麻豆社

T谩 iarsmalanna agus institi煤id铆 in 脡irinn agus thar lear ag 'd铆choil铆ni煤' baili煤ch谩n s'acu, de thairbhe feachtas ar n贸s Rhodes Must Fall agus Black Lives Matter, agus mar gheall ar an bh茅im 煤r ar an bhealach is fearr le baili煤ch谩in a l茅iri煤 in iarsmalann sa l谩 at谩 inniu ann.

Scr煤da铆onn 滨补谤蝉尘补铆 (Remnants) an leag谩id choil铆neachta at谩 ag 脡irinn tr铆 sc茅al na mblaoscanna goidte at谩 i gCol谩iste na Tr铆on贸ide i mBaile 脕tha Cliath a ini煤chadh, chomh maith le h谩bhar d煤chasach a ghoid lonnaitheoir铆 脡ireannacha 贸n Astr谩il, agus an bealach a th谩inig cuid de na Benin Bronzes, a goideadh 贸n Afraic sna 1890铆 go hIarsmalann N谩isi煤nta na h脡ireann i mBaile 脕tha Cliath.

L茅ir铆onn an scann谩n pilleadh na 13 blaoscanna goidte ar ais 贸 Chol谩iste na Tr铆on贸ide go hoile谩n Inis B贸 Finne, amach 贸 ch贸sta na Gaillimhe, i ndiaidh feachtas fada f谩na choinne.

Museums and institutions in Ireland and abroad are 'decolonising' their collections, partly because of campaigns like Rhodes Must Fall and Black Lives Matter and also because of a changing emphasis on how collections should be presented in a modern museum setting.

This documentary examines Ireland's colonial legacy through the story of stolen skulls in Trinity College Dublin, indigenous items taken by Irish settlers in Australia, and how some of the Benin Bronzes, looted from Africa in the 1890s, ended up in the National Museum in Dublin.

The film features the reburial of 13 stolen skulls returned by Trinity College Dublin to the island community of Inishbofin, off the Galway coast, following a lengthy campaign for their return.