{"id":10690,"date":"2020-06-07T13:36:37","date_gmt":"2020-06-07T12:36:37","guid":{"rendered":"https:\/\/www.museums.cam.ac.uk\/blog\/?p=10690"},"modified":"2020-09-04T15:05:08","modified_gmt":"2020-09-04T14:05:08","slug":"lessons-learnt-engaging-with-maori-taonga","status":"publish","type":"post","link":"https:\/\/www.museums.cam.ac.uk\/blog\/2020\/06\/07\/lessons-learnt-engaging-with-maori-taonga\/","title":{"rendered":"Lessons learnt: engaging with M\u0101ori taonga"},"content":{"rendered":"

The exhibition\u00a0<\/span>T\u016b\u00a0<\/span><\/i>te\u00a0Whaihanga<\/span><\/i>:\u00a0<\/span>A<\/span>\u00a0<\/span>R<\/span>ecognition of\u00a0<\/span>C<\/span>reative\u00a0<\/span>G<\/span>enius open<\/span>ed<\/span>\u00a0at dawn on Monday 7<\/span>th<\/span>\u00a0October\u00a0<\/span>2019\u00a0<\/span>at the\u00a0Tair<\/span>\u0101<\/span>whiti\u00a0Museum, Gisborne,\u00a0<\/span>Aotearoa<\/span>\u00a0New Zealand<\/span>. It feature<\/span>d<\/span>\u00a037\u00a0<\/span>taonga<\/span><\/i>\u00a0(<\/span>M\u0101ori\u00a0<\/span>ancestral treasures) traded and gifted with\u00a0<\/span>James Cook and the\u00a0<\/span>crew of<\/span>\u00a0the<\/span>\u00a0<\/span>Endeavour<\/span><\/i>\u00a0<\/span>and\u00a0<\/span>the Tahitian priest-navigator\u00a0<\/span>Tupaia during encounters\u00a0<\/span>in the\u00a0<\/span>Tair<\/span>\u0101<\/span>whiti\u00a0<\/span>area in 1769.<\/span>\u00a0<\/span><\/h2>\n

Over half of the\u00a0<\/span>taonga<\/span><\/i>\u00a0were from the Sandwich collection, on deposit at\u00a0<\/span>the Museum of Archaeology & Anthropology<\/a>, (<\/span>MAA<\/span>)<\/span>\u00a0from Trinity College,\u00a0<\/span>Cambridge. These<\/span>\u00a0included\u00a0<\/span>a rain cloak of flax, wood, bone and stone weapons, fishhooks<\/span>\u00a0<\/span>and two decorated paddles.\u00a0<\/span>Taonga<\/span><\/i>\u00a0also came from the British Museum, the Pitt Rivers Museum, Oxford, and the Museum of the North, Newcastle.\u00a0<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>Eight\u00a0<\/span>hoe<\/span><\/i>\u00a0(<\/span>paddles<\/span>)<\/span>\u00a0from the different museums were reunited for the first time since they were exchanged when a\u00a0<\/span>waka<\/span><\/i>\u00a0(canoe) came alongside the\u00a0<\/span>Endeavour,<\/span><\/i>\u00a0off\u00a0Whareongaonga, near Gisborne on 12 October 1769. The voyager\u2019s journals record a flurry of bargaining and gifting over the side of the\u00a0<\/span>ship<\/span>\u00a0for paddles, weapons and clothing. While initial encounters\u00a0<\/span>had been<\/span>\u00a0violent, Tupaia\u2019s high status and his ability to act as an interpreter made later meetings more peaceful. Some\u00a0<\/span>taonga<\/span><\/i>\u00a0were probably also gifted to leaders such as Cook, gentleman scientist Joseph Banks and Tupaia<\/span>,<\/span>\u00a0to bind them into local networks and establish reciprocal relationships.<\/span>\u00a0<\/span><\/p>\n

\"\"
Reuniting the eight paddles from the different museums since their exchange on 12 October 1769<\/figcaption><\/figure>\n

