Funding the ‘nation’ in the national theatre of Scotland

The National Theatre of Scotland (NTS) is a an innovative and ground‐breaking, non‐building‐based, commissioning and producing cultural institution, established in the wake of the devolution of the Scottish Parliament. This article sketches the contours of this new model of a national theatre, exploring the complex dialectic between various economic, political, social and artistic choices, forces and factors that have influenced, and continue to influence, the formative years of the NTS. The article charts changes to the company during these early years and, most significantly, notes the potential effect that the change from arm’s length to direct government funding might have on the company’s long‐term development. It is argued that direct funding aligns the arts too closely to political agendas rather than supporting artistic freedom and expression.     

Lidar mapping and surface survey of the Izapa state on the tropical piedmont of Chiapas,Mexico

Recent lidar and pedestrian surface surveys have remapped the well-known Mesoamerican site of Izapa and the surrounding Soconusco piedmont. These data document: 1) occupation from the surrounding piedmont environment, 2) significantly larger estimates of the site's size during both the Formative and Classic periods as well as 3) new architectural features from the monumental site core. Methodological issues are outlined for combining high precision lidar mapping with ground truthing and pedestrian survey that focuses on surface collection of temporally diagnostic artifacts. Results are presented for 670 mounds documented in an area of 43.1 sq km in and around the ancient capital of Izapa.     

Birdmen, cemís and duhos: material studies and AMS C dating of Pre-Hispanic Caribbean wood sculptures in the British Museum

This paper presents 19 AMS radiocarbon dates from nine pre-Hispanic Caribbean (Taíno/Lucayan) wooden sculptures in the British Museum collections, provenanced to Jamaica, Hispaniola and the Bahamas. Together with strontium isotope results and wood and resin identifications, these data build a material and chronological context for some of the most recognised examples of Taíno art – from duhos (ceremonial seats) and cemís (free standing depictions of deities, ancestors and spirits) to canopied stands used to hold hallucinogenic drugs during the cohoba ceremony. Each sculpture widens our understanding of Caribbean carving traditions, stylistic variation, chronologies and material resource utilisation. A group of three sculptures recovered from Carpenters Mountains, Jamaica, carved by AD 1300 and brought together as a ceremonial ‘set’, each appear to have had their inlays renewed over a century later, suggesting long-term use. Three key examples of the main Caribbean duho categories (high-back, low-back and extended), provide insights into the diversity of styles present in the region post-AD 1100. The British Museum's corpus enables an exploration of regional styles, and potentially the work of individual artists.     

‘All mucked up’: sharing stories of Yolŋu–Macassan cultural heritage at Bawaka,north-east Arnhem Land

From the eighteenth-century Macassan traders from the Indonesian Island of Sulawesi made regular visits to northern Australia, where with the help of Yol?u, Indigenous Australians living in north-east Arnhem Land, they collected trepang (sea cucumber) for trade. Along with sharing language, technology and culture, the Macassans and Yol?u involved built relationships that are celebrated today in Yol?u art, songs and stories. While the trepang trade had officially stopped by 1906, resonances of this complex relationship continued and still continue today. This paper shares a number of stories told by one particular Yol?u family about this heritage and reflects on the ways in which for Yol?u, the tangible heritage (artefacts), intangible heritage (stories) and the land itself are locked in a symbiotic relationship where each depends on the others to define their existence. Looking after, or protecting this heritage, is therefore about attending to place, and the nature, storytellers, objects and stories contained within it.     

Reviews

Sam Smiles, The Image of Antiquity: Ancient Britain and the Romantic Imagination, New Haven and London: Yale University Press, 1994. x + 252 pp., 128 b. & w. illus. ISBN 0–300–05814–4. £35.00.

Marcia Pointon (ed.), Art Apart: Art Institutions and Ideology Across England and North America, Manchester and New York: Manchester University Press, 1994. 292 pp., 39 b. & w. illus. ISBN 0–7190–3918–5. f 10.99.

Daniel J. Sherman and Irit Rogoff (eds.), Museum Culture: Histories, Discourses, Spectacles, London: Routledge and Minneapolis: the University of Minnesota Press, 1994. xx + 301 pp., 26 b. & w. illus. ISBN 0–415–09274–4. £14.99.

Sheena Mackellar Goulty, Heritage Gardens. Care, Conservation and Management, London and New York: Routledge, 1993. 176 pp., 82 b. & w. illus. ISBN 0–415–07474–6. £19.99.

Anne Fahy (ed.), Collections Management, London and New York: Rontledge, 1995. xii + 304 pp., 2 figs. ISBN 0–415–11283–4. £19.99.

Annie E. Coombes, Reinventing Africa: Museums, Material Culture and Popular Imagination, New Haven and London: Yale University Press, 1994. vii + 280 pp., 112 b. & w. illus. ISBN 0–300‐ 05972–8. £35.00.

Lesley Hoskins (ed.), The Papered Wall. The History, Patterns and Techniques of Wallpaper, London: Thames and Hudson, 1994. 256 pp., 185 col. and 157 b. & w. illus. ISBN 0–500–23695‐X. £32.00.