandSports).ThisreporthasbeenwrittenbyZoeCormack.

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ProgrammeDay1Thursday28thJune9am IntroductiontotheSouthSudanMuseumNetwork DrCherryLeonard(DurhamUniversity)10am ‘SouthSudaneseartsandculturalheritageinEuropeanmuseums:what,

where,whenandhow?'DrZoeCormack(OxfordUniversity)

11am ‘Collaborationsbetweenartistsandscholars’DrJoostFontein(BritishInstituteinEasternAfrica)andDrJustinBillyBuwali(UniversityofJuba)

12:30pm Lunch1:30pm UNESCOMuseumRecommendation BecuThomas(UNESCOSouthSudan)2pm ‘Archaeology,historyandmaterialculture’:deepeningunderstandingsof

SouthSudan’spast’DengNhialChioh(MaaleHeritageDevelopmentFoundation)andDrPaulLane(UniversityofCambridge)

3:15pm Teaandcoffee3:30pm ‘Connectingcommunitiesthroughmuseumcollections’

El-FatihMalukAtemandDrRebeccaLorins(LikikiriCollective)5pm CloseDay2Friday29thJune9am Concludingdiscussion11am Close

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DiscussionthemesThisshortreportpresentsathematicsummaryofkeypointsarisingfromthediscussionandpresentations.Theseare:

ImaginingthesocialroleofmuseumsinSouthSudan 5

Thevalueofheritage 6

Connectingpeople 7

Howto‘animate’museumobjectsandmaterialculture 8

Educationandfuturegenerations 9

Cultureandpeacebuilding 10

EthicalIssues 11

Practicalconstraints 11

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ImaginingthesocialroleofmuseumsinSouthSudanSouthSudanisintheunusualpositionofnothavinganationalmuseum.ManyAfricancountriesinheritedethnographicandnationalmuseumsfromcolonialadministrations,orfounded(andtransformed)theseinstitutionsinthepost-colonialperiod.However,museumsintheformerSudanwerelocatedinKhartoum.ProlongedperiodsofwarandemergencyhinderedtheestablishmentofmuseumandheritagepreservationprojectsinSouthSudan.Akeyissuewhichwereturnedtothroughoutthediscussion(andinpreviousworkshops)wastheneedtothinkcreativelyandcriticallyaboutwhatanymuseuminSouthSudanshouldtrytodoandaboutthesocialroleoftheseinstitutions.SouthSudanhasanopportunitytothinkdifferentlyabouthowamuseumcouldservethepeople.Therewasconsiderableenthusiasmintheworkshopforenvisioningsomekindofnationalmuseum,sothissubjectbecameaninitialfocusfordiscussion.Itimmediatelyopenedupbroaderanddeeperquestionsabouthowmaterialheritagecanorshouldrepresentpeopleandtheirhistory.Manyparticipantsfeltadesiretodocument,collectandpreserveartefactsthatare‘endangered’(becauseofchangesinlivelihoods,displacementetc.)Allagreedthereisaplaceforthiskindofactivitywithintheremitofcultureandheritagework.However,concernswereraisedthatthereisadangerofcollectingactivitiesreproducingthesameextractivepracticesandimperiallogicsofcategorisationanddisplaythatcharacterisedEuropeancollectinginthenineteenthandtwentiethcenturies.ItisimportanttobeawareofthehistoryofcollectingactivitiesinSouthSudan,whichhaveinthepastbeentiedtoprocessesofcolonisation.TheexperienceoftherecentMinistryofCulture/UNESCO‘TravellingExhibition’(whichaimedtocollectobjectsforthepreviouslyplannedNationalMuseum)showedthatsomecommunitiesinSouthSudanviewedcollectingwithsuspicionandfoundtheideaofanationalmuseuminJubatobe‘alien’.