 <\/p>\n

The exhibition opened before the arrival of the Tuia 250 flotilla<\/span>\u00a0of Indigenous and European vessels<\/span>, which\u00a0<\/span>commemorated the 250th anniversary of James Cook\u2019s first Pacific voyage. Collaborations with contemporary artists around these events celebrated the continuity and diversity of Indigenous experiences, offering compelling insights into the unequal cross-cultural encounters and their subsequent colonial legacies.<\/span>\u00a0<\/span>Narratives and newly commissioned artworks have remembered the violence and anguish that resulted during\u00a0<\/span>the Europeans<\/span>\u2019<\/span>\u00a0landfalls, such as the deaths of\u00a0Ng<\/span>\u0101<\/span>ti\u00a0Oneone\u00a0leader\u00a0Te\u00a0Maro and the\u00a0Rongowhakaata\u00a0chief\u00a0Te\u00a0Rakau<\/span>.\u00a0<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>The project to return the\u00a0<\/span>taonga<\/span><\/i>\u00a0has been led in partnership with\u00a0Tair<\/span>\u0101<\/span>whiti\u00a0Museum by\u00a0Hei\u00a0Kanohi Ora Iwi Governance Group, a multi-iwi group representing the tribes of the\u00a0T<\/span>\u016b<\/span>ranganui-a-Kiwa (Poverty Bay area) and\u00a0Te\u00a0Aitanga-a-Hauiti.\u00a0<\/span>The exhibition is the result of relationships established\u00a0<\/span>between MAA and\u00a0<\/span>M\u0101ori\u00a0<\/span>scholars, artists, curators,\u00a0<\/span>iwi<\/span><\/i>\u00a0(tribe)<\/span>\u00a0<\/span>representatives and other community visitors over many years.\u00a0<\/span>\u00a0<\/span>Our collaborations were given further impetus through the Royal Academy\u2019s<\/span>\u00a0\u2018Oceania\u2019 exhibition<\/span><\/a>, which included some of the\u00a0<\/span>taonga<\/span><\/i>\u00a0from MAA; as part of a sponsorship agreement with the New Zealand government, the RA provided funding in support of the\u00a0Tair\u0101whiti\u00a0Museum exhibition<\/span>\u00a0<\/span><\/p>\n

Bringing back this group of\u00a0<\/span>taonga<\/span><\/i>\u00a0after 250 years is the most important moment in the development of the ongoing relationships<\/span>\u00a0between the lending museums and\u00a0<\/span>M<\/span>\u0101<\/span>ori\u00a0<\/span>communities to date. We hope to continue along this enormously important path and ensure that\u00a0<\/span>T\u016b\u00a0te\u00a0Whaihanga<\/span><\/i>\u00a0is the beginning of a deeper and continuous process that we can build on through further access, collaboration and engagement, foregrounding cultural care and\u00a0<\/span>sharing\u00a0<\/span>knowledge<\/span>.\u00a0<\/span>\u00a0<\/span><\/p>\n

\"\"
Protective tissue and foam cavities support the taonga on their journey<\/figcaption><\/figure>\n

