Journal articles on the topic 'Social history Museums'
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1
Burgess, Chris. "The Development of Labor History in UK Museums and the People's History Museum." International Labor and Working-Class History 76, no. 1 (2009): 26–35. http://dx.doi.org/10.1017/s0147547909990044.
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Labor history in UK museums is constantly in a state of change. A hundred-year-old tradition of displaying and interpreting the history of the common people has seen a shift from the folk life museum to a much more all-encompassing model. The academic trend for and acceptance of working-class history began this process, and museums followed, albeit at a much slower pace. Young curators actively involved in the History Workshop, Oral History, and Women's History movements brought their new philosophies into the museum sphere. This internally driven change in museums has been matched with demand for change from above. Museums have been given a central role in the current Labour government's wide-ranging strategies to promote an understanding of diversity, citizenship, cultural identity, and lifelong learning as part of a broader social inclusion policy. The zenith of this plan would be a museum devoted to British national history, though whether this will take place is yet to be seen. The transformation of the People's History Museum makes an interesting case study. The museum, originally an institution on the fringes of academic labor history and actively outside the museum community, is now at the forefront of labor history display, interpretation, textile conservation, and working-class historical research.
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Abbasov, Iftikhar B., and Christina Lissette Sanchez. "Design features of the Inca museum of culture." International research journal of engineering, IT & scientific research 6, no. 5 (August 19, 2020): 1–12. http://dx.doi.org/10.21744/irjeis.v6n5.970.
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The paper deals with the development of a design concept for a museum of Inca culture in Ecuador. The current trends in the organization of historical museums in Latin America are presented. An overview of the graphic support of the Latin American museums of culture, archeology, and history is made. The historical foundations of the Museum of Inca culture are presented, the iconography of the Inca civilization of various periods is analyzed. The current state of the museum, the history of its foundation, prerequisites for creating a new brand are described. Associative graphic images for creating a new logo for the museum were considered, corporate colors were substantiated, and components of the brand were developed. This will strengthen the museum's brand and increase its social significance for the popularization of the Inca culture.
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de Szegheo Lang, Tamara. "The Explosion in Grandma’s Attic, the Cabinet of Curiosities, and Chance Encounters at the GLBT History Museum." Journal of the Canadian Historical Association 26, no. 2 (August 9, 2016): 83–110. http://dx.doi.org/10.7202/1037227ar.
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This article proposes that objects might be instrumental in museum exhibitions that promote critical thinking around issues of human rights and social inequity. Objects have the potential to present histories that have been marginalized for far too long and to get away from rehearsed narratives, while also engaging the visitor through emotional connection — making the visitor care about the histories that are being presented. In looking at the GLBT Historical Society Archives and History Museum in San Francisco, this article claims that new museums that grow out of community-based archives might provide the opportunity for the kinds of critical engagements with objects that national-scale museums that attempt to address social problems often do not have. Specifically addressing the GLBT History Museum’s inaugural exhibit, “Our Vast Queer Past,” this article argues that the organization of objects on display, greatly influenced by their archival roots, gives viewers the opportunity for chance encounters with histories that come to matter to them.
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Borges, Priscila Lopes d'Avila. "Museu Imperial: narrar entre as reticências da memória e as exclamações da História." Revista Discente Ofícios de Clio 5, no. 8 (October 14, 2020): 187. http://dx.doi.org/10.15210/clio.v5i8.19023.
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O presente trabalho propõe a análise dos discursos produzidos na visita guiada do Museu Imperial (Petrópolis-RJ), bem como o estudo de elementos materiais da exposição permanente da instituição. A composição hegemônica formulada pelo museu, como retrato da sociedade oitocentista, promove silenciamentos ensurdecedores acerca de temas sensíveis da história do Brasil, restringindo a percepção dos visitantes. O artigo indica alguns desafios do uso pedagógico de museus históricos. Em seguida, apresenta dados coletados em visitas observadas em pesquisa de campo, entre os anos de 2017 e 2018, com o objetivo de esclarecer a natureza hegemônica das narrativas do setor educativo e da exposição permanente do museu. Finalmente, aborda dificuldades cognitivas do público escolar, decorrentes da atual relação social com o tempo, no uso do patrimônio material e memória coletiva reforçada por museus históricos, superando as fronteiras expográficas.Palavras-chave: Ensino de história; Museus históricos; Educação museal; Museu Imperial.Abstract The present article proposes an analysis of the speeches produced in the guided tour of the Museu Imperial (Petrópolis-RJ), as well as the study of the material elements of the permanent exhibition of the institution. The hegemonic composition formulated by the museum, as a portrait of 19th century society, promotes deafening silences about sensitive themes in the history of Brazil, restricting the perception of visitors. The article indicates some challenges of the pedagogical use of historical museums. After that, it presents some data collected in visits observed in field research, between the years 2017 and 2018, in order to clarify the hegemonic nature of the narratives of the museum's educational sector and permanent exhibition of the museum. Finally, it approaches cognitive difficulties of the school public arising from the current social relationship with time, in the use of material patrimony and collective memory reinforced by historical museums, overcoming expographic boundaries.Keywords: History teaching; Historical museum; Museum education; Museu Imperial.
