Academic literature on the topic 'Museums and minorities'
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Journal articles on the topic "Museums and minorities"
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Golat, Rafał. "THE PROBLEMS OF MINORITIES IN MUSEUMS’ ACTIVITIES (LEGAL ASPECTS)." Muzealnictwo 58, no. 1 (March 17, 2017): 19–23. http://dx.doi.org/10.5604/01.3001.0009.7637.
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Within the scope of their activity, some museums deal with the protection and dissemination of the cultural heritages of various minority groups. These include both museums which focus their attention on minority problems as such (e.g. museums run by minority churches or denominations), and those museums which deal with such issues to a greater or lesser extent because of their statutory objectives related to the cultural heritage of particular minorities (e.g. ethnographic museums). The provisions of the Act on museums do not include clear regulations with regard to the subject of minorities. Therefore, the provisions are construed with respect to other norms, relevant to the minorities’ activities. From among those provisions, these that deserve particular attention are, above all, provisions specifying the activities of NGOs, including associations and foundations, under which they frequently operate. Secondly, of importance are acts which specifically regulate the basis for how given minorities operate, i.e. especially the Act on national and ethnic minorities and on regional languages, the Act concerning the guarantees of conscience and religion, as well as those acts which determine the State’s approach towards particular churches and denominations. Formally, the extent to which a museum engages in a significant activity regarding a given minority is determined by the basic acts issued by the its administrator, which serve as the basis for its operation. Those include statutes (in the case of museums which are legal persons) or regulations (in the case of other museums). When a museum’s statute provides for such minority activity, its administrator is obliged to provide funding for it, regardless of additional financial support, in particular that coming from grants, and above all the one stipulated in the article 18 of the Act on national and ethnic minorities and on regional languages.
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Varutti, Marzia. "The Politics of Imagining and Forgetting in Chinese Ethnic Minorities' Museums." Outlines. Critical Practice Studies 12, no. 2 (April 5, 2010): 69–82. http://dx.doi.org/10.7146/ocps.v12i2.2272.
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Through an exploration of the representation of ethnic minorities in the museums of Kunming, Yunnan Province of China, this article discusses the active role that museums play in the processes of memory and identity engineering, whereby museum images and narratives are used to support collective imagination about ethnic minorities' identities and past. Drawing from a comparative analysis of museum displays in Kunming, I discuss how the image of ethnic minorities is conveyed through a selective process of i) remembering and emphasizing specific cultural elements, ii) forgetting other elements, and lastly, iii) modifying the perception of ethnic minorities relation to the Han majority. By revealing the extent and modalities through which museum representations manipulate ethnic minorities' identities in China, the analysis aims to contribute to our understanding of the multiple ways in which museums act as sites for the enactment of collective memory and imagination.
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Pekárková, Eliška, and Monika Stachová. "Muzejní edukace jako příležitost k inkluzivnějšímu pojetí dějin?" Acta Musei Nationalis Pragae – Historia 75, no. 1-2 (2022): 66–70. http://dx.doi.org/10.37520/amnph.2021.006.
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Current mainstream education and the prevailing interpretation of history in museums and schools do not sufficiently reflect the history of minorities currently living in the Czech Republic. In what forms and to what extent are museums addressing this topic? Do minorities constitute a fully-fledged part of the interpretation of Czech history in the public space, or are they treated more as a peripheral issue and as an addition to the prevailing historical narrative? The article examines how technology and museum education can be used to supplement missing aspects of Czech history that otherwise do not receive sufficient space in museum exhibitions in general, in history textbooks or education itself. Examples of museum education that illustrate these trends in the text are the new History Lab exercises on Romani history that are currently being developed in collaboration with the Institute for the Study of Totalitarian Regimes (ÚSTR), and at the same time an interactive program for children of younger school age. How can these activities contribute to a more inclusive conception of Czech history, which entails more than the history of the Czech and Slovak populations? How can museums contribute to this trend?
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Mikešová, Pavla. "Museums and Their International Audiences." Muzeum: Muzejní a vlastivedná práce 55, no. 2 (June 1, 2017): 42–44. http://dx.doi.org/10.1515/mmvp-2017-0046.