Aseriesofconcernsaboutrepresentationandinclusivitywereraisedanddebated.Ensuringthatdifferentregionsandethnicgroupsfeelrepresentedinamuseumcontext(particularlyanationalmuseum)wasidentifiedasamajorissue.Thisisimportant,butthereareunresolvedissues.‘Encyclopaedic’attemptstorepresenteveryoneandeverythingareinevitablyproblematic:theymayreviveoldercolonialsystemsofcategorisation;theywillneverbecomprehensiveandpeoplewillalwaysbetroubledbyomissions.ThereneedstobeseriousthoughtputintoensuringthatallSouthSudanesepeoplecan‘seethemselves’indisplays,butequallytoensurethatethnicityisnottheprimaryorganisingprinciple.APittRiversMuseumstyleofdisplay(whereobjectsaredisplayedbytypeorfunctionratherthanplaceoforigin)couldbeausefulstartingpoint.ThiswasusedduringapreviousMinistryofCulture/UNESCO‘TravellingExhibition’projectin2014.Thereareotherregionalexamples:displaybyfunctionhasalsobeenadoptedinthe‘CyclesofLife’galleryintheNationalMuseumofKenyainNairobi.

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Anotherissuewasaboutthescaleofamuseumprojectandtheprocess.Someparticipantsprioritisedtheestablishmentofalargenationalmuseum,whichwouldactasarepositoryofSouthSudanesehistoryandculturesandasymbolofnationhood.Othersputlessvalueonabiginstitutionandinsteadstressedtheimportanceoflocalengagementandprocessinheritagepreservation.Theyarguedthatforcommunities,neighbourhoodmuseumsandcommunityleveldocumentationprojectscouldbemoreeffectiveinbuildingconnectionsandunderstandingbetweenSouthSudanese.Someparticipantspointedoutthatthiskindoflocallevelworkisspontaneouslyhappeningalready,ascommunityandothergroupsexhibitlocalobjectsatimportanteventsasawayofdrawingattentiontoandcelebratingtheircommunityandidentity.AnotherconcernwasabouthowmuseumscouldeffectivelycaptureSouthSudan’sdiverseintangibleandlivingtraditions.SeveralparticipantsraisedtheideathatSouthSudanisa‘livingmuseum’becausepeoplearestillusingmanytraditionalobjectsintheirdailylivesandbecauseheritageisembodiedindance,ritualandbodymodificationsanddecorations.Butthereisalsoadangerofevokingthedarkerhistoryofdisplayinghumanbeingsandtheuseof‘livingexhibits’incolonialmuseumsandexhibitions.Asmuchasitisimportanttorecognisetradition,otherparticipantsemphasisedthatitwouldbeoffensivetocallpeoplewithscarification‘livingmuseums’-theyarehumanbeings.Nevertheless,thisdiscussionhighlightedtheimportantpointthatculturalheritageisnotlimitedtoinanimateobjectsbutencompassesintangibleorlivingformsofexpressionandpractice.

ThevalueofheritageOnthefirstmorningoftheworkshop,oneparticipantprovocativelydeclaredthatmuchoftheSouthSudanesematerialcultureinEuropeanmuseumswas‘justrubbish’.Whathemeantisthatmanyoftheseareeverydayobjects,whichinothercircumstancesmightnotbehighlyvalued,letaloneelevatedtothelevelofdisplayinagallery.Thiscommentinspiredanimateddiscussionandstrongreactionsthroughouttheday,from‘butthisrubbishispartofus,andthemuseumshouldbeaboutus’and‘thesearethethings[suchastraditionalbowls]weateonwithourmotherswhenwewerechildren–thiscannotberubbish.’Someoneelselatercommented,that‘thesethingshavebeenseenasrubbishbecausewehavenotgivenvaluetothem,wehavenoteducatedpeopleaboutthem’.However,asonespeakerstressed,thepointabout‘rubbish’shouldalsobewelltaken.Thewaymuseumsdisplayobjects(aswesawinsomeofthepresentations)oftenstripsthemoftheirhistoricalandhumancontext.Therefore,itcanbeveryhardtoconnectwiththevalueoftheobjectsastheyareshowninmuseums.Anobjectwithoutastorymaywelljustbe‘rubbish.’