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TAYANÇ, Mehmet, and Hasan YENİÇIRAK. "Toplumsal Hafızanın Taşıyıcı Mekânı Olarak Müzeler." MSGSÜ Sosyal Bilimler, no. 25 (May 31, 2022): 11–19. http://dx.doi.org/10.56074/msgsusbd.1123707.
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The memory of societies has always been built over space and transferred to the next generation. These spaces sometimes appear as monuments, squares, or museums. In addition to their traditional roles in preserving history and historical artifacts, museums have taken on new roles, such as the re-creation of social memory. The aim of this paper is to show how museums shape today’s reality by re-presenting the past. The paper consists of three parts. First, discussions on what social memory is and what kinds of functions it has in building space are presented. Second, the phenomenon of social memory taking root in space is explored. The roles of space in creating identity, making history, and inventing tradition are explained. Third, analysis of the role of museums as places of memory in the reproduction of social and cultural norms is undertaken.
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Komova, О. "DIRECTIONS OF REFORMING THE MUSEUM SECTOR IN EUROPE: EXPERIENCE FOR UKRAINE." Вісник Київського національного лінгвістичного університету. Серія Історія, економіка, філософія, no. 26 (January 9, 2023): 11–23. http://dx.doi.org/10.32589/2412-9321.26.2021.269853.
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The article research the main problems of the Ukrainian museum sector, analyzes museum reforms in the EU-member states over the last 20 years, and suggests the major vectors of museum reform in Ukraine based on the best practices of the Western European museology. The article deals with the forms and methods of activity of the museum institution within the framework of this action on successful dialogue with the public, effective use of information technologies. Communication capabilities of museums are related to their ability to communicate information with real objects directly or indirectly. The foundationof the communicative work of the museum is its foundations since the exhibition, and the educational and communicative projects organized on its basis are impossible without scientifically attributed and carefully preserved collections. Accordingly, the most effective channel of museum communication remains the exposition of the museum.Along with traditional forms and tools of museum communication, such as exhibition and exhibition, educational and educational, publishing, holding scientific conferences, the presentation of museums in the media, the new ones, connected with the development of modern information technologies, become especially important. These include museums’ websites, virtual museums, virtual tours and tours, QR codes, 3D technology, profiles of museums in social networks. It is the active development of the latter that will promote the broader communication of the museums with a broad audience of visitors, the expansion of inter-museum contacts, the integration of domestic museums into the world museum community. Methodological basis of work is a comprehensive and systematic approaches involving methods of analysis, synthesis, comparative history, descriptive methods and methods of «oral history». It was proved that at the present stage museums act as intermediaries in solving complex social problems and conflicts; projects, as an effective form of implementing social activity of museums, contribute to the adaptation of museums and the museum industry as a whole to modern conditions of socio-economic and cultural life, support and promotion of the best examples of creative museum practices in Ukrainе.
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Prianti, Desi Dwi, and I. Wayan Suyadnya. "Decolonising Museum Practice in a Postcolonial Nation: Museum’s Visual Order as the Work of Representation in Constructing Colonial Memory." Open Cultural Studies 6, no. 1 (January 1, 2022): 228–42. http://dx.doi.org/10.1515/culture-2022-0157.
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Abstract The study of colonialism and its legacies have mostly left the category of memory studies. However, for the colonised subject, what they experienced in the past inevitably forms their present and future discourse. This study focuses on how the museum’s visual order articulates colonial memory. By looking at the work of representation, in this context museum’s visual order, this study investigates how memory lives on through the circulation of colonial memory that the museum simulates. Museum’s visual order translates how colonial memory should be remembered and celebrated as public knowledge. Although research on how museums affect society knowledge have been part of both memory and museum studies, those two studies barely touch upon museums’ role in translating colonial memory in the postcolonial nation. Memory lives on through its circulation in media forms. However, premeditation and mediation are made possible through articulating social and cultural sites, in this case, museums practice. In order to achieve its purposes, this research investigates public museums in different parts of Java, Indonesia which have colonial memory objects. The combination of field observation, document review, and visual method followed by focus group discussion between stakeholders and researchers are conducted to propose the research conclusion. This research argues that the museum’s visual order translates interrelated colonial memories to be accepted as a part of the history that forms the “existence” of the nation and to be appreciated as public knowledge that is shared and forms the national identity. In doing so, museum practice roams into the area of political visibility which decides the legibility of the narrative related to colonial memory. In addition, as museum practice is basically a colonial legacy, this research concludes that it is essential to deconstruct the practice from the perspective of the colonised.
