%0 Journal Article
%T �Everything passes, except the past�
%A Donata Miller
%D 2019
%V 12
%N Autumn 2019
%K decolonial approaches
%K  museum interpretation
%K  Democratic Republic of the Congo
%K  Central Africa
%K  Royal Museum of Central Africa
%X 
%Z Readers might see, for example, The Master’s Tools Will Never Dismantle the Master’s House (Lourde, 2018); Decolonisation is Not a Metaphor (Tuck and Yang, 2012); Museum as Process (McCarthy, 2015); Decolonising the Museum (Wintle, 2013); Decolonizing the Smithsonian (Wintle, 2016); Museums, Heritage and Indigenous Voice (Onciul, 2015).
%Z For information on the display of humans in Britain, see Qureshi, S, 2011, Peoples on Parade: Exhibitions, Empire and Anthropology in Nineteenth-Century Britain (University of Chicago Press).
%Z For an analysis of Tintin in the Congo (translated from French) see http://usslave.blogspot.com/2011/04/tintin-in-congo-analysis.html?m=1 
%Z For an article regarding the early twentieth-century disconnect between the curatorial voice and the visitor experience, see Skotnes-Brown, J, From the White Man’s Grave to the White Man’s Home? Experiencing ‘Tropical Africa’ at the 1924–25 British Empire Exhibition (Science Museum Group Journal, Issue 11).
%Z For a definition of community of origin, see Saggar, S A, 2019, ‘Community of Origin’, Decolonial Dictionary, https://decolonialdictionary.wordpress.com/2019/06/11/community-of-origin/ (accessed 19 June 2019)
%I The Science Museum Group
%@ 2054-5770
%B eng
%U http://journal.sciencemuseum.org.uk/browse/issue-12/everything-passes-except-the-past/
%J Science Museum Group Journal