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Therewasgreatenthusiasmforactiononheritagepreservationmorewidely(includingintangibleandimmovableheritage)Thiscouldincludearchaeologicalsitesrelatedtothehistoryofslavery(e.g.DeimZubeir),sitesrelatedtoindigenouskingdoms(e.g.Fashoda)butalsositesrelevanttothepoliticalhistoryandliberationheritageofSouthSudan(suchasthebuildingwherethe1947Jubaconferencewasheld,oreventhenotorious‘WhiteHouse’detentionfacilityinJuba).Participantsacknowledgedthatheritageworkisnotalwaysgivenprioritybythoseingovernmentorthewiderpublic.Onesuggestionwasbeginningworkonanddocumentingthemorerecentpast–suchaspreservingtheliberationheritageofSouthSudan-asthismightignitegreaterthepublicandstateinterestinhistoryandarchaeology.Ontheotherhand,therecentpastcanoftenbethemostcontroversialanddivisive.Anyworkonthiswouldneedtoavoidbeingcapturedbydominantnarratives.Therewasalsotheviewthat(whileacknowledgingthegreatinitiativesthatarealreadyhappening)thoseworkinginthesectorcoulddomoretoclearlyarticulatewhatculturalheritageworkcancontributetowidersociety.OnespeakermadethepointthatheritageworkdiffersgreatlyfrommuchofthehumanitariansectorinSouthSudan,becauseitcelebratestheassetsthatcommunitiesalreadyhave,ratherthantryingtoidentifyandaddresswhattheyarelacking.Thisprovidesanimportantbasefromwhichtobuildconfidenceandpride.

ConnectingpeopleTheSouthSudanMuseumNetworkprojecthasbeenaboutconnectingpeople.Atonelevel,thisentailsconnectingcuratorsinEuropeanmuseumswithpeopleworkinginheritageinSouthSudan.Butthereisasecondlevel,whichishowdowegofurthertoconnectcommunitystakeholderstotheseobjectsandtodiscussionsaboutmaterialcultureandheritage.TherewasstrongsupportfordevelopingSouthSudaneselinkswithEuropeanmuseumscaringforSouthSudaneseheritage.TherewasaunanimousfeelingthatSouthSudaneseexpertisecanandshouldcontributetowardstheinterpretationanddisplayofSouthSudaneseobjectsinoverseasinstitutions.Forexample,itwascleartothegroupthattherearesignificantgapsinunderstandinginEurope(intermsofidentification,propernamesandusesofobjects).ParticipantswanttohaveaninputinimprovingthewaySouthSudanesematerialcultureispresentedabroad.OneexamplediscussedwasthelabellingofobjectsinEurope.CatalogueinformationanddisplayshavebeendesignedwithoutSouthSudanese

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input.Usually,thepeoplewhomadethelabelorinventorydidnotunderstandthesignificanceoftheobjects.Theymayhavelabelledsomethingsimplyan‘instrument’withoutunderstandingitsspiritualsignificance.Asaresult,theinformationavailabletomuseumprofessionalstodescribeobjectsisincomplete.Theresearchthathasbeendoneonidentifyingobjectsisonlythebeginningofwhatmustnecessarilybealongprocessofrestoringcontexttothesecollections.AnotherincentiveforexchangevisitsisthattheycouldbelinkedtoUniversitycoursesandwouldprovidevaluableexperienceforstudentswhocanreturntoSouthSudanwithenhancedcuratorialskills(seebelowfortheimportanceoflinkingresearchtoeducation).Anothersignificantresourceisthenetworkofheritageprofessionalsintheregion.TheworkshopwasattendedbytheDirectoroftheUgandaMuseuminKampala.ShesharedvaluableinsightsfromUgandanworkinheritage.TheUgandaMuseumhasalsobeenundertakingcollectingandexhibitionprojectswithdisplacedSouthSudanesecommunitiesinnorthernUganda,highlightingthesignificantsynergiestoexplorebetweenSouthSudaneseandUgandanheritageprojects.Whiletheparticipantscouldeasilyconceptualisetheimportanceofinstitutionallinks,theequallyimportantquestionofconnectingheritageandmuseumworkwithcommunitiesismorecomplex.Therewerevariouswaysinwhich‘connectingcommunities’wasconceptualisedinthediscussion:(1)Findingcreatorcommunitiesandlinkingthemwiththeirhistoricobjects(storedoutsidethecountry)perhapsthroughdigitalmethodsofreproduction;(2)bringingdifferentcommunitiesinSouthSudanintoconversationthroughmaterialcultureandarts(3)usingculturalheritagetofosterasharednationalheritageofSouthSudan.Allparticipantssawgreatvalueintheseprojectsandwerekeenforthenextstagesofworktoinvolvedevelopingtheseprioritiesandplansforaddressingthem.