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Banjeglav, Tamara. "Exhibiting Memories of a Besieged City. The (Uncertain) Role of Museums in Constructing Public Memory of the 1992-1995 Siege of Sarajevo." Südosteuropa 67, no. 1 (March 26, 2018): 1–23. http://dx.doi.org/10.1515/soeu-2019-0001.
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Abstract The author examines museums in Sarajevo, the capital of Bosnia and Herzegovina, and their exhibitions dealing with the city’s most traumatic event in recent history—the 1992-1995 siege. She analyses how the interpretations and re-interpretations of history in these museums have been affected by social, political, cultural, and institutional contexts, and how various ‘memory entrepreneurs’ have played a role in building the public memory of the city’s siege. The analysis focuses on, but is not limited to, three museums: the History Museum of Bosnia and Herzegovina, the Tunnel Museum, and the War Childhood Museum. This discussion is supplemented by an analysis of other museums in Sarajevo that also demonstrate how the political deadlock in the country has affected the cultural sector. The author argues that the various museums to have opened in Sarajevo in recent years indeed have the potential to become crucial public spaces where authoritative notions of history, memory, and identity can be critically examined, negotiated, and contested.
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Suciu, Silvia. "De la muzeul-templlu la muzeul forum - evoluția muzeului în spațiul public." Anuarul Muzeului Etnograif al Transilvaniei 31 (December 20, 2017): 224–44. http://dx.doi.org/10.47802/amet.2017.31.12.
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A nu arăta o operă de artă înseamnă a nu-i permite să fiinţeze. (Boris Groys) Museums and their public haven’t always been as we know them today. In 17th century, curiosity cabinets (mirabilia) have been realized by nobles and aristocrats; the only public of these cabinets was the collector and his fellows, belonging to the same social class. The first museums as public institutions appear in 18th century, continuing to develop during 19th century, but their image and accessibility is very different from nowadays. The situation changes after the World War II, when appear a lot of theoretical studies about museums and their public. The Museum-Temple is transforming into Museum-Forum, where every member of the community must feel represented. In the second part of the article we realized a classification of the museums and a description of each specific class which form this cultural diversity: art museums, history museums, anthropology museum, natural history museums, technical museums, monetary museums. Historical and contemporary examples of museums can be found through this study.
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Moro Sundjaja, Arta. "An Adoption of Social Media for Marketing and Education Tools at Museum Industry." Advanced Science Letters 21, no. 4 (April 1, 2015): 1028–30. http://dx.doi.org/10.1166/asl.2015.5975.
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Museum as a cultural heritage of Indonesia must communicated the history to the community. Current trend of museums visitors is declining, however some museums had increased the number of visitors. The increase of visitors from Museum of Fatahillah caused by marketing tools development. The aimed of this paper is to determine factors that influence the perceived usefulness and perceived ease of use of social media so that museum management can adopt it to promotion and education activities. This paper propose several factors in adoption of social media at museum industry which are crucials for museum to increase the numbers of visitors.
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Povroznik, N. G. "WEB ARCHIVES IN RECONSTRUCTING HISTORY OF VIRTUAL MUSEUMS: POTENTIAL AND LIMITATIONS." Вестник Пермского университета. История, no. 4(51) (2020): 95–105. http://dx.doi.org/10.17072/2219-3111-2020-4-95-105.
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Web archives are repositories of unique sources on the history of the information society, including the cultural segment of the World Wide Web. The relevance of studying the web history of museum information resources refers to the need to understand the past and contemporary processes of the development of the museum's digital environment in order to more effectively build strategies for future advancement with a valuable impact on society. The article, for the first time, attempts to assess the information potential of web archives for studying the web history of virtual museums and discusses the limitations that prevent the reconstruction of their web history. Web archives are designed to observe web pages and web sites saved at a certain point in time; they analyze the structure and content of the museum web, interpret the visual aids and sections' titles, and track statistics of publication activity. Tracing changes in the role and significance of the digital environment in museum activities, as well as trends in the development of museums, and predicting future trajectories are possible based on the analysis of the dynamics of museums' web content. At the same time, the peculiarities of search engines in web archives, technical restrictions, incompatibility of modern software with earlier formats, limits on scanning information on the World Wide Web to save it, uneven preservation by domain zones in the Internet Archive, and the lack of specialized web preservation programs at national and regional levels restraint the possibility of a comprehensive study of the history of virtual museums. The author concludes that it is necessary to expand national web archiving programs in favour of a more detailed preservation of the cultural segment of the web as a digital cultural heritage, as well as the content of social networks and mobile applications, for future use by researchers.
