Hugo Deblock
Biographic Data
| ID | 138046 |
|---|---|
| NAME | Hugo Deblock |
| GIVEN NAMES | Hugo |
| FAMILY NAME | Deblock |
| SIGNATURE | DEBLOCK H |
| AFFILIATIONS | Ghent University |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
A questionable account of ethnographic validity: Sukuma dandies in Katavi, Tanzania
Purpose This study develops a more inclusive and reflective approach to ethnographic analysis, challenging conventional practices that often disregard “failed” experiments and partial insights. By doing so, it aims to contribute to a more nuanced understanding of ethnographic methodology beyond traditional linear analytic stories. Design/methodology/approach We focus on fieldwork conducted in Katavi, Tanzania. By deliberately embracing uncertaint…
Congo: A Century of Congolese Art in Antwerp
The exhibition at the Museum aan de Stroom (MAS), a new building in the harbor of the city of Antwerp (opened in 2011), centers around a hundred Congolese art objects from the rich Congo collections of the museum, added by several valuable loans from, amongst others, the AfricaMuseum in Tervuren. The foundations of the Antwerp collection were laid in 1920 when the city bought approximately 1600 Congolese objects from Antwerp-based African art dea…
Object Biographies and Museums: 100 X Congo in Antwerp, Exhibition at the Museum aan de Stroom, Antwerp, Belgium, 3 October 2020 - 12 September 2021
The Museum aan de Stroom (MAS) in Antwerp, Belgium, opened the doors of its long-anticipated exhibition, 100 X Congo, on 3 October 2020, highlighting the presence of a Congolese art collection that has been owned by the city for a hundred years (1920-2020). Tackling the often uneasy history of how these things ended up in museums in the colonial 'motherland', this exhibition signals a step forwards in museology in Belgium, away from mere aestheti…
Objects as Archives of a Disrupted Past: The Lengnangulong Sacred Stone from Vanuatu in France, Revisited
Objects that were estranged from ex-colonies and are now kept in overseas museums serve as archives of the past, a past largely disrupted by colonialism. For Vanuatu, some objects of cultural heritage that are kept in museums have been recently reconnected to their original places, lineages, and even individual owners. The Lengnangulong sacred stone of Magam Village in North Ambrym is one such object, even though it is only one example in a rich …
The Africa Museum of Tervuren, Belgium: The Reopening of "The Last Colonial Museum in the World", Issues on Decolonization and Repatriation
The Africa Museum in Tervuren, Brussels, reopened its doors after a closure of five years. What precisely is on view in the refurbished museum? And how do the choices made by the museum relate to wider discussions in anthropology and museology on decolonization and repatriation? In Belgium, it seems, working towards cooperation between all parties involved is far from finished
Cannibals in Paradise: The Exotic, the Familiar, and the Strange in Ritual and Performance in Vanuatu
Within a framework of politicized revitalization of culture, conceptions of "the real," of authenticity, are omnipresent in Vanuatu. Ancient ritual is reenacted in cultural festivals that take place in several locations throughout the archipelago in a context of cultural revival as well as tourism. Based on fieldwork in Vanuatu in 2008-2009, in this paper I discuss the encounter between the self-declared primitive and the tourist. In a bricolage …
Property and Ownership in Vanuatu: TheLengnangulongSacred Stone from North Ambrym at the Pavillon des Sessions of the Musée du Louvre
TheLengnangulongsacred stone from the village of Magam, North Ambrym, which was collected in 1949 and has been exhibited at the Pavillon des Sessions of the Musée du Louvre in Paris since 2000, is at the forefront of discussions among local people in Vanuatu. Their concerns center on issues of meaning and ownership as well as on the value of intellectual and material cultural property. Since 1997, the stone's original owners in Magam have been ap…
Back to my roots’: Artifak and festivals in Vanuatu, Southwest Pacific
The production of artefacts in Vanuatu (artifak in Bislama, the Pidgin lingua franca used in the islands of the archipelago) takes place in a context of cultural revival as well as tourism. Central to the production of knowledge and art are notions of indigenised copyright (kopiraet), offering cultural as well as economic capital/value to producers and/or owners. While contemporary art in Vanuatu is restricted by customary copyright legislation, …
Back to my roots’: Artifak and festivals in Vanuatu, Southwest Pacific
The production of artefacts in Vanuatu (artifak in Bislama, the Pidgin lingua franca used in the islands of the archipelago) takes place in a context of cultural revival as well as tourism. Central to the production of knowledge and art are notions of indigenised copyright (kopiraet), offering cultural as well as economic capital/value to producers and/or owners. While contemporary art in Vanuatu is restricted by customary copyright legislation, …
The Africa Museum of Tervuren, Belgium: The Reopening of "The Last Colonial Museum in the World", Issues on Decolonization and Repatriation
The Africa Museum in Tervuren, Brussels, reopened its doors after a closure of five years. What precisely is on view in the refurbished museum? And how do the choices made by the museum relate to wider discussions in anthropology and museology on decolonization and repatriation? In Belgium, it seems, working towards cooperation between all parties involved is far from finished