Howto‘animate’museumobjectsandmaterialculture

Objectsandmaterialshavetheirownlife.Inamuseumcontext,itcanbehardtoconveytheirprevioususesandsignificance.OnepowerfulexampleofthischallengecamefromanexampleinJustinBuwali’spresentationaboutrongoorchestralmusicpracticedbyNdogoandotherpeopleinWesternBahrelGhazal.HeexplainedthatIntheNdogolanguage‘rongo’means‘stopthewater’becausepeoplebelievethatwhentheystartplayingrongo,everythingwillstopexceptforrongoitself.Theorchestraofrongohasfiveinstruments.Thesearemadeinthebush(farfromhomesteads)byexpertsthroughaspecialritualthatmakesthemusicloud.Theymustbeblessedeverytimerongoisplayedandtheymustbeplayedregularlyevenifthereisnoevent,otherwiserongowillstarttoplayitself(andpeoplewillhavetomakesacrificestoappeaseit).Forpractitionersandaudiences,rongois

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notjustamusicalinstrument–itisanexpressionoftheirlivesandbeliefs,alinkbetweenthelivingandthedeadandaritualcommentary.ThesepracticesandbeliefsaremaintainedbyNdogopeopleinlargecitieslikeJuba.EthnomusicologistshavealsofoundrongomusicaltraditionsamongdescendantsofformerlyenslavedSouthSudanesepeopleinCairoandKhartoum.Seeingarongoinstrumentinamuseum(whetherinEuropeorSouthSudan)thereforeposesallkindofchallenges.Howshoulditssignificancebeconveyed?Tosimplylabelrongoa‘musicalinstrument’wouldnotadequatelydescribethesocialsignificanceoftheartform.Wemightevenaskiftheinstrumentswouldneedtobeplayedregularly,tosatisfytheirspiritualpowerandfunction.Tosomeextent,thisproblemistrueofallmuseumobjects,whichhavenecessarilybeenrecontextualisedas‘heritage’inamuseumdisplay.Workshopparticipantswerekeentofindwaystoaddressthisdiscrepancy.Artandperformance(includingstory-tellingandtheatre)werediscussedastechniquestomakethepast‘lives’ofobjectscomethrough.Forexample,theatrecan‘re-story’objects,byrestoringpeopleandcharacterswithinthem.Asonespeakerexplained,thevalueofworkingwithcreativeartistsisthattheyopen-uppossibilitiesforwhatobjectsmightbeandmean.Objectsinamuseumcangetconstrainedwithinsetnarratives(suchasthehistoryofcollecting)butartistscangeneratenewwaysofpositioningandthinkingabouttheseworks.ApproachingobjectsinthiswaywouldbuildonthestrongexperienceinstorytellingandsocialactionthroughtheatrethatalreadyexistsinJuba’screativecommunity.TheneedtoreanimateobjectshasimplicationsforSouthSudaneseobjectsstoredinEuropeanmuseums.OneparticipantwhohadattendedapreviousnetworkmeetingintheUK,saidtothegroup,‘ourobjectsareinstore(inEuropeanmuseums)becausethereisnoinformationaboutthem’.Heemphasisedtheneedtogivetheobjectsstories,andthatstoriesconnectpeopletoheritageandtoeachother.

EducationandfuturegenerationsOneofthemostcoherentprioritiesthatemergedfromthediscussionswastheneedtotieresearchandheritageprojectsintoaprogrammeofeducation(eitherforschoolsorhighereducation).ItwassuggestedthatallprogrammesandresearchprojectsshouldembedprovisionsthatwillhelptocreatethenextgenerationofheritageleadersinSouthSudan.Therewereseveralpracticalsuggestionsofhowtolinkheritageworktoeducation.Forexample,amuseumcouldbeestablishedattheUniversityofJubaorCatholicUniversity

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whichcouldbeconnectedtotheDepartmentofArchaeologyorArts.Heritagestudiesormaterialcultureanalysiscoursescouldbedevelopedaroundthemuseum,givingthestudentopportunitiestolearnaboutcataloguinganddevelopingexhibition.Archaeologicalresearchprojectscouldalsoprovidecrucialtrainingopportunities(andthesecouldbelinkedtotheDepartmentofArchaeologyattheUniversityofJuba).Therearelocalpossibilitiesforthis(ifthecurrentsecuritysituationimproves),suchasthenineteenthcenturyfortificationsatGondokoro,whichwouldbeafascinatingandaccessiblesiteforstudentsinJubatoexploreSouthSudan’spastthroughmaterialculture.Therearealsopossibilitiesforusingmaterialcultureinschoolclassrooms–eitherinhistorylessonsoringeneraleducationalcontexts.Schoolchildrencouldbeaskedtoreflectonthematerialcultureintheirlivesanditsrelationshiptotraditionsandsocialchange.Oneparticipanthasalreadyexperimentedwithdiscussingobjectsandculturalheritagewithschoolchildrenandhadpositiveresults.