 <\/p>\n

MAA s<\/span>taff working on the\u00a0<\/span>loan<\/span>\u00a0<\/span>learnt to adapt to new\u00a0<\/span>protocols<\/span>\u00a0<\/span>and\u00a0<\/span>furthe<\/span>red<\/span>\u00a0their knowledge of<\/span>\u00a0tikanga<\/span><\/i>\u00a0(M\u0101ori customary practices and behaviour).\u00a0<\/span>For the first time MAA followed\u00a0<\/span>tikanga<\/span><\/i>\u00a0<\/span>as part of a loan transit. The crates were accompanied by the usual MAA courier but also the\u00a0<\/span>Hei\u00a0Kanohi Ora chairwoman Huia\u00a0Pihema\u00a0and her husband Joe<\/span>, who\u00a0<\/span>acted as\u00a0<\/span>kaitiaki<\/span><\/i>\u00a0(guardians)<\/span>. They<\/span>\u00a0<\/span>undertook the correct protocols\u00a0<\/span>around the\u00a0<\/span>taonga<\/span><\/i>\u00a0on the long journey,\u00a0<\/span>offering\u00a0<\/span>k<\/span><\/i>arakia<\/span><\/i>\u00a0(incantations and prayers) to invoke spiritual guidance and protection<\/span>. These were\u00a0<\/span>performed at MAA during\u00a0<\/span>the\u00a0<\/span>packing<\/span>\u00a0of the crates<\/span>, on departure from the art shipper\u2019s warehouse in London, and on arrival in Auckland, as well as the\u00a0<\/span>Tair<\/span>\u0101<\/span>whiti\u00a0<\/span>Museum<\/span>.\u00a0<\/span>Karakia<\/span><\/i>\u00a0also took place\u00a0<\/span>at the start of the workshops and exhibition install<\/span>, and during the exhibition openings.<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>In keeping with M<\/span>\u0101<\/span>ori protocols, MAA and the other lending institutions needed to be flexible with regards\u00a0<\/span>to<\/span>\u00a0<\/span>their\u00a0<\/span>standard conditions of loan, while ensuring the safety of the objects. Typically,\u00a0<\/span>material\u00a0<\/span>travel<\/span>s<\/span>\u00a0directly to the borrowing museum\u2019s climate-controlled store<\/span>\u00a0where it\u00a0<\/span>is\u00a0<\/span>allowed to<\/span>\u00a0<\/span>acclimatise slowly after the sub<\/span>–<\/span>zero conditions of\u00a0<\/span>airplane\u00a0<\/span>cargo holds. Then material is<\/span>\u00a0installed into\u00a0<\/span>waiting\u00a0<\/span>display cases<\/span>, handled only by the MAA courier and conservation teams<\/span>. However, a key element of the\u00a0<\/span>taonga\u2019s<\/span><\/i>\u00a0return to the\u00a0<\/span>T\u016branganui<\/span>-a-Kiwa<\/span>\u00a0region was a\u00a0<\/span>p<\/span>\u014dhiri<\/span>\u00a0<\/span><\/i>or welcome ceremony, held at the\u00a0<\/span>meeting house on\u00a0<\/span>Te<\/span>\u00a0<\/span>Poho<\/span>\u00a0o\u00a0<\/span>R\u0101wiri<\/span>\u00a0marae, belonging to the\u00a0<\/span>Ng\u0101ti<\/span>\u00a0<\/span>Oneone<\/span>\u00a0people.\u00a0<\/span>The community was keen\u00a0<\/span>to bring the crated\u00a0<\/span>taonga<\/span><\/i>\u00a0directly into the meeting\u00a0<\/span>house and<\/span>\u00a0have the crates open and the\u00a0<\/span>taonga<\/span><\/i>\u00a0visible. This\u00a0<\/span>enabled<\/span>\u00a0people\u00a0<\/span>to\u00a0<\/span>see and reconnect<\/span>\u00a0directly<\/span>\u00a0with their\u00a0<\/span>taonga<\/span><\/i>\u00a0and prevent<\/span>ed<\/span>\u00a0the crates looking like\u00a0<\/span>\u2018<\/span>coffins<\/span>\u2019<\/span>.\u00a0<\/span>There w<\/span>ere<\/span>\u00a0<\/span>intense\u00a0<\/span>emotions\u00a0<\/span>of joy\u00a0<\/span>and grief\u00a0<\/span>during the ceremony\u00a0<\/span>as\u00a0<\/span>the\u00a0<\/span>crate from MAA w<\/span>as<\/span>\u00a0opened<\/span>.\u00a0<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span>Staff had been concerned that after 250 years in a dry museum store the wood of the\u00a0<\/span>taonga<\/span><\/i>\u00a0would react and potentially crack if exposed to non-climate-controlled environment. It had been agreed that crates would be opened but that layers of insulating fo<\/span>a<\/span>m around the material would remain and the\u00a0<\/span>taong<\/span><\/i>a<\/span><\/i>\u00a0would remain crated. However, an on-the –<\/span>s<\/span>pot request to remove the\u00a0<\/span>hoe<\/span><\/i>\u00a0<\/span>(paddles)\u00a0<\/span>from the crates was agreed to by the couriers and\u00a0<\/span>the\u00a0<\/span>hoe<\/span><\/i>\u00a0<\/span>w<\/span>ere\u00a0<\/span>carefully\u00a0<\/span>paraded around the meeting house<\/span>, with people reaching out to touch them. This acquiescence meant people were able to re-engage with their\u00a0<\/span>taonga<\/span><\/i>\u00a0in their home environment<\/span>, which\u00a0<\/span>had not been possible since they were collected 250 years ago.<\/span>\u00a0<\/span>Three days of workshop\/<\/span>w<\/span><\/i>a\u0304<\/span><\/i>nanga<\/span><\/i>\u00a0sessions continued this unprecedented access to the returning\u00a0<\/span>taonga<\/span><\/i>. The verb\u00a0<\/span>w<\/span><\/i>a\u0304<\/span><\/i>nanga<\/span><\/i>\u00a0means \u2018engaging in a process of sharing and reflecting upon current understandings that leads to decision-making for future success and the creation of new knowledge\u2019. Weavers, carvers and artists and staff from\u00a0Tair\u0101whiti\u00a0Museum and the lenders shared their knowledge about the\u00a0<\/span>taonga<\/span><\/i>\u00a0during these\u00a0<\/span>w<\/span><\/i>a\u0304<\/span><\/i>nanga<\/span><\/i>.<\/span>\u00a0<\/span><\/p>\n

