Relating to the territory: Remapping Amazonian Collections at the British Museum through shared museology
This pilot project is the first to systematically address the British Museum collections from this widely diverse region beyond the national borders that have sought to fragment it since colonial times. The project will do so by promoting the study and re-interpretation of Amazonian collections through a range of community-based initiatives in collaboration with local leaders, researchers, artists, educators, associations and partner institutions active in the region. It aims to develop the co-curation of displays for the existing Amazonia Case at the Wellcome Trust Gallery, which is centrered around the theme ‘Relating to animals’, as well as the participatory documentation of collections currently in storage, fostering self-representation, Native storytelling, and the recognition of ancestral knowledges and traditional material practices.
Grounded in intercultural dialogue, the project brings ‘territory’ to the fore as a key notion for the present and future of Indigenous ways of living, challenging the common-place (mis)conception of Amazonian peoples as primitive and frozen in the past. By incorporating Indigenous ways of viewing the world, this project questions the way museums view objects as inanimate rather than living entities. The project further intends to defy the way Amazonia has often been represented in museums as an unknown and exotic region sliced by national borders in the peripheries of a number of countries in South America. Instead, this remapping ultimately allows to reposition Amazonia at the centre of a continent and at the core of the global debate on the climate emergency, where Indigenous peoples have emerged as leading voices at the forefront of this struggle.
‘Relating to animals’ – Amazonia Case at the Wellcome Trust Gallery (G24) inaugurated in 2021 at the British Museum (G24). Photo: Ana Blumenkron.
Objects as territory: remapping collections through intercultural dialogue
This project is set out to promote transdisciplinary research, moving across disciplinary boundaries and bringing together different knowledge systems —scholarly, artistic, ancestral, collective memory. By incorporating the worldviews of Indigenous and traditional peoples into the study of collections, this project seeks not only to co-create knowledge, but also generate relevant lessons on shared museology practices and curatorial stewardship (see Lima Filho & Porto 2019). These lessons from the South are deeply rooted in Indigenous women’s ontology of the ‘body as territory’ (see Baniwa et al. 2023), and the collective principles of good living (Sumak Kawsay/Bien Vivir). Ultimately, they hold the potential to open new pathways for the decolonisation of museums, reinforcing the social role of collections in enabling reconciliation and museological justice.
Bananal Island, Brazil
Juruá River, Brazil
Rio Negro Valley, Brazil
Brazil-Guyana border
Ucayali River, Peru
Napo River, Ecuador
Suriname
(Upcoming)
Brazil-Guyana border
(Upcoming)
Study of the Iny-Karajá collections. Photo: Louise de Mello, 2024.
Ixydinodu (traditional chief) of Santa Isabel do Morro, one of the main Iny-Karajá villages. He is married to Ixysé Karajá and is the son-in-law of Kaimote Kamaiurá. Sokrowé is responsible for the village’s rituals and leads hetohoky, the main Iny-Karajá male initiation rite. He has a longstanding interest in collections and, since becoming chief of Santa Isabel do Morro, has served as an interlocutor for various projects involving ethnographic and ethnological museums.
Craftswoman and specialist in feather ornaments. She is married to Sokrowé Karajá and is the daughter of Kaimote Kamaiurá and Maluaré Karajá, an important Iny-Karajá leader from Santa Isabel do Morro. Together with Sokrowé, she is part of the family responsible for the institution of the traditional chief in Santa Isabel do Morro, working on the production of the material culture essential to the performance of village rituals. She has a long history of collaboration and dialogue with ethnographic and ethnological museums in Brazil and, more recently, abroad. Her work involves themes such as featherwork, ceramics, weaving, and other traditional practices.