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Abstract The National Museum, the Centre for Presenting Cultural Heritage in cooperation with the Náprstek Museum of Asian, African and American Cultures, held on the 24th and the 25th October 2017 a specialised seminar entitled “Museums and Their International Audiences” focusing on the work of the museum staff with foreigners who are living in the Czech Republic and foreign visitors. The seminar presented innovative projects from the environments of museums and galleries that present the culture and the history of foreigners and national minorities who are living in the Czech Republic, it dealt with the role of museums in the field of integration of foreigners and with possibilities of cooperation with the non-profit sector in this area. On the second day of the seminar a specific intercultural skills training was held.
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Rizzo, Alessandra. "Museums as Disseminators of Niche Knowledge." Journal of Audiovisual Translation 2, no. 2 (December 31, 2019): 92–136. http://dx.doi.org/10.47476/jat.v2i2.93.
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Accessibility has been facing several challenges within Audiovisual Translation Studies and has also gained great opportunities for its establishment as a methodologically and theoretically well-founded discipline. Audiovisual translation modes have achieved a crucial role in the transmission of what scholarly studies have discussed in relation to media accessibility as a set of services and practices providing access to audiovisual media content for persons with sensory impairment. Today accessibility has become a concept involving more and more universality, since it is extensively contributing to the dissemination of audiovisual and visual products about issues on minorities, and also addressing all human beings, regardless of cultural and social differences.
Against this theoretical backdrop, accessibility is scrutinised within the context of aesthetics of marginalisation, migration, and minorities as modalities which encourage the diffusion of ‘niche’ knowledge, and as universal processes of translation and interpretation that provide access to all knowledge as counter discourse. Within this framework, the ways in which language is used can be considered the beginning of a type of local grammar for interlingual translation and subtitling applied to museum contexts of marginalisation, migration and minorities.
Drawing upon well-established research in the field of audiovisual translation and media accessibility, and by adopting systemic-functional and lexical-semantic methodological approaches for translation quality assessment of museum text types, this study aims to put emphasis on accessibility as a societal instrument that contributes to giving voice to minorities through knowledge dissemination in English as a lingua franca by means of aesthetic narrative types within the field of the visual arts (i.e. museum settings). In this sense, accessibility is viewed as the embodiment of universality that ensures universal access to knowledge for all citizens as a human rights principle, while acting as an agent for the democratisation and transparency of information against media discourse distortions and oversimplifications.
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Uno, Kei. "Consuming the Tower of Babel and Japanese Public Art Museums—The Exhibition of Bruegel’s “The Tower of Babel” and the Babel-mori Project." Religions 10, no. 3 (March 5, 2019): 158. http://dx.doi.org/10.3390/rel10030158.
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Two Japanese public art museums, the Tokyo Metropolitan Art Gallery and the National Art Museum of Osaka, hosted Project Babel, which included the Babel-mori (Heaping plate of food items imitating the Tower of Babel) project. This was part of an advertising campaign for the traveling exhibition “BABEL Collection of Museum Boijmans Van Beuningen: Bruegel’s ‘The Tower of Babel’ and Great 16th Century Masters” in 2017. However, Babel-mori completely misconstrued the meaning of the Tower of Babel in Genesis 11:1–9. I explore the opinions of the curators at the art museums who hosted it and the university students who took my interview on this issue. I will also discuss the treatment of artwork with religious connotations in light of education in Japan. These exhibitions of Christian artwork provide important evidence on the contemporary reception of Christianity in Japan and, more broadly, on Japanese attitudes toward religious minorities.
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Pilarz, Łukasz. "Szczątki ludzkie w azjatyckich muzeach a prawa ludności rdzennej." Azja-Pacyfik 26, no. 2 (December 31, 2022): 45–63. http://dx.doi.org/10.15804/ap2022.2.03.
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The work concerns the restitution of museum remains as a special cultural asset found in archaeological museums. The research problem concerns reverence towards human remains constituting museum exhibits on the example of Singapore museums. This type of museum inventory has become the subject of intensified restitution activities on the part of tribal minorities, indigenous peoples, who claim the right to them on the basis of the right to worship after their deceased ancestors, the right to protect cultural, religious and traditional heritage. Such law is based in particular on the Declaration on the Rights of Indigenous Peoples. The research objective focuses, first of all, on the legal grounds resulting from the Declaration, and secondly on the analysis of the inventory of selected Singaporean museums, which contain exhibits that are human remains in their collections. The main research hypothesis focuses on the statement that Singapore, as one of the few Asian countries, maintains a special regime of pietism towards the deceased, which is manifested in the way of treating and storing human remains as museum exhibits. This may be due to the country’s cultural conditions on the one hand, and religious and legal conditions on the other. This, in turn, translates into the approach of museums to restitution claims, which are increasingly being put forward by representatives of indigenous peoples in connection with the return of the remains of their deceased ancestors. These claims find their legal basis in acts of international law and collective human rights. Therefore, the work answers the questions whether museums in Singapore duly respect international law in the field of protection of human remains and the rights of indigenous peoples, and how this translates into reverence for this type of exhibits in museum practices in connection with ICOM regulations.