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Anisimova, Margarita Vyacheslavovna. "The section of history and everyday life in the Russian Museum: establishment, development, and liquidation." Исторический журнал: научные исследования, no. 4 (April 2020): 108–17. http://dx.doi.org/10.7256/2454-0609.2020.4.33047.
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The subject of this research is activity of the section of history and everyday life of the State Russian Museum established in 1918. The department devised a new theme – history of everyday life and its visualization in museum expositions, which was natural development of the Russian historical science. Intended to preserve and actualize the history of everyday life of different social classes, it shared fate of multiple national museums of everyday life: exhibitions that tool place in the 1920s were cancelled; in the late 1930s, the collections were transferred to museums of different categories, such as the State Museum of Revolution, the State Museum of Ethnography of the Peoples of the USSR. However, the section of history and everyday life did not cease to exist, and in 1941 merged into the State Hermitage Museum as an independent structural department of the history of Russian culture. Leaning on the new archival sources, an attempt was made to elucidate the work of the department of history and everyday life along with its branches in conditions of difficult political situation in the country during the 1920s – 1930s. Initially, the primary task of the department consisted procurement of the funds with the items from nationalized manor houses; later in consisted in exposition of the collection; and then due to the absence of the unified state institution for regulation of questions of preservation of historical and cultural heritage, the activity was focused on preventing scattering of the collections. After the First Museum Congress in 1930, the museums were recognized as the means of political-educational propaganda, which let to countrywide stagnation of expositional and exhibition activity of the museums. The museums of history and everyday life, being the mixed type museums, were incapable of resisting new realities, and thus re-specialized into museums of history and art or liquidated completely.
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de Rosset, Tomasz F. "MIECZYSŁAW TRETER, CONTEMPORARY MUSEUMS." Muzealnictwo 60 (July 9, 2019): 103–7. http://dx.doi.org/10.5604/01.3001.0013.2802.
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In 2019, the National Institute for Museums and Public Collections in cooperation with the Państwowy Instytut Wydawniczy published the 1917 book by Mieczysław Treter titled Contemporary Museums as the first volume in the Monuments of Polish Museology Series. The study consists of two parts originally released in ‘Muzeum Polskie’ published by Treter in Kiev; it was an ephemeral periodical associated with the Society for the Protection of Monuments of the Past, active predominantly in the Kingdom of Poland, but also boasting numerous branches in Polish communities throughout Russia. The Author opens the first part of a theoretical format with a synthesized presentation of the genesis of the museum institution (also on the territory of the Polish-Lithuanian Commonwealth), to later follow to its analysis in view of its collecting and displaying character, classification according to the typical factual areas it covers, chronology, and territory (general natural history museums, general history ones, technological ones, ethnographic ones, historical-social ones, historical-artistic ones); moreover, he tackles questions like a museum exhibition, management, a museum building. In Treter’s view the museum’s mission is not to provide simple entertainment, neither is it to create autonomous beauty (realm of art), but it is of a strictly scientific character, meant to serve science and its promotion, though through this museums become elitist: by serving mainly science, they cannot provide entertainment and excitement to every amateur, neither are they, as such, works of art to which purely aesthetical criteria could be applied. The second part of Treter’s study is an extensive outline of the situation of Polish museums on the eve of WWI, in a way overshadowed by the first congress of Polish museologists, and in the perspective of the ‘museum world’ of the Second Polish Republic. It is an outline for the monograph on Polish museums, a kind of a report on their condition as in 1914 with some references to later years. Through this it becomes as if a closure of the first period of their history, which the Author, when involved in writing his study, could obviously only instinctively anticipate.
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Marselis, Randi. "Digitizing migration heritage: A case study of a minority museum." MedieKultur: Journal of media and communication research 27, no. 50 (June 27, 2011): 16. http://dx.doi.org/10.7146/mediekultur.v27i50.3325.
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Museums are increasingly digitizing their collections and making them available to the public on-line. Creating such digital resources may become means for social inclusion. For museums that acknowledge migration history and cultures of ethnic minority groups as important subjects in multiethnic societies, digitization brings new possibilities for reaching source communities. This article describes Web projects conducted at Museum Maluku in Utrecht, the Netherlands. The article focuses on the museum’s experiences with cross-institutional Web projects, since digitization of the museum’s collection was initiated through collaboration with major national heritage institutions. The article also discusses how source communities through digital participation can become involved in building cultural heritage. Based on the case study of the Museum Maluku, it is argued that in order to design an appropriate mode of user participation as well as a sense of ownership it is crucial to take memory politics of source communities into account.