Anthropologist and collaborating researcher at the Ethnology and Ethnography Section of the National Museum (SEE/MN), Rafael Andrade was an associate researcher at SDCELAR from 2024 to 2025. He holds a PhD in Social Anthropology (MN-UFRJ) and completed postdoctoral research at the Anthropological Museum of the Federal University of Goiás (MA-UFG). He also served as a consultant for the new temporary exhibition at the National Museum/UFRJ. His work focuses on Sociology and Anthropology, with particular attention to ethnology, political anthropology, ethnicity, material culture, ethnographic collections, and museums.
Ykaruni Nawa is an Indigenous journalist, curator, and anthropologist from the Nawa people in the Amazonian state of Acre (Brazil). He is a PhD candidate at the National Museum of Brazil, where he obtained an MA in Social Anthropology. He has collaborated as curator for the ethnographic collections at the National Museum since 2020. Ykaruni Nawa is co-founder of the Brazilian Indigenous Journalists Network (Abrinjor) and currently works as a reporter for the Federal Public Defender’s Office of Brazil.
Gustavo Caboco is a Wapichana visual artist from Brazil who works in the Paraná-Roraima network and in the paths of return to the land. His production with drawing, painting, text, embroidery, animation and performance asdocumentation proposes ways to reflect on the displacement of Indigenous bodies and the production and resumption of memory. Caboco participated in the 34th São Paulo Biennale (2021) and was one of four Indigenous curators for the Hãhãwpuá Pavilion representing Brazil at the 60th Venice Biennale (2024). Photo: © Naine Terena, 2023
Roseane Cadete Wapichana is a historian and educator who operates within the lavrado (savannah) ecosystem of Roraima, Brazil. She holds a specialization in Amazonian History from the University of Roraima (UERR) and a Master’s degree in Society and Border Studies from the Federal University of Roraima (UFRR). Roseane Cadete is passionate about showcasing Wapichana stories through the medium of art. Her dedication to education, research, history, and art is a testament to her commitment to Wapichana culture, knowledge, and storytelling, as well as her drive to bridge past and present narratives.
Whitner FaGo is a Shipibo Konibo Indigenous Hip Hop artist from the Ucayali region in Peruvian Amazonia. His Shibipo Rap music shares with the wider audience his grandparents’ stories and memories, by turning them into rhymes and lyrics. His songs place the Shipibo tradition in conversation with contemporary community struggles and global issues, such as the importance of environment and cultural identity conservation, territory, and the role of education. He recently released his first album, ‘NON AXEBO’ (‘Our Culture’), with 15 songs and he is currently producing his second album called ‘ANCESTRALES’ (‘Ancestors’). FaGo has participated in events organised by the Ministry of Culture as well as international performances including the XIII Biennial SALSA Conference, and the first International Biennial of Amazonian Art, amongst others.
Roxana Davila aka Chana Davila belongs to the Shipibo-Konibo community and is based in Pucallpa, in Peruvian Amazonia. From an early age, she was taught the wisdom of her culture, the importance of protecting home, the value of family and the importance of fighting for rights. She has been dedicating to developing workshops that delve into gender issues with the youth in the Amazonian Ucayali region. Besides that, Roxana has found a way to make her voice heard in the songs of Masha (Ikaros Shipibos), which are ressignified and expressed in hip-hop. By partnering with FaGo, Roxana conveys awareness of issues such as resistance, perseverance, and love.
Viviana Buitrón Cañadas is a geographer and researcher specializing in biodiversity conservation and governance, natural resources, and sustainability from multi-scale, gender, and interethnic perspectives, utilizing qualitative and participatory methods. She completed her undergraduate degree in Geographical Sciences and Sustainable Development with a specialization in Territorial Planning at the Pontifical Catholic University of Ecuador. She obtained her doctorate from the FAU University of Erlangen-Nürnberg in Germany. Until 2022, she served as scientific coordinator and data manager for the FLACSO-FAU-DAAD project on Biodiversity Governance in Biosphere Reserves in the Amazon, the Andes, and Galapagos in Ecuador. She also has teaching experience in Ecuador, Germany, and Spain. Viviana has collaborated with the School of Public Policy at the University of Calgary as a researcher on a project on the interrelationships between conservation policies and extractivism. Since 2023, she has been an associate researcher at the University of Santiago de Compostela, and since 2025, she has collaborated with the SD CELAR of the British Museum.