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Katz, Meighen S. "“Only the Most Morbid Among the Rich Will Find It Entertaining”: Interpreting 1930s Urban Homelessness in Museums." Journal of Urban History 44, no. 2 (March 8, 2017): 278–97. http://dx.doi.org/10.1177/0096144217696986.
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The United Nations Educational, Scientific and Cultural Organization’s (UNESCO) recent report on the relationship between culture and urban sustainability proposes that museums contribute to the larger civic project by “representing multicultural societies and giving minorities space within national narratives.”1 If, as the report suggests, cities rely on their cultural institutions such as museums to enable integration through narrative, then it is vital to consider how, and how well, this is actually being achieved. The American urban homeless of the 1930s present a viable case study as to the integration—or lack thereof—of one particular historical minority. Examining the interpretation of this select group allows us to then assess the forces at play in museum-based cultural and civic inclusion to draw some conclusions about the realities of this goal.
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Sansone, Livio. "Challenges to digital patrimonialization: heritage.org /digital museum of african and Afro-Brazilian memory." Vibrant: Virtual Brazilian Anthropology 10, no. 1 (June 2013): 343–86. http://dx.doi.org/10.1590/s1809-43412013000100015.
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Historically subaltern groups envisage new possibilities for the creation of community museums and exhibits. This seems to be particularly true of the Global South and, even more so, of Sub-Saharan Africa and the African diaspora to Southern America - two regions of the world where, when it concerns ethno-racial minorities and social movements, presential museums and "actual" archives have more often than not been poorly funded, ill-equipped, and underscored. This article teases out the process of creating such a digital museum that focuses on African and Afro-Brazilian heritage. It is a technological and political experiment that is being developed in a country experiencing a process of rediscovery and of the patrimonialization of a set of elements of popular culture, within which "Africa" as a trope has moved from being generally considered a historical onus to (Western-oriented) progress to become a bonus for a country that is discovering itself both multiculturally and as part of the powerful group of BRIC nations.
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Eklemezler, Sercan. "What a Museum Cannot Bear Witness To." Museum Worlds 9, no. 1 (July 1, 2021): 133–44. http://dx.doi.org/10.3167/armw.2021.090112.
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The primary motivation behind this study is assessing how successful “inclusive” urban museums really are in representing ethnic/religious minorities. The research site is Bursa City Museum, Turkey, where the Bursa Jewish Community used to be one of the key social and cultural elements of the city. In-depth interviews are the main method of study, since the opinions of this minority on the subject are the main focus. The main aim here is to reveal the ideas of the community (whose collective memories are threatened with extinction) about being represented in the museum, and from this analysis to make constructive suggestions for the institution. It seems that the community cares about being identified as part of the city, but is indifferent to the institution of the museum, partly due to problems in the ways in which they are represented.
Dissertations / Theses on the topic "Museums and minorities"
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Butts, David James. "Maori and museums : the politics of indigenous recognition : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Museum Studies at Massey University, Palmerston North." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/251.
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As a result of colonialism indigenous peoples have been marginalised within their own customary territories. In an analysis of the politics of cultural recognition Tully (1995) proposes the reconceptualisation of the 'common ground': sites, including public museums, within which different cultures negotiate their relationships within the modern nation-state, where the rights of indigenous peoples can be recognised on the basis of the principles of mutual recognition, continuity and consent. This thesis examines the impact of the politics of indigenous recognition on the evolving relationships between Mäori and museums, focusing on Mäori participation in the governance of regional charitable trust museums in New Zealand.The international context is explored through an investigation of indigenous strategies of resistance to museum practices at the international, national and local levels. The national context within which Mäori resistance to museum practices has evolved, and subsequent changes in practice are then outlined.Two case studies of regional charitable trust museums, which began to renegotiate Mäori participation in their governance structures in the late 1990s, are examined. The different governance models adopted by Whanganui Regional Museum, Whanganui, and Tairawhiti Museum, Gisborne, both effected major shifts from the historical pattern of limited Mäori participation in the museums to the representation of all tangata whenua iwi on the new trust boards. The governance negotiation processes and the responses of interested parties are analysed. The case studies demonstrate the importance of understanding the historical context within which public institutions are embedded and the forces that lead to contemporary adjustments in power relationships.Both new governance models have resulted in genuine power sharing partnerships between tangata whenua and the museums. Finally, the extent to which the two institutions have subsequently moved towards becoming 'common ground' where the recognition of the rights of indigenous peoples can be realised is analysed.