\"\"
Weavers counted rows of warp and weft threads, relearning historic techniques.<\/figcaption><\/figure>\n

 <\/p>\n

These sessions bought together experienced artists, practitioners and knowledge holders as well younger people and those new to historic\u00a0<\/span><\/span>taonga.<\/span><\/span>\u00a0<\/span><\/span>Weapons\u00a0<\/span><\/span>came<\/span><\/span>\u00a0to life as they were swung<\/span><\/span>, balanced<\/span><\/span>\u00a0<\/span><\/span>and gesticulated with, while weavers counted rows of warp and weft threads with their fingers and sought to understand the weaver\u2019s intentions.<\/span><\/span>\u00a0<\/span><\/span>Experienced stone and wood workers were able to\u00a0<\/span><\/span>distinguish<\/span><\/span>\u00a0<\/span><\/span>tool<\/span><\/span>\u00a0<\/span><\/span>manufacturing marks from use wear or impact<\/span><\/span>.<\/span><\/span>\u00a0Julie\u00a0<\/span>Noanoa<\/span>,\u00a0<\/span><\/span>Tair\u0101whiti<\/span>\u00a0Museum\u2019s education team leader<\/span><\/span>,<\/span><\/span>\u00a0<\/span><\/span>\u201cfelt a special connection<\/span><\/span>\u201d to\u00a0<\/span><\/span>the<\/span><\/span>\u00a0<\/span><\/span>small wooden<\/span><\/span>\u00a0<\/span><\/span>k\u014dauau<\/span><\/span>\u00a0(flute<\/span><\/span>)<\/span><\/span>. As she played it,\u00a0<\/span><\/span>haunting sounds\u00a0<\/span><\/span>emerged<\/span><\/span>, drawing people close.\u00a0<\/span><\/span>\u00a0<\/span><\/p>\n

\"\"
Julie Noanoa playing the k\u014dauau (flute).<\/figcaption><\/figure>\n

 <\/p>\n

Musical instrument<\/span>s<\/span>\u00a0are rarely played once they enter a museum and their enforced silence isolates them from their original function\u00a0<\/span>MAA\u2019s long standing protocol of facilitating community access through direct physical contact with the material we care for, was warmly welcomed and exclaimed. This deviates from the usual museum practice of wearing gloves to shield objects from finger marks and protect the wearer from historic pesticides. We are open to tactile and investigative handling of material and recognise that many Indigenous people, including the\u00a0<\/span>M\u0101ori, see<\/span>\u00a0museum collections as living beings,\u00a0<\/span>more than<\/span>\u00a0just objects. This emotive tactile connection is essential.\u00a0<\/span>Despite this (and\u00a0<\/span>nearly\u00a0<\/span>20 years of working with similar collections) it is still\u00a0<\/span>professionally\u00a0<\/span>terrifying to see weapons slashed and \u2018helicoptered\u2019 around the head, as if in battle. The urge to step forward<\/span>, exclaim \u2018be careful\u2019<\/span>\u00a0and urge \u2018proper\u2019 handling protocols\u00a0<\/span>wa<\/span>s hard to break.\u00a0<\/span>\u00a0<\/span><\/p>\n

\"\"
Nick Tupara demonstrates how a taiaha, a long-bladed wooden weapon, was used to parry and attack enemies.<\/figcaption><\/figure>\n

