ABSTRACT
This chapter focuses on one hand, the shadowy colonial histories that continue to permeate many public institutions, and, on the other hand, newer approaches that model current best practices. It discusses the anthology, both the geographies and institutional histories are divergent but some common themes emerge. Aware of the extensive list of compositions that use field recordings or transcriptions of Indigenous music, he is part of a team that is reconnecting with the Indigenous communities of origin to seek advice about whether these compositions ought to be in the public domain. The ethics of work with communities are central but the issues go well beyond who is on camera doing what. At virtually every phase of production, from the initial pre-planning, through filming, post-production, and screening, he advocates dialogue with communities who are depicted.