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Voronko, Aleksandr N. "Petrograd museums as a tool for the revival of the metropolis. 1920s." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 18–24. http://dx.doi.org/10.30725/2619-0303-2021-2-18-24.
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The article analyzes the trends in the development of scientific, technical and scientific museums in Petrograd in the 1920s. On the example of three newly created museums: the Museum of Maritime Transport and Ports, the Trade Museum and the museum «North». The history of creation, structure and concepts, social role, contribution to the economic recovery of the city during the nep period are considered.
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Peterson, David. "The New Social History and Local Museums." Journal of American Culture 12, no. 2 (June 1989): 61–66. http://dx.doi.org/10.1111/j.1542-734x.1989.1202_61.x.
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Ferres, Kay. "Cities and Museums: Introduction." Queensland Review 12, no. 1 (January 2005): 1–4. http://dx.doi.org/10.1017/s1321816600003846.
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In September 2004, the Museum of Brisbane, Museums Australia and the Centre for Public Culture and Ideas at Griffith University hosted a symposium, ‘Cities and Museums’, at the university's Southbank campus. This event initiated a conversation among museum professionals and academics from across Australia. Nick Winterbotham, from Leeds City Museum, and Morag Macpherson, from Glasgow's Open Museum, and were keynote speakers. Their papers provided perspectives on museum policy and practice in the United Kingdom and Europe, and demonstrated how museums can contribute to urban and cultural regeneration. Those papers are available on the Museum of Brisbane website (www.brisbane.qld.gov.au/MoB). The Cities and Musuems section in this issue of Queensland Review brings together papers that explore the relationship of cities and museums across global, national and local Brisbane contexts, and from diverse disciplinary perspectives. The disciplines represented in this selection of papers from the symposium include social history, urban studies, literary fiction, and heritage and cultural policy.
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LIVEROVSKAYA, Tatyana, and Marina PIKULENKO. "SCIENCE AND SOCIETY INTERACTION IN NATURAL SCIENCE MUSEUMS IN USA." LIFE OF THE EARTH 42, no. 4 (November 25, 2020): 451–64. http://dx.doi.org/10.29003/m1774.0514-7468.2020_42_4/451-464.
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Currently, modern museums activity has not only common trends but features connected with national, social and state development. Using the example of the two oldest museums in Texas and Colorado (Museum of Natural Sciences in Houston, Texas, Museum of Natural History of the University of Colorado in Boulder, Colorado), the authors analyze the characteristic features of USA natural science museums formation as cultural and educational centers. The development of the American museum concept as a multifaceted processes of interaction integrator between scientific organizations with the widest segments of the population is also analyzed. The results of the museums work are summarized, features of their activity and emergence are emphasized. It allows Russian museum workers to adapt and apply the foreign experience under domestic conditions.
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Skrbo, Armin, Izet Masic, Tarik Catic, and Aziz Sukalo. "The History of Pharmacy in Articles Stored in Social Databases." International Journal on Biomedicine and Healthcare 10, no. 3 (2022): 101. http://dx.doi.org/10.5455/ijbh.2022.10.101-120.
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Background: For many years, pharmacy and medicine were inseparable sciences, so everything that was done in the field of medicine, that is, treatment, can be related to pharmacy. The history of pharmacy therefore also includes the history of medicine, at least until the 13th century, when pharmacy was officially separated from medicine. Objective: The aim of this study was: to describe the books and monographs that are available on the Internet, which deal with the study of the history of Pharmacy; and to show pharmaceutical history museums around the world and their unique collections of pharmaceutical artifacts. Methods: During the preparation of this paper, a descriptive method of analysis from the available literature was used. The analysis of available literature included professional books, monographs, articles and other literature available on online browsers. Results and Discussion: Today there are a large number of societies, academies, associations and foundations dealing with the history of pharmacy. Also, a lot of books, monographs and scientific papers published in on-line databases. The goal of each organization is the research of historical facts in the field of pharmacy and medicine that will be shared with professionals, but also persons who are not from the profession (doctors, librarians, archaeologists, archivists). A large number of museums have been opened for the history of pharmacy, and almost every developed country has such a museum. Such museums represent a national treasure, because they preserve the valuables of pharmacy from the territory of the country, as well as the world.
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Xiang, Yuhang. "A Study on the Development of Art Derivatives in Chinese Museums —Take the Beijing Palace Museum as an Example." Asian Journal of Social Science Studies 7, no. 7 (August 1, 2022): 17. http://dx.doi.org/10.20849/ajsss.v7i7.1238.