CultureandpeacebuildingAnotherimportantthemeindiscussionwasthepossibilitiesforpursuingpeace,socialcohesionandjusticethroughmuseumandheritageprojects.Thereisclearpotentialforworkonmaterialculturetobringdifferentcommunitiestogether,toexploresharedhistoriesandcultures,andactasatangiblestartingpointfordialogueandhealing.Morepragmatically,‘peacebuilding’workisanimportantsourceoffundingforartsandheritagepractitioners.ThereislikelytobemoneyavailableforprojectsaddressingpeaceandcommunityreconciliationinSouthSudan.However,therearepotentiallimitationstoapproachingmuseumandculturalworkexclusivelythroughthelensof‘peacebuilding’.Oneparticipantnoted,‘wearestrugglingtolookbeyondcommunityreconciliationasapriority.Ofcourse,thisisakeypoliticalandpersonalpriorityforallofushere,butwhataboutquestionsofenvironmental,social,andeconomichistorybeyondthispoliticallens?’.Focusingexclusivelyonpeacebuildingthroughculturemightrestrictother,radicalandtransformativeobjectivesfromemerging.Thechallengeishowtotapthispotentialwithoutbecomingstuckinapotentiallylimitingpeacebuildingframeworkforculturalheritage.Onereflectioncapturesthisdilemma:

“Forme,themuseumisabouttellingthestoryofpeople.Weareheavilyfocusedonthinkingaboutpeace,becauseofthesituationwearein.Butweneedtousethemuseumtoasksomebroaderquestions.Howdoesthemuseumtellusaboutwhoweare?”

Runningthroughallthediscussionswasaquestionaboutidentity.Anotherparticipantputaquestiontothegroup:“Weneedtoaskourselves,whoarewe?AsSouthSudanese,whoare

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we?”Thereisnosingleanswertothisquestion,butattentiontomaterialculture,heritageandartsprovidesaspaceforavitalandlongconversationaboutSouthSudaneseidentitytotakeshape.Participantssharedaconvictionthatartsandcultureisapowerfulvehicleforsocialcohesion.Manyareinvolvedinprojectsthatseektotapthepowerofheritageinthisway.However,thegroupwasalsowarythatanexclusivefocusonpeaceworkmaystifleothervaluableformsofexpressionanddialogue(suchasmoreexplorativequestionsaboutidentityandbelonging).

EthicalIssuesWorkingwithcultureandheritagepresentsacomplexsetofethicalissuestoaddress.Atonelevel,thereareproceduressurroundingthedocumentationandcollectionofculturalheritagethatmustbefollowedtoensurethatmaterialisacquiredandstoredethically.However,thereisanothersetofethicalissuesaroundcollaboratingwithcommunitiesandrepresentation.Whohastheauthoritytospeakonbehalfofthecommunityandtorepresentthatcommunity?Howcanwepromoteequalpartnershipsandensureequalityissustainedatalllevels?Howdowedealwiththeemotionalresonanceofobjectsorheritagepracticesandthestoriestheyconvey?Theseissuesarealsoextremelyrelevantforthekindsofheritageworkconceivedattheworkshop.

PracticalconstraintsArtsandheritagepractitioners,likemanySouthSudanese,arefacingconstraintstotheirpracticeinJubaandabilitytotravelacrossthecountry.Thelackofinstitutionalsupportorasharedbasewasdiscussed.Thisisconnectedtotheproblemthatheritageworkhassofarnotbeenprioritisedbymajorpublicinstitutions.Severalparticipantsnotedtheneedforaplacetostore,anddisplayobjectsandartworksanddiscussedthepossibilityofthisoccurringeitherattheuniversityoratNyakuronCulturalCentre(althoughconcernswereexpressedthatthishasrecentlybecomeaplaceforbusinessandpoliticsratherthanculture).Therearewiderangingsecurityconcernsandtheconflicthasaffectedmuseumandheritagework.OneparticipanttoldusaboutaMadichiefwhohadbuiltamuseuminhis