Cannibals in Paradise: The Exotic, the Familiar, and the Strange in Ritual and Performance in Vanuatu
Within a framework of politicized revitalization of culture, conceptions of "the real," of authenticity, are omnipresent in Vanuatu. Ancient ritual is reenacted in cultural festivals that take place in several locations throughout the archipelago in a context of cultural revival as well as tourism. Based on fieldwork in Vanuatu in 2008-2009, in this paper I discuss the encounter between the self-declared primitive and the tourist. In a bricolage …
Property and Ownership in Vanuatu: TheLengnangulongSacred Stone from North Ambrym at the Pavillon des Sessions of the Musée du Louvre
TheLengnangulongsacred stone from the village of Magam, North Ambrym, which was collected in 1949 and has been exhibited at the Pavillon des Sessions of the Musée du Louvre in Paris since 2000, is at the forefront of discussions among local people in Vanuatu. Their concerns center on issues of meaning and ownership as well as on the value of intellectual and material cultural property. Since 1997, the stone's original owners in Magam have been ap…
Back to my roots’: Artifak and festivals in Vanuatu, Southwest Pacific
The production of artefacts in Vanuatu (artifak in Bislama, the Pidgin lingua franca used in the islands of the archipelago) takes place in a context of cultural revival as well as tourism. Central to the production of knowledge and art are notions of indigenised copyright (kopiraet), offering cultural as well as economic capital/value to producers and/or owners. While contemporary art in Vanuatu is restricted by customary copyright legislation, …
Property and Ownership in Vanuatu: TheLengnangulongSacred Stone from North Ambrym at the Pavillon des Sessions of the Musée du Louvre
TheLengnangulongsacred stone from the village of Magam, North Ambrym, which was collected in 1949 and has been exhibited at the Pavillon des Sessions of the Musée du Louvre in Paris since 2000, is at the forefront of discussions among local people in Vanuatu. Their concerns center on issues of meaning and ownership as well as on the value of intellectual and material cultural property. Since 1997, the stone's original owners in Magam have been ap…
Cannibals in Paradise: The Exotic, the Familiar, and the Strange in Ritual and Performance in Vanuatu
Within a framework of politicized revitalization of culture, conceptions of "the real," of authenticity, are omnipresent in Vanuatu. Ancient ritual is reenacted in cultural festivals that take place in several locations throughout the archipelago in a context of cultural revival as well as tourism. Based on fieldwork in Vanuatu in 2008-2009, in this paper I discuss the encounter between the self-declared primitive and the tourist. In a bricolage …
The Africa Museum of Tervuren, Belgium: The Reopening of "The Last Colonial Museum in the World", Issues on Decolonization and Repatriation
The Africa Museum in Tervuren, Brussels, reopened its doors after a closure of five years. What precisely is on view in the refurbished museum? And how do the choices made by the museum relate to wider discussions in anthropology and museology on decolonization and repatriation? In Belgium, it seems, working towards cooperation between all parties involved is far from finished
Objects as Archives of a Disrupted Past: The Lengnangulong Sacred Stone from Vanuatu in France, Revisited
Objects that were estranged from ex-colonies and are now kept in overseas museums serve as archives of the past, a past largely disrupted by colonialism. For Vanuatu, some objects of cultural heritage that are kept in museums have been recently reconnected to their original places, lineages, and even individual owners. The Lengnangulong sacred stone of Magam Village in North Ambrym is one such object, even though it is only one example in a rich …
Object Biographies and Museums: 100 X Congo in Antwerp, Exhibition at the Museum aan de Stroom, Antwerp, Belgium, 3 October 2020 - 12 September 2021
The Museum aan de Stroom (MAS) in Antwerp, Belgium, opened the doors of its long-anticipated exhibition, 100 X Congo, on 3 October 2020, highlighting the presence of a Congolese art collection that has been owned by the city for a hundred years (1920-2020). Tackling the often uneasy history of how these things ended up in museums in the colonial 'motherland', this exhibition signals a step forwards in museology in Belgium, away from mere aestheti…
Congo: A Century of Congolese Art in Antwerp
The exhibition at the Museum aan de Stroom (MAS), a new building in the harbor of the city of Antwerp (opened in 2011), centers around a hundred Congolese art objects from the rich Congo collections of the museum, added by several valuable loans from, amongst others, the AfricaMuseum in Tervuren. The foundations of the Antwerp collection were laid in 1920 when the city bought approximately 1600 Congolese objects from Antwerp-based African art dea…
A questionable account of ethnographic validity: Sukuma dandies in Katavi, Tanzania
Purpose This study develops a more inclusive and reflective approach to ethnographic analysis, challenging conventional practices that often disregard “failed” experiments and partial insights. By doing so, it aims to contribute to a more nuanced understanding of ethnographic methodology beyond traditional linear analytic stories. Design/methodology/approach We focus on fieldwork conducted in Katavi, Tanzania. By deliberately embracing uncertaint…
Archaeology (6 works) · History (6 works) · Sociology (6 works) · Anthropology (5 works) · Art (5 works) · Ethnology (4 works) · History (4 works) · Colonialism (3 works) · Context (archaeology (3 works) · Cultural Identity and Heritage (3 works)