 <\/p>\n

However, what is \u2018proper\u2019? The freedom to\u00a0<\/span>e<\/span>ngage with historic\u00a0<\/span>taonga<\/span><\/i>, the knowledge shared and gained<\/span>,<\/span>\u00a0and the express<\/span>ion of<\/span>\u00a0emotions attached to\u00a0<\/span>taonga<\/span><\/i>\u00a0were an essential\u00a0<\/span>and overwhelmingly positive\u00a0<\/span>element of the\u00a0<\/span>w<\/span><\/i>a\u0304<\/span><\/i>nanga<\/span><\/i>.\u00a0<\/span>The\u00a0M<\/span>a\u0304<\/span>ori\u00a0equivalent to my role as Collections Manager, where I am responsible\u00a0<\/span>for\u00a0<\/span>the care of the object collections<\/span>,<\/span>\u00a0is \u2018Kaitieki\u00a0<\/span>M\u0101ori\u00a0<\/span>(custodian of\u00a0<\/span>taonga<\/span><\/i>\u00a0Maori)\u2019. This relates to concepts of guardianship which resonates strongly with my work in the\u00a0<\/span>M<\/span>useum. It strengthen<\/span>s<\/span>\u00a0my long-held beliefs that we are guardians and not gatekeepers of\u00a0<\/span>taonga<\/span><\/i>\u00a0from around the world. Seeing first-hand the emotions<\/span>\u00a0invoked<\/span>\u00a0<\/span>by\u00a0<\/span>the\u00a0<\/span>taonga<\/span><\/i>\u00a0hits\u00a0<\/span>you\u00a0<\/span>hard in the chest and is a far cry from understanding it as a concept.\u00a0 I intend to\u00a0<\/span>us<\/span>e<\/span>\u00a0thes<\/span>e\u00a0<\/span>lessons about standing back and listening\u00a0<\/span>harder, and\u00a0<\/span>embrace the role as a\u00a0<\/span>Kaitieki<\/span><\/i>\u00a0in the\u00a0<\/span>future.<\/span>\u00a0<\/span><\/p>\n

\"\"
Nick Tupara debates the manufacture and use of an unusual carved post while Ayson Lewis and Tapunga Nepe discuss matau (fishhooks)<\/figcaption><\/figure>\n

 <\/p>\n

While\u00a0<\/span><\/span>the return of the\u00a0<\/span><\/span>taonga<\/span><\/span>\u00a0has been widely celebrated,\u00a0<\/span><\/span>they have also created division and disagreement<\/span><\/span>. The ownership of\u00a0<\/span><\/span>taonga<\/span><\/span>,\u00a0<\/span><\/span>the\u00a0<\/span><\/span>genealogical\u00a0<\/span><\/span>origin of carving styles and\u00a0<\/span><\/span>circumstances around their acquisition<\/span><\/span>\u00a0continue<\/span><\/span>s<\/span><\/span>\u00a0to be intensely debated.\u00a0<\/span><\/span>Polynesian\u00a0<\/span><\/span>Navigator Tupaia\u00a0<\/span><\/span>remains a key figure in the 250<\/span><\/span>th<\/span><\/span>\u00a0commemoration, bringing together shared Polynesian histories of ocean migration and skilled navigation. He is\u00a0<\/span><\/span>popularly seen\u00a0<\/span><\/span>by\u00a0<\/span><\/span>many\u00a0<\/span><\/span>M<\/span><\/span>\u0101<\/span><\/span>ori\u00a0<\/span><\/span>as the recipient of\u00a0<\/span><\/span>most<\/span><\/span>\u00a0of\u00a0<\/span><\/span>the\u00a0<\/span><\/span>taonga<\/span><\/span>\u00a0collected on the voyage<\/span><\/span>, though there is limited written evidence<\/span><\/span>\u00a0for any\u00a0<\/span><\/span>individual\u00a0<\/span><\/span>collectors<\/span><\/span>. Further work remains to combin<\/span><\/span>e<\/span><\/span>\u00a0oral histories, voyage accounts and carving styles to establish if\u00a0<\/span><\/span>taonga<\/span><\/span>\u00a0can be connected to specific exchanges<\/span><\/span>\u00a0or\u00a0<\/span><\/span>iwi<\/span><\/span>. However, the\u00a0<\/span><\/span>return of the\u00a0<\/span><\/span>taonga<\/span><\/span>\u00a0<\/span><\/span>with the correct\u00a0<\/span><\/span>tikanga<\/span><\/span>\u00a0<\/span><\/span>and the\u00a0<\/span><\/span>productive\u00a0<\/span><\/span>w<\/span><\/span>a\u0304<\/span><\/span>nanga<\/span><\/span>\u00a0<\/span><\/span>sessions<\/span><\/span>,<\/span><\/span>\u00a0<\/span><\/span>marks the start of forging new ways to listen and learn on both sides<\/span><\/span>. These will shape<\/span><\/span>\u00a0new ways of working with collections<\/span><\/span>\u00a0<\/span><\/span>and their descendants.<\/span><\/span>\u00a0<\/span><\/span>\u00a0<\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