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Kuylenstierna, Wrede Jasmine. "No Homo? : Heteronormativity and LGBTQ content in London Art Museums." Thesis, Uppsala universitet, Institutionen för ABM, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-296455.
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Purpose - This thesis investigates how London art museums work to deconstruct heteronormative filters. The aim is to study how museums relate to LGBTQ content, and the influence of internal power structures. I have chosen to focus on the Victoria & Albert Museum, the Wallace Collection, and the British Museum. Method - To answer my questions, I interview eight individuals who work with LGBTQ content in museums. I am also doing some activity-based observations during several LGBT History month events. Analysis - The qualitative data collected through interviews and observations will be analyzed and presented in case studies. I apply an intersectional perspective, and a critical theoretical method, encompassing queer theory. Findings - The findings show that museums are slowly incorporating more LGBTQ content and perspectives. This may be due to changing social norms as well as a conscious effort to address various target audiences to diversify visitor demographics. The current focus is on visibility. Ideally, this will encourage updating terminol- ogy in databases and galleries, staff training, policies explicitly supporting LGBTQ content and LGBTQ staff, increased online presence, publications, and community co-creation, to name some aspects. Museums still think of LGBTQ interpretation as optional. People often work with these efforts in their spare time. Increasingly, the legacy of these events is being evaluated, as well as how museum terminology can become more inclusive. There are no coordinated efforts shared by the museums, but they often look to each other for inspiration. Originality/value - Previous research on LGBTQ museum projects has not evaluated their legacy. There hasn't been any particular focus on LGBTQ perspectives in art museums. I am taking into account aspects of gender and queer theory, discussing the act of labelling as a means to exercise power through language. Paper type - Two years master's thesis in Archive, Library and Museum studies.Syfte - Syftet med denna uppsats är att undersöka och jämföra de insatser som tre konstmuseum i London, Stor- britannien, gör för att dekonstruera heteronormativa filter. Målet är att observera hur olika museum jobbar med HBTQ som tema och innehåll. Jag studerar vem det är som initierar normkritiska projekt på museerna, samt de maktstrukturer som projekten anpassar sig efter. Metod - Jag intervjuar åtta individer som på olika sätt jobbar med HBTQ på museum. Därtill företar jag mig ett antal aktivitetsbaserade observationer. Analys - De kvalitativa data som insamlats genom intervjuer och observationer analyseras utifrån ett intersek- tionellt perspektiv. Teori och metod inspireras även av kritisk kulturteori samt queerteori. Resultat - Resultaten visar bland annat att samhälleliga förändringar och besökarfokus öppnar upp för HBTQ- teman på museer. Synlighet ligger för närvarande i fokus. Detta kan utvecklas till arbete med t.ex. normkritisk personalutbildning, uppdaterade museipolicydokument som inkluderar HBTQ-fokus och skyddar HBTQ- personal, mer inklusiva etiketter och databaser, samt medskapande i dialog med olika sociokulturella grupper. Värde - Tidigare forskning fokuserar på teoretiska utgångspunkter, och har sällan utvärderat existerande HBTQ- museumprojekt. Konstmuseum och HBTQ har inte heller specifikt utvärderats utifrån ett normkri- tiskt/intersektionellt perspektiv som involverar kritisk teori och queerteoretiska aspekter. Typ av uppsats - Tvåårig masteruppsats inom Arkiv-, biblioteks-, samt musei- och kulturarvsvetenskap.
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Lendi, Charlotte. "Varför är det så svårt? - En studie av kulturhistoriska museers arbete med hbtq-perspektiv i samlingar." Thesis, Uppsala universitet, Institutionen för ABM, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-235538.