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With their history and culture, museums have become one of the most important choices for the cultural and artistic consumption of the public. The exploitation of art derivatives makes it possible to increase the visibility of museums. While promoting traditional Chinese culture and allowing the audience to experience the artistic atmosphere, art derivatives can also bring museums closer to the social public, better reflect and perform the social functions of museums. Only a very small number of museums in China are currently developing art derivatives, and most have no advantage of research and development. Among them, the Palace Museum in Beijing plays a good role as a model in the development, production and sales of art derivatives relative to other museums. In the course of this article, through the analysis of the research and development experiences of the art derivatives of The Palace Museum in Beijing, it summarizes and describes research and development models that are noteworthy for reference and study. It is hoped that this will inspire further museums in China to develop art derivatives.
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Quiñones Vilá, Claudia S. "What’s in a Name? Museums in the Post-Digital Age." Santander Art and Culture Law Review, no. 2 (6) (2020): 177–98. http://dx.doi.org/10.4467/2450050xsnr.20.015.13018.
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This article examines the recently proposed ICOM museum definition and its detractors in order to trace the history of museums and their social purpose as they move from a traditional past into a tumultuous present and uncertain future. As countries begin to reframe the role of arts and culture in shaping a world affected by a global pandemic, museums will need to address not only practical measures – such as social distancing guidelines and limited visitor numbers – but also how these institutions are situated within the greater social context. Technology is particularly useful for museums to share their collections with audiences and transcend geographical boundaries, and it also allows these institutions to reposition themselves as relevant within the ongoing cultural heritage dialogue and context. However, it is debatable whether online and digital offerings classify as museums. Even if there is no consensus on the textbook definition of museum, pinpointing common traits will help establish their evolution and role for current and future generations. Embracing digitization, virtual museums, and other non-traditional frameworks allows for a more expansive and inclusive conception of museums, taking into account their dual role: as custodians of public knowledge and spaces for education and development.
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Novikova, Alla V. "«Stigma» in museological discourse." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 100–105. http://dx.doi.org/10.30725/2619-0303-2021-1-100-105.
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The main purpose of the research is to trace the way of integration of the social concept of «stigma» in museology, to identify new directions of development of the theoretical aspects of this science from the point of view of the socio-cultural potential of the museum in overcoming stigmatization. The article provides a brief retrospective analysis of the history of the development of the museum’s social functions. The characteristic studies of domestic museum schools are revealed, and some dissertation works devoted to the problems of socialization of visitors in the museum are considered. The article analyzes the modern Russian museum experience in overcoming the stigma, and identifies the most vulnerable social groups in Russia with which museums actively interact. The author draws attention to the foreign museum experience of reducing social tension. In conclusion, the article defines the prospects for the development of theoretical research and practices of overcoming stigma by museum means.
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Kempf, Katalin, Beatrix Vincze, and András Németh. "Museumspädagogik im digitalen Raum und die Pandemiezeit ‒ ihre transitiven Prozesse und Rituale." Historia scholastica 8, no. 2 (December 2022): 145–70. http://dx.doi.org/10.15240/tul/006/2022-2-008.
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As a specific pedagogical transformation of the above-mentioned cultural anthropological approach, the article attempts to answer the questions motivated by museum pedagogy. They are: a) What transitional processes are evident in the world of traditional museums because of digitalisation in the informal processes of museum knowledge transfer? b) How do these processes affect the behaviour of museum visitors and the rituals of the museum visit itself? The topicality of the research to be presented is that museums closed because of the COVID pandemic have been permanently transformed into virtual space, which has fundamentally changed the range of museum content and their museum education programmes. Research complementing the topic analyses the websites of Hungarian museums and examines the main characteristics of virtual visitors (need-based information, search, and user activities) and changes in visitor behaviour. It analyses a) how visitor rituals develop, b) how specific elements of these specific transitional changes appear in cyberspace. The research intervals were Spring quarantine 2020, reopening in summer and closure period from autumn 2020 to spring 2021.
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Barkaszi, Zoltán, Oleksandr Kovalchuk, and Anastasiia Maliuk. "Interpretation of evolution as part of science popularization in natural history museums." GEO&BIO 2021, no. 21 (December 30, 2021): 13–24. http://dx.doi.org/10.15407/gb2104.
