This paper aims to look at the recent introduction of the large enclosure trap in Shiiba Miyazaki as an ethnographic example to examine how it was developed in a research institute and used in a particular socio-cultural context. By examining that, it will bridge the gap between the existing studies of monkey damages which sought the development of damage control measures, and social scientific studies of monkey damages which focused on people's recognition and practices against vermin problems.

The large enclosure trap was developed by an institution called "Monkey Centre" to capture wild monkeys effectively. However, when it was introduced to Shiiba, it was found out that it was not functioning properly and also it became an opportunity for people to recognize the stories of monkey curses stronger than before. By critically examining the actor network theory (ANT), this paper investigates emotional experiences of actors to provide a new perspective to the existing ANT.

On the islands of Okinawa, where military fortifications continue to be developed, residents are exploring anti-military and anti-base movements in a form that is vastly different from conventional objection and resistance. This phenomenon has led to the emergence of an anti-base movement that involves a wider range of fields and protects every aspect of nature in Okinawa. It can be viewed as an anti-base movement rooted in nature protection, which has been increasingly diversified in recent years and sends the message that "an alternative world is possible" with regard to the global acceleration of militarization and armaments. Furthermore, it points to the potential for another way of life that has always been within us. This paper illustrates the idea and practice of "anarchism of lives for de-domination," which is deeply rooted in a way of life that is in harmony with nature among all those who desire and wish to stop construction of the new base in Henoko (which is currently underway) as well as eliminate all military bases.

Since the 1980s, the growing political presence of indigenous peoples worldwide has brought their studies to the forefront of cultural anthropological research. Within post-colonial museum studies, it has become evident that museums have functioned as tools for national integration and mechanisms for political control, encompassing both citizens and colonial subjects. This special issue, which delves into the relationship between indigenous peoples and museums, provides a comparative analysis of the historical transformations and current state of missions, exhibit representations, roles, and impacts of various museums dedicated to indigenous peoples from a global standpoint. It particularly emphasizes the active involvement of indigenous peoples themselves in these museums and the resulting impacts and effects. Utilizing Canada, the US, Australia, New Zealand, Russia/the former Soviet Union, and Japan as case studies, this research conducts a comparative examination with "decolonization" and "collaboration" as central themes.

Studies of museum exhibitions of Indigenous peoples have raised criticisms that, while decolonization has been promoted, their agency has been replaced by customary institutions. Collaboration with these peoples has been emphasized in creating exhibitions, but the focus has been limited to those living in Countries where the materials were collected. As a result, their feelings and appeals have tended to be discarded. Additionally, while many resources have been devoted to archive construction and digital returns at museums, not much attention has been paid to practices in the online space. To address these issues, this paper focuses on the online space as a practice site for solidarity, resistance, and social movements of Indigenous Australians, demonstrating the importance of advancing Digital Indigenous Studies for future decolonizing exhibitions.

This paper traces the historical change in the relationship between museums and Māori, the indigenous people of Aotearoa New Zealand, and discusses the ideal collaboration between indigenous peoples and museums from the kaupapa Māori point of view. The museum is/was a colonial institution, but in recent years, decolonizing the museum and collaborating with indigenous peoples has been attracting attention. However, there are different practices in various museums, and there is some debate about what desirable collaboration by museums should be. While some scholars compare the practices of several museums in search of desired collaboration, this paper takes the position that the desired collaboration varies from one indigenous community to another. It is because, in the discussion of decolonizing methodologies, the term "methodologies" is used in the plural. Therefore, relationships between indigenous peoples and museums aiming for decolonization would be diverse, too. Adopting this position, this paper examines how much Māori self-determination is guaranteed to construct the collaborative relationship between Māori and museums. Through looking at their practices and kaupapa Māori, this paper will argue that the everlasting partnership between Māori and museums is desired and significant in the context of Aotearoa New Zealand.

In Russia, museums have been regarded as essential cultural facilities in cities, towns, and villages throughout the tsarist and socialist (Soviet) eras and up to the present day. The purpose of this facility is to teach residents and children about the history and culture of their regions and to foster a sense of patriotism for the land where they live, as well as for Russia. In the cases of Siberia and Far East, where so-called "northern indigenous peoples" live, museums always have exhibits that introduce their culture. In this paper I examined the characteristics of indigenous culture exhibitions of the museums in the central cities of Far East Russia (Vladivostok and Khabarovsk) and surrounding municipalities, using a keyword "decolonization." As a result, I had a conclusion that the relationship between museums and indigenous peoples, which had a distinctly colonialist character until the socialist regime, became more oriented towards the intentions of the latter after the collapse of the Soviet Union. Though it is not appropriate to say this is a case of "decolonization" of museums in Russia, it can be considered as an example for examining trends in the relationship between indigenous peoples and museums from a global perspective.

Following revisions to the Japanese Museum Act in April 2023, digital archiving and online publishing of museum materials have been added officially as museum services. This study first explores trends and clarifies issues regarding five major digital archives of Native North American collections developed from the late 2000s to the 2010s. Moreover, the paper takes a perspective of indigenization, describing in detail the author's "Reconnecting Project," which has been ongoing from 2014 to the present. The second objective of this study is to position the digital archives, "RECONNECTING Source Communities with Museum Collections" in museum anthropology by examining its continuity with examples of Native North American collections digital archives and the relevance of the challenges that arise there. Notably, source community members, who carefully reviewed all objects during the "Reconnecting Project," detected the ingenuity and style of their makers. This observation points to the "discovery" that ethnographic objects contain copyrightability. Lastly, the study presents legal and ideal procedures for publishing digital archives of ethnographic objects in Japan that feature copyrightability and foreign copyrighted work aligning with the context of decolonization.