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The aim of this two years master’s thesis in Archive, Library and Museum Studies is to analyse how Swedish cultural history museums work to include LGBTQ-heritage (LGBT is the acronym for Lesbian, Gay, Bisexual, Transgender and Queer) in their collections. This work is articulated around three research questions. These interrogate museum practice about collecting and collection management, what it looks like in the already gathered collections as well as the implications such work implies on a broader level. The theoretical framework throughout the paper is gender and LGBT studies as well as queer theory. The analytical tools that have been used are bias-theory (Carruthers 1987), stereotyping (Pickering 2003) and classification theory (Bowker & Leigh Star 2000). Seven interviews form the main empirical material that is analysed in order to grasp museums collecting practice and collection management. Today’s museums practice is influenced by the new trends in democratic representation and seeks therefore to include new narratives that include the LGBTQ community. Museums are either collecting new material with connection to the LGBTQ community or look inwards in order to reinterpret older collections and maybe find a link to it. Both strategies rouse questions that are discussed in this paper. How to classify and document that material as well as selection processes and the traditional museums relation to the alternative collecting practice as the grassroots organizations stand for are discussed in the thesis.
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Genshaft, Carole Miller. "Symphonic poem a case study in museum education /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196175987.
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Asri, Samineh. "The Stories Need to be Told : The politics of visibility/invisibility: Museum representations and participation of migrants, refugees, and ethnic minorities." Thesis, Linköpings universitet, REMESO - Institutet för forskning om migration, etnicitet och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-161700.
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International migration and the refugee crisis have sparked a number of debates within the public policy circle. This issue also has profound social and cultural implications, even in the museum sector. Despite the efforts of ethnographic museums to set aside skin colour or ethnicities as a means of distinction, and to be open to new perspectives, the representation of migrants, refugees and ethnic minorities still evokes the purported continuity of white supremacy as the persistent legacy of colonialism. In this thesis, my attempt is to examine the extent to which there is a probability of exercising invisible power in participatory and exhibition spaces. I look at how the Tensta Art Centre, as a small and local institute, tackles the production of different knowledges and attempts to become a space of appearance for migrants and ethnic minorities. I also compare its efforts with those of big-scale institutes such as the World Culture Museum, which is a Swedish ethnographic museum. This study investigates the possibility of producing a place of embodied institutional critique within exhibition spaces in an active and meaningful way. This has been explored through the concept of visibility/invisibility in the complexes of visuality, as evident in the observations made in my study cases. In addition, I have adopted a critical analysis approach to examine the possibility of having multiple and assemblage forms of knowledge productions in participatory spaces. Finally, through my study, I understood that despite the effort to make the new space without hierarchy, there is still the risk and possibility of hegemonic discourses and thinking that lead to complicities.
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Roth, Catherine. "La Nation entre les lignes. Médias invisibles, discours implicites et invention de tradition chez les Saxons de Transylvanie." Thesis, Paris 2, 2013. http://www.theses.fr/2013PA020056.
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Les communautés s’imaginent (Anderson, Hobsbawm, Gellner), mais comment l’invention est-elle diffusée et transformée en identité collective ? Cette théorie communicationnelle de la nation clarifie le concept flou d’invention de tradition en distinguant invention, transmission par un média (F. d’Almeida, J. Assmann), et transformation de l’invention en tradition, du présent en passé. L’hypothèse est que le plus important n’est pas dit : le message est implicite, et le média est invisible en tant que tel. L’implicite permet une naturalisation qui s’adresse en partie à l’inconscient, garant de l’intangibilité de la nation (C. Kerbrat-Orecchioni, M. Douglas). Les Saxons de Transylvanie, minorité allemande de Roumanie, ont choisi en 1990 l’émigration collective en Allemagne ; avec un début au XIIe siècle, une fin au XXIe, et des mutations identitaires dans un monde multiculturel, puis tendant vers la monoculturalité, et aujourd’hui la transculturalité, ils sont un terrain d’observation particulièrement pertinent. L’étude de leur historiographie, musée, Eglise, et club de montagne montre qu’ils ont entre les lignes