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The paper presents a brief review of the scientific and educational role of natural history museums, particular-ly in the field of interpretation of organic evolution. The scientific and social value of collections that are stored at natural history museums are highlighted. The history of interpretation and popularization of basic ideas of the theory of evolution are considered, as well as the perception of evolution by the society and vari-ous categories of museum visitors. Analysed are the main tools of interpretation available in natural history museums as well as basic principles of display of palaeontological specimens, particularly in dioramas as pe-culiar museum tools for interpretation. The main approaches to the interpretation of evolution are considered in the context of selection of interpretation methods and tools and in regard to the specifics of various groups of museum visitors. Minimum professional skills of interpreters who take part in exhibiting and educational ac-tivities of natural history museums are discussed. The possibilities of interpretation of evolution are shown on the example of the palaeontological exhibition of the National Museum of Natural History at the National Academy of Sciences of Ukraine (Kyiv, Ukraine). A brief description of the palaeontological display is given, particularly on the general principles of its structure and on examples of exhibited specimens that demonstrate the evolution of various groups of vertebrates (e.g. fishes and mammals). Dioramas of the palaeontological exhibition are presented, which are especially valuable visual tools of interpretation of evolution in the muse-um. The main issues of further existence and development of natural history museums are discussed in the context of their role as powerful research and educational centres, maintaining a high level of attendance by visitors, and involvement of the public in the activities of these museums in times of high competition of lei-sure offers by various entertaining facilities. The need for the modernization of earlier exhibitions using mod-ern interactive tools and visualization techniques in underlined in order to increase public interest and expand the pool of visitors.
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Krylovets, Mykola. "Social education of youth by means of museum pedagogy." Social work and social education, no. 1(6) (April 15, 2021): 164–75. http://dx.doi.org/10.31499/2618-0715.1(6).2021.234176.
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On the path of social transformations and processes of European integration in Ukraine, many measures are taken to reform certain areas of activity, rethink and implement new, more effective, forms of rationalization of public life. One of the innovative directions of this reform is the museum pedagogy introduction in the educational process, which necessitates the scientific study of its use as the subject of social and educational work with different categories of youth.
The article considers the possibilities of implementing the socio-cultural component of modern museums for various purposes in improving the educational process and social education of young people through museum pedagogy. The socio-cultural component is understood as the spiritual world created by mankind, which encompasses national, social, economic, political and other social relations and spiritual and cultural values developed by mankind throughout history, which influence people, shape their worldview, in particular, determine behaviour in relations with others. environment and among themselves. The socio-cultural component of the content of museums affects not only the cognitive side of students' self-knowledge but also contributes to the formation of ideas, values, self-esteem. During excursions in the museum, the mental, labour, moral, aesthetic, economic education of students is actively carried out. Through the knowledge and skills acquired in the museum, the knowledge of the world, history and culture of one's own and other people are deepened, the basis for theoretical judgments is created, the consciousness of the young personality is formed. Museum pedagogy has great opportunities to learn about new trends in modern science and modern research, to educate oneself as a researcher, analyst, to develop observation, the ability to make generalizations and predictions. Museum pedagogy helps not only to maximize the educational and cultural potential of museums but also allows graduates based on a system of acquired knowledge, skills and abilities to self-determine in a changing world, to continue education in the chosen field.
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Bondarets, Oksana. "Museums: Preserving Heritage, Comprehending Past, Forming Identity." NaUKMA Research Papers. History and Theory of Culture 4 (June 15, 2021): 106–12. http://dx.doi.org/10.18523/2617-8907.2021.4.106-112.
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Perception of museums as space of co-operation between public and collections is rethought constantly, with primarily taking into account a sociocultural situation. It is reflected on the specifics of the direction of activity and determination of the mission of different museums. Nowadays, scientists interpret the museum space as social space and regard museums as institutes of social memory (historical memory or cultural memory). Communication, interactivity, and participation are considered to be the main components determining the development of the modern museum. The aim of this study is to analyse the strategy of determination of priority directions of the museum activity and the place and role of museums in the processes of memory. Museums accumulate and translate the experience of a certain culture and the way they present this experience; it is a part of the complicated process of formation of the nation identity. Museum professionals often say that an important task now is to choose one and only line among the events and to create a common collective experience that in turn influences the self-identity of an individual. First, every museum must choose the educational strategy and define the priority directions of their activity. The sharpest discussions in Ukraine concern the direction of the national museums. If a museum considers the priority direction of the activity organization of leisure, then the question is whether it can have the status of national. The function of leisure is important but cannot be basic; in fact, the essence of the museum is the function of cognition. A special attention should be paid to the fact that a tendency of “walls without the museum,” that is the museum without traditional collections, now undergoes substantial changes. Such museums afterwards begin to complete their own collection. It is presently impossible to ignore such an important theme as the maintenance of the cultural heritage and digital transformation. Museums actively use multimedia technologies for the maintenance and popularization of the heritage. But a specific feature of the museum as an institution of storage, study, andtranslation of subject forms of culture has not been lost. Museum objects themselves are the basis of adaptive and inculturation possibilities of the museum. In the epoch of globalization, a museum can create optimal terms for the cultural identification. Presently our task is not consideration of certain historic events and their influence on forming the historic memory of the Ukrainian people. It is important to mark that potential of museums as grounds of proceeding in the national memory and Ukrainian identity considerable enough, but not exposed, and not only by regional museums. The study and use of experience of the creation of complex narratives on difficult questions of history in the museums of the world are important enough for Ukrainian museum professionals. Modern museums, while developing projects related to traumatic remembrances, questions of firmness, dialogue, problems of reconciliation in conflict periods of history, run into numerous problems but must not forget that these projects will assist a reflection among the public.
