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The accumulated collections of Native American material culture in museums in Britain are vast, and of critical cultural importance. Drawing on interviews with Indigenous American visitors to UK museum displays and collections between 2017 and 2019, this Element highlights the most significant inadequacies of contemporary engagement with Native American visitors and communities, identifying fundamental problems rooted in the ethos of collection management and display. It then explores why two critical crises, one of representation and one of expertise, are together exacerbating these problems, and the damage to relationships and reputation which can result when these crises collide with Indigenous demands for greater agency in museum processes. The final section applies these lessons directly, developing an adaptable policy document, to assist museum staff in effectively and respectfully managing their relationships with Indigenous communities and collections.

In the past decades cultural heritage stored at museums and archives has been returned to source communities in various forms and under diverse circumstances. This contribution to the Elements series explores and discusses specifically the return of digital 'ethnographic' images to indigenous and non indigenous people that share a common recent history of coexistence and dispute over the same territory that is to be understood in the light of the consolidation of a Nation State with a settler colonial logic. The author argues that the affective reception of what a given archive labels as tangible and intangible heritage varies according to each audience´s particular memory practices, historical experience and way of relating to shared hegemonic notions of 'whiteness' and 'indigeneity'.

This study examines how an artist construed himself as cultural heritage by the turn of the 19th century, how this heritage was further construed after his death, and how the artworks can be made to further new approaches and insights through a digital archive (aroseniusarchive.se). The study employs the concept of 'staging' to capture the means used by the artist, as well as by reception, in this construal. The question of 'staging' involves not only how the artist has been called forth from the archives, but also how the artist can be called forth in new ways today through digitization. The study first elaborates on the theoretical framework through the aspects of mediation and agency, then explores how the artist was staged after his death. Finally, the artist's own means of staging himself are explored. Swedish painter Ivar Arosenius (1878–1909) is the case studied.

As one of the world's fastest growing industries, heritage tourism is surrounded by political and ethical issues. This research explores the social and political effects and implications of heritage tourism through several pertinent topics. It examines the hegemonic power of heritage tourism and its consequences, the spectre of nationalism and colonialism in heritage-making, particularly for minorities and indigenous peoples, and the paradox of heritage tourism's role in combating these issues. Drawing from global cases, the study addresses a range of approaches and challenges of empowerment within the context of heritage tourism, including cultural landscapes, intangible heritage and eco-museums. The research argues that heritage tourism has the potential to develop as a form of co-production. It can be used to create a mechanism for community-centred governance that integrates recognition and interpretation and promotes dialogue, equity and diversity.

Exhibitions of Islamic artefacts in European museums have since 1989 been surrounded by a growing rhetoric of cultural tolerance, in response to the dissemination of images of Islam as misogynist, homophobic and violent. This has produced a new public context for exhibitions of Islam and has led to major recent investments in new galleries for Islamic artefacts, often with financial support from the Gulf and Saudi Arabia. This Element addresses contemporary framings of Islam in European museums, focusing on how museums in Germany and the UK with collections of Islamic heritage realise the ICOM (International Council of Museums) definition of museums as institutions in the service of society. The authors find that far too often the knowledge of Islamic cultural heritage is disconnected from contemporary developments in museum transformations, as well as from the geopolitical contexts they are a response to.