réinventé le temps, l’espace public et le territoire, pendant que l’implicite figeait le temps, sacralisait la société et géologisait le territoire. Selon Karl W. Deutsch, un peuple est une communauté de communication, qui échange plus intensivement vers l’intérieur que vers l’extérieur. Un pont est ainsi créé entre théories des nations et nationalismes et Sciences de l’information et de la communication. Les différents implicites président à la fois à la construction nationale, au maintien des Etats-nations et à celui des dictatures, avec des similitudes troublantes entre les nations et les époquesCommunities imagine themselves (Anderson, Hobsbawm, Gellner), but how is the invention spread and transformed into collective identity? This communication theory of nation clarifies the blurred concept of invention of tradition by distinguishing invention, transmission by a media (F. d’Almedia, J. Assmann), and transformation of invention into tradition, of present into past. The hypothesis is that the most important is not being said: the message is implicit and the media is invisible as such. Implicit meaning allows a naturalization that appeals in part to the unconscious – the guarantor of the nation’s intangibility (C. Kerbrat-Orecchioni, M. Douglas). Transylvanian Saxons, a German minority in Romania, chose collective emigration to Germany in 1990. With a beginning in the 12th century, an end in the 21st century, and identity transformations in a world first multicultural, then tending to monoculturality, and today to transculturality, they are a particularly relevant field observation. Studies of their historiography, museum, church and mountain club show that they have between the lines reinvented time, public space and territory, while the implicit froze time, sanctified society and ‘‘geologyzed’’ the territory. According to Karl W. Deutsch, a population is a community of communication who exchanges intensively more to the inside than the outside. Thus, a bridge is being built between the theories of nations and nationalism and communication studies. The different forms of implicit steer invisibly the national construction, the maintain of Nation-states and also of dictatorships with disturbing similarities between nations and eras
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Meyler, Claire F. "Seeing the invisible : museums engaging Filipino-American communities /." 2006. http://library2.jfku.edu/Museum_Studies/Seeing_the_Invisible.pdf.
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Diaz, Virginia. "On modeling civic engagement : case studies of culturally specific museums and Latino constituencies /." 2005. http://library2.jfku.edu/Museum_Studies/On_Modeling.pdf.
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Ksonzek, Natalie. "Invisible imperialism: Race, power and the construction of the other in the Canadian Museum of Civilization in Hull, and the Royal Ontario Museum in Toronto." 2007. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=453020&T=F.
Full textBooks on the topic "Museums and minorities"
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Zubrzycki, Jerzy. Ethnic heritage: An essay in museology. Canberra: National Museum of Australia, 1992.
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editor, Aoki Eriko, ed. Arts in the Margins of World Encounters. Wilmington, Delaware: Vernon Press, 2021.
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Matyas, Marsha Lakes. A status report on the role of minorities, women, and people with disabilities in science centers. Washington, D.C: ASTC, 1992.
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Briatore, Samuele. Distretto X: Sguardi plurali sui musei : riflessioni sulle identità di genere. Roma: Artemide, 2020.
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Amato, Emiliano. Patrimoni in migrazione: Accessibilità, partecipazione, mediazione nei musei. Milan, Italy]: FrancoAngeli, 2009.
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Longmore, E. Anne. Museum strategies to deal with context and minority perspectives within historical exhibits. [Toronto: The author], 1992.
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Université de Nantes. Centre de recherches en histoire internationale et atlantique, ed. Peuples en vitrine: Une approche comparée du montrer-cacher. Rennes: Presses universitaires de Rennes, 2018.
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Queers online: LGBT digital practices in libraries, archives, and museums. Sacramento, CA: Litwin Books, 2015.
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Rainer, Hatoum, Kamel Susan, Metzger Patrik, and Gerbich Christine, eds. Museumsinseln =: Museum islands. Berlin: Panama-Verlag, 2009.
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Ethnic museums and heritage sites in the United States. Jefferson, N.C: McFarland & Co., 2008.
Find full textBook chapters on the topic "Museums and minorities"
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Dobos, Balázs. "Cultural Autonomy, Safe Haven or Window-Dressing? Institutions Maintained by Minority Self-Governments in Hungary." In Realising Linguistic, Cultural and Educational Rights Through Non-Territorial Autonomy, 155–70. Cham: Springer Nature Switzerland, 2022. http://dx.doi.org/10.1007/978-3-031-19856-4_11.