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homevillage.Itwasasmallroomwherepeoplecouldviewobjectsanditwasalsopossibletobuythings.AteamfromtheMinistryofCulture,YouthandSportshadvisitedin2014.Whentheyreturnedin2016,afterconflicthadsweptthroughthearea,thesmallmuseumwasdestroyedandonlythesignpostremained.However,thechiefisnowrenovatingandworkingonrevitalisinghismuseum(anindicationoftheresilienceofthiskindofinitiative).Securityconcernsaffectpracticeinotherways.Forexample,itishardtodocumentthingsinJubanow,asyoucannottakephotographs.Itisnotpossibletoaccessallpartsofthecountrywithinitiativessuchastravellingexhibitions.DrJustinBillyBuwaliexplainstheculturalsignificanceofrongomusic

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ReflectionsSouthSudanisexperiencingmultiplepoliticalandhumanitariancrises.Workinheritageandthecreativeartsdoesnothavethesameurgencyasnutritionalorhealthintervention.Nevertheless,thesesectorsarecrucialfordevelopingahealthyandinclusivesociety.Further,thecreativeartsareanexusofsolidarityandcollectiveaction.Theyofferconsiderablepossibilityforpeopletoworktogetheronsociallyconstructiveprojectsandtoexplorehistoricalexperiencesinopen-endedways.ThereisextensiveknowledgeandexpertiseintheculturalsectorinJubawhichcanbetapped.Theparticipantsinthisworkshopandtherangeofprojectstheyareinvolvedinaretestamenttothat.Thediscussionshavehighlightedsomekeyinsightsandareasoffuturefocusforarangeofmuseumprojects.

• Inacontextofcontinualexternalaidinterventions,workonculture,heritageandtheartsdiffersstrikinglyfrommostinitiativesinSouthSudanbecauseitcelebratestheassetsthatcommunitiesalreadyhave,ratherthantryingtofillgapsintheirneeds.

• SouthSudanisintheuniquepositionofnotinheritingamuseumfromthecolonialstate.Thereisanopportunitytocreativelythinkthroughwhatsocialrolemuseum(s)mightplayforSouthSudanesepeople.Aflagshipnationalmuseumprojectcanhavearole.However,theremaybeadvantagestothinkingintermsofarangeofmobile,temporary,smaller-scale,localandcommunitybasedprojects(somearehappeningspontaneouslyalready).Thesemaybemorefeasible,accessibleandinclusiveasawayofbuildingconnectionsandunderstandingbetweenSouthSudanese.

• Thevalueofculturalandheritageisnotalwaysarticulatedwellorrecognisedin

widersociety.Participantshadseveralsuggestionsofhowtoraisepublicprofileandinterest.

• Museum-basedcooperationandcollaborativeworkwouldbewelcomedbyJuba

basedpractitionersandscholars.Inpart,thiswouldinvolvepartnershipsandknowledgeexchangebetweenEuropeanmuseumsholdingsignificantSouthSudanesecollectionsandpractitionersinSouthSudan.Therearealsovaluableregionalnetworks(e.g.intheNationalMuseumsofUgandaandKenya)totapinto.ItisalsoaprioritytocollaboratewithcommunitiesinSouthSudan.

• Thecreativeartsareanimportantwayofworkingwithmaterialcultureand

museumcollectionswhichwillallowforobjectstobe‘reanimated’andtheir

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meaningsinterpretedandcommunicated(topublicsandwithinthemuseumspace).ThereisconsiderableexpertiseinJubatoimplementcreativeworkaroundmuseumcollectionsandheritage.

• Heritageprojectsandresearchareuniquelypositionedtoinvolvestudents,to

contributetowardseducationaldevelopmentandraisepublicawarenessofhistoryandculture.AllinitiativesshouldembedwaysofcreatingthenextgenerationofSouthSudaneseheritageleadersandreachingouttopublics.

• Thereispotentialtopromotepeaceanddialoguethroughmuseumandheritagework.However,promotingpeaceshouldnotbetheonlyfocus.Participantsarealsokeentoaddressotherfundamentalandexploratoryquestions(suchasidentityandwhatitmeanstobeSouthSudanese)throughmaterialcultureandarts.

• Ethicalquestions,especiallyaroundcommunitycollaborationsandmaintaining

equalpartnerships,muchbecontinuallyaddressed.

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