Images of taonga and videos from the wa\u0304nanga including the playing of the musical instruments are available at https:\/\/tairawhitimuseum.org.nz\/exhibition\/tu-te-whaihanga-online-exhibition\/<\/a><\/em><\/p>\n

The Covid-19 outbreak saw the exhibition closed temporarily but we hope the show will be extended past the planned closure of October 2020.<\/em><\/p>\n

A basic searchable online catalogue of MAA\u2019 collections can be found at:\u00a0<\/span><\/span>collections.maa.cam.ac.uk<\/span><\/span><\/a>\u00a0<\/span><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The exhibition\u00a0T\u016b\u00a0te\u00a0Whaihanga:\u00a0A\u00a0Recognition of\u00a0Creative\u00a0Genius opened\u00a0at dawn on Monday 7th\u00a0October\u00a02019\u00a0at the\u00a0Tair\u0101whiti\u00a0Museum, Gisborne,\u00a0Aotearoa\u00a0New Zealand. It featured\u00a037\u00a0taonga\u00a0(M\u0101ori\u00a0ancestral treasures) traded and gifted with\u00a0James Cook and the\u00a0crew of\u00a0the\u00a0Endeavour\u00a0and\u00a0the Tahitian priest-navigator\u00a0Tupaia during encounters\u00a0in the\u00a0Tair\u0101whiti\u00a0area in 1769.\u00a0 Over half of the\u00a0taonga\u00a0were from the Sandwich collection, on deposit at\u00a0the Museum of Archaeology & Anthropology, (MAA)\u00a0from Trinity College,\u00a0Cambridge. These\u00a0included\u00a0a rain cloak of flax, wood, bone and stone weapons, fishhooks\u00a0and two… Read full article<\/a><\/p>\n","protected":false},"author":10,"featured_media":9403,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[166,169,167],"tags":[225,306,216],"coauthors":[355],"class_list":["post-10690","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-making-change","category-museum-of-archaeology-anthropology","category-research-practice","tag-collections-care","tag-research","tag-society"],"acf":[],"aioseo_notices":[],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/www.museums.cam.ac.uk\/blog\/wp-json\/wp\/v2\/posts\/10690","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.museums.cam.ac.uk\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.museums.cam.ac.uk\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.museums.cam.ac.uk\/blog\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/www.museums.cam.ac.uk\/blog\/wp-json\/wp\/v2\/comments?post=10690"}],"version-history":[{"count":15,"href":"https:\/\/www.museums.cam.ac.uk\/blog\/wp-json\/wp\/v2\/posts\/10690\/revisions"}],"predecessor-version":[{"id":10957,"href":"https:\/\/www.museums.cam.ac.uk\/blog\/wp-json\/wp\/v2\/posts\/10690\/revisions\/10957"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.museums.cam.ac.uk\/blog\/wp-json\/wp\/v2\/media\/9403"}],"wp:attachment":[{"href":"https:\/\/www.museums.cam.ac.uk\/blog\/wp-json\/wp\/v2\/media?parent=10690"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.museums.cam.ac.uk\/blog\/wp-json\/wp\/v2\/categories?post=10690"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.museums.cam.ac.uk\/blog\/wp-json\/wp\/v2\/tags?post=10690"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.museums.cam.ac.uk\/blog\/wp-json\/wp\/v2\/coauthors?post=10690"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}