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AbstractIn the history of national cultural autonomy (NCA) in Hungary, the emphasis since the mid-2000s has been placed on institutionalisation, with the aim of establishing, or taking over and maintaining various cultural and educational institutions with appropriate budget support by the minority self-governments (MSGs), the local variants of NCA. However, in practice this remained mostly on paper in the 1990s. But now there are hundreds of institutions—kindergartens, primary and secondary schools, dormitories, museums, libraries, theatres, research institutes, etc.—that are run by minorities. In this way, MSGs have become main actors in implementing linguistic, cultural and educational minority rights in the country.This is all the more important because recent experiences have shown that the transmission of minority languages and identities in families is now largely interrupted, and minority educational institutions have an increasingly important role to play. However, this has been somewhat controversial, and still characterises minorities to varying extents, with those previously recognised in the communist era remaining in better positions with their pre-existing networks of institutions. It has only been possible for the establishment of these institutions, recognised later under the 1993 Minority Act, to begin in the last two decades. In some places, the idea of MSGs taking over existing institutions met resistance from the local populations, especially parents. In other places, especially during the Orbán governments in the 2010s, such a takeover became a kind of escape route so that the school in the municipality would neither be closed, nor continue to be maintained by the state or the churches. It has also been a question of how these minority schools perform on a variety of indicators, and thus whether it is worthwhile for parents to enrol their children. In addition, some ‘institutions’, especially certain ‘research centres’ employing only one person, cannot be considered real institutions. To address the issues above, the major aim of the study is to introduce and analyse the complex process of institutionalisation, and to summarise and evaluate its experiences, especially with regard to the impact of these institutions on the linguistic, cultural and educational rights of minorities.
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Bakhoum, Dina Ishak. "Egypt’s Coptic Museum: From Patriarchal to National." In The Art of Minorities, 181–204. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0009.
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This chapter traces the most significant episodes of the Coptic Museum’s history and argues that the museum was not founded as a ‘minority’ museum but rather as an archaeological museum holding valuable religious Coptic art. Its foundation aimed at demonstrating that Coptic material culture had equivalent value in Egyptian history to Pharaonic, Greco-Roman and Islamic arts, which in the late nineteenth and early twentieth centuries already had their own museums. Unlike other museums, however, the Coptic Museum was established under the aegis of the Patriarch, giving it an unconventional status within Egyptian heritage owing to the religious nature of its initial collection. The essay presents the museum’s foundation during the early nineteenth century and discusses the context of its nationalization and transformation into a public domain museum (1931) as well as its expansion (1947).
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Micheli, Francesca De. "Minority Audience: The Oudayas Museum and the Manufacturing of Elitism in Moroccan Museums1." In The Art of Minorities, 72–86. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0004.
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This chapter focuses on the relationship between Moroccan museums and their relationship with local visitors. Drawing from original interviews, historical archives and the Moroccan museum context, it investigates how a postcolonial country like Morocco translates a colonial museum apparatus into public national heritage, destined to all citizens. The chapter’s analysis is based on an exhibition held at the Oudayas Museum in Rabat in 2003, as well as interviews with residents of the kasbah surrounding the museum. It highlights a slew of social, cultural, and economic issues linked to symbolic capital and local perception. The chapter shows the need for the Moroccan museum sector to re-think museums in local terms as a pathway toward cultural democratisation.
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Eccarius-Kelly, Vera. "‘Do I Even Exist?’ Kurdish Diaspora Artists Reflect on Imaginary Exhibits in a Kurdistan Museum." In The Art of Minorities, 241–67. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0012.
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In the MENA region state-sponsored cultural institutions such as museums often advanced a unified story of nationhood rather than to account for diverse ethno-linguistic and religious communities such as the Kurds. Visiting museums, Kurds have encountered deep silences, distortions and complete omissions of their lives. During the Baathist regime in Iraq, which controlled the country after 1968, national museums served to enhance the state’s legitimacy. Modern Turkish museums perpetuate a nationalistic narrative that discriminates against ethnic Kurds. To counter colonial and repressive narratives, diaspora Kurdish artists now articulate the need for alternative knowledge production. In this chapter, ethnographic interviews focused on curating Kurdish museum exhibits offer insights into how diaspora Kurdish participants frame their identities. The planned Kurdistan Museum in Erbil is at the center of Kurdish diasporic critique. Cultural activism among Kurdish diaspora artists, not unlike political consciousness-raising, represents a form of resistance to the way in which Kurdish experiences have been manipulated by hostile power structures.
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Wakefield, Sarina. "Museums, Migrant Labourers and Ethnic Spatiality in the United Arab Emirates." In The Art of Minorities, 111–29. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0006.