Napu Runa, a Kichwa leader and former president of the Kichwa People of Rukullakta (PKR) (2016-2018), and community supervisor, where he strengthened the organizational process and territorial management of the 17 communities that make up the organization. He stood out for his commitment to the conservation of native forests and promoting the collective rights of indigenous nationalities. He also actively participated in CONFENIAE. His management was linked to organizational processes, the Territorial Information System (SIT), Ancestral Knowledge, and the Sustainable Amazon Agenda. He currently collaborates on the Community-Based Aquatic Biodiversity Conservation project in the Napo River Basin, with support from The Nature Conservancy (TNC) (2021-2025), and other organizations, including the PKR. He is participating in the co-curatorship and participatory documentation of selected objects from the Napo River and the surrounding regions of the Ecuadorian Amazon.
Fran Baniwa is a PhD candidate in Anthropology at Rio de Janeiro’s Museu Nacional. She belongs to the Baniwa people of the Terra Indígena do Alto Rio Negro. She is the first Indigenous woman to publish an anthropological monograph in Brazil. Her book, Umbigo do mundo (‘The Navel of the World’, Dantes Editora, 2023), is a journey through stories and myths that reveal the cosmology of the Baniwa people. Fran also collaborates in the curatorship of the Museu dos Povos Indígenas in Brazil, where she further coordinates the project Vida e arte das mulheres Baniwa: Um olhar de dentro para fora (‘Life and art among Baniwa women: a gaze from inside out’) in partnership with Unesco.
Denilson Baniwa is an artist born in Dari village, Barcelos, Amazonas, who blends ancestral and present-day elements in his art to highlight Indigenous challenges and resist colonial narratives. Using various media, he manipulates images to reveal marginalized Indigenous histories. His work, exhibited globally, critiques colonialism while reflecting contemporary Indigenous experiences. Notable exhibitions include the 22nd Sydney Biennale, Centro Cultural São Paulo, and the Pinacoteca de São Paulo. He curated an exhibition for the Quai Branly Museum in Paris (2025) and the Humboldt Forum in Berlin, with a major show opening at Princeton University in 2024. He was also one of the curators of the Hãhãwpuá Pavilion representing Brazil at the 60th Venice Biennale.
Jamille Pinheiro Dias is the director of the Centre for Latin American and Caribbean Studies and the co-director of the Environmental Humanities Research Hub at the University of London’s School of Advanced Study, where she also works as a lecturer. She is also an affiliate faculty member at Duke University’s Amazon Lab. Her research is dedicated to the intersection between the Environmental Humanities and Indigenous arts and activism, with a focus on Brazilian Amazonia.
Macuxi descendant from Roraima (Brazil) and curator at the National Museum for Indigenous Peoples/FUNAI. Specialist in Indigenous Policies, Daniel was a fellow of the International Training Programme at the British Museum in 2025. At the National Foundation for Indigenous peoples (FUNAI) he has previously served as scientific dissemination coordinator and national coordinator of the UNESCO project for the safeguard of cultural and linguistic heritage of Indigenous peoples.
Daniel Greenfield-Campoverde is a Venezuelan-American visual artist, filmmaker and exhibit designer living and working in London, UK. As a designer Daniel has realised exhibitions for leading galleries and cultural institutions in Europe and the Americas. Clients include: The New Museum for Contemporary Art (New York, NY), Pérez Art Museum (Miami, FL), Frieze Art fair. MASSMoCA (North Adams, MA), Smithsonian Freer Sackler (Washington, DC), Mor Charpentier (Paris), Luhring Augustine Gallery (New York), The Hill Art Foundation (New York), and individual artists Christopher Wool, Carlos Motta and Simone Leigh.
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