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This chapter explores the relationship between museum spatiality and migrant status in the United Arab Emirates (UAE). Despite accounting for more than 80% of the resident population and having a long and visible presence in society, migrant labourers continue to remain mostly excluded from official museum narratives and they rarely visit collections. Rather, they prefer to gather outside museums, where they meet to socialise and take pictures. This chapter draws attention to the importance of the outside space for museum research. It also highlights the formidable exhibitionary power of museums, showing how they can be used as stages of alternative heritage practices and discourses for a population that remains marginalised, all the while showcasing its social stigma. As they socialise outside museums, migrant labourers become exhibits for incoming and outgoing visitors; the uneasy reminders of the social and economic discrepancies existing in the UAE.
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Kazdaghli, Habib. "Is Tunisia Ready for a Jewish Museum? Perspectives on the Current Debates Surrounding the Status of Jewish History in My Country." In The Art of Minorities, 227–40. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0011.
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This chapter charts the genesis of the Museum of Jewish-Tunisian Heritage in Tunis. Jewish culture has been exhibited in Tunisian museums since the beginning of the French Protectorate in 1881. Until recently, however, the idea of a museum entirely dedicated to Jewish-Tunisian history and culture was simply unconceivable in Tunisia, as Judaism was solidly understood as being tied to Israeli politics. Kazdaghli explains how the Jewish-Tunisian community, domestically and overseas, have seized the so-called ‘Jasmine Revolution’ and the democratic ideals it purports to push for the establishment of a joint-venture Museum of Jewish-Tunisian Heritage in Tunis. In a context of new democratic achievements, the museum project is publicised as an instrument of social change, a partner to the democratic transition. However, the chapter shows that such a project proves a difficult exercise as the organising committee navigates cultural taboos surrounding Judaism in Tunisian society, as well as conflicting patrimonial opinions within the community itself, in Tunisia and within the diaspora.
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Boum, Aomar. "Branding Convivencia: Jewish Museums and the Reinvention of a Moroccan Andalus in Essaouira." In The Art of Minorities, 205–24. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0010.
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Exploring the transformation of the Simon Attia Synagogue into a museum of memory (bayt al-dhakira) (house of memory) and research centre for the study of Judaism and Islam in Essaouira, this chapter shows an attempt to institutionalise new segments of Jewish history and bring them to the broader Moroccan public. Amongst Arab countries of the MENA region, Morocco provides a rare example of a nation that displays and protect its Jewish heritage. In the face of mass emigration from Jewish citizens to Israel and Europe, private investors and the Moroccan government have engaged in multiple initiatives to preserve the cultural heritage of this population since the 1990s, engaging in the branding of a Moroccan ‘convivencia’ (coexistence), the medieval concept of tolerance and interfaith dialogue that existed in Muslim Spain. Until recently, ‘convivencia’ had mainly revolved around the programming of festivals and the creation of cultural museums.
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De Micheli, Francesca. "4 Minority Audience: The Oudayas Museum and the Manufacturing of Elitism in Moroccan Museums." In The Art of Minorities, 72–86. Edinburgh University Press, 2020. http://dx.doi.org/10.1515/9781474443784-009.
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Pieprzak, Katarzyna. "Afterword – Minoritised Memory and Affect in a Museology of Disaster." In The Art of Minorities, 299–307. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0014.
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This afterword introduces the theoretical concept “museology of disaster” to describe the dynamics of state-administered memory through controlled spaces of circulation in museums, and shows how many of the case studies presented in the book disrupt this museology in order to stage the (re)appearance of minoritised political subjects. The chapter also proposes attention to affect as a methodology of research and practice for the study of minorisation and inclusion in museums. Drawing on a workshop led by the author in Morocco in 2018, the chapter addresses how affect theory might offer new entry points into the histories of minoritised collectivities and go beyond paradigms centered on the recuperation of oppressed authenticity to imagine and produce reparative futures.
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Rey, Virginie. "Introduction – Engaging with ‘Minority’ Voices: Cultural Representation in Museums of the Middle East and North Africa." In The Art of Minorities, 1–30. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0001.
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This chapter offers a theoretical introduction to the question of cultural representation in museums of the Middle East and North Africa. It covers topics relating to museology, heritage development, inclusion and exclusion and community activism.
Conference papers on the topic "Museums and minorities"
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Wang, Jun, Rongkan Fan, and Jianhou Gan. "Research on Digital Museum of Yunnan Ethnic Minorities' Resources Based on Network." In 2013 International Conference on Information Science and Cloud Computing Companion (ISCC-C). IEEE, 2013. http://dx.doi.org/10.1109/iscc-c.2013.111.
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