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Yang, Jing. "Football Museums: History, Identity, and Connection." International Journal of the History of Sport 34, no. 17-18 (December 12, 2017): 1872–82. http://dx.doi.org/10.1080/09523367.2018.1481048.
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Barić, Mislav. "Earthquake and the pandemic on top of old problems – work of the Croatian History Museum after the Zagreb earthquake of March 2020 and during the Covid-19 pandemic." Libellarium: časopis za istraživanja u području informacijskih i srodnih znanosti 13, no. 1 (August 26, 2022): 143–58. http://dx.doi.org/10.15291/libellarium.3472.
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Purpose. The aim of the paper is to present the work the Croatian History Museum (CHM) has done to preserve cultural heritage and the use of its digital strategy to present that work. This was applied in the CHM’s plan as the digital editorial board was formed to oversee and curate the Museum’s presence on the social media and the internet. Approach/methodology. The paper showcases the increase of online visitors and users that consume cultural heritage on online platforms through the examples of virtual exhibitions, social media posts and gathered data. The maintenance of a specifically targeted virtual identity of a museum helped in this regard, which is evident in the increase of online visitors. Data was gathered and interpreted by using Google Analytics and Instagram analytical data by the author throughout 2020, and the data suggest that digital museums have a lot of potential, in particular with modern online users. Findings. The data presented in the paper shows that the online visitors were interested in the work of the Museum and that the promotion thorough social media generated online visitors as much as a real-life exhibition. It shows the interest in digital museums and the promotion of museum work online. Research limitations. The author recognizes that the data presented in the paper is gathered only from one source as the author could not access data from other similar institutions which would have been used for comparison. Originality/value. Through empirical examples, the paper showcases how useful a virtual museum can be in raising interest in cultural heritage. This is especially important in times when people cannot attend large social gatherings. Also, the paper describes the events and the work guidelines given at times of crisis such as earthquakes, which the author witnessed himself and participated in.
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Echarri, Fernando. "The metamuseum as the future of the museum institution?" Museologica Brunensia, no. 1 (2022): 4–9. http://dx.doi.org/10.5817/mub2022-1-1.
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Throughout its history, the museum has undergone a great evolution in the sense that it has shifted its weight from the column of objects to the column of people. Today, museums face many challenges in an increasingly fast-paced and changing society, where the personal, the social, diversity and inclusion are advancing forcefully. Taking into account the necessary adaptation of the museum to social requirements, this article analyzes the situation of the museum institution with foresight for the future to conceptualize the so-called metamuseum, capable of reflecting with itself in real time and with characteristics such as resilience, interdisciplinarity, adaptation, openness, independence and delocalization. Tise article proposes the metamuseum as a fifth generation of museums, where the interaction with objects is transformed into a successful experience where the needs and expectations of individuals and social groups are fully satisfied.
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Ruffins, Fath Davis. "Grassroots Museums & the Changing Landscape of the Public Humanities." Daedalus 151, no. 3 (2022): 108–23. http://dx.doi.org/10.1162/daed_a_01932.
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Abstract This essay is a brief history of the development of “grassroots” or community-based museums since the 1960s. These museums pioneered new kinds of relationships with their communities that were far different from older museums and, in the process, helped fundamentally enlarge and diversify public humanities. The essay begins with a focus on three museums founded in 1967: El Museo del Barrio in New York City, the Anacostia Neighborhood Museum (Smithsonian) in Washington, D.C., and the Wing Luke Museum in Seattle. Over the last fifty years, these museums have grown and stabilized and newer, bigger museums with similar goals have developed. These changes suggest that one future for humanities scholars is to become involved in new publics outside of the academy who are seeking humanistic analysis of their distinctive, previously marginalized, community stories.
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Zbuchea, Alexandra, and Loredana Ivan. "Painting Shades of Gray: How to Communicate the History of Communism in Museums." Romanian Journal of Communication and Public Relations 17, no. 2 (July 1, 2015): 21. http://dx.doi.org/10.21018/rjcpr.2015.2.14.
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<p>Communication of sciences / arts lies at the core of a museum public activity. It is a special type of communication, meant to make the collections and the domain of the expertise of the museum accessible to a wide public in order to fulfill the special cultural and social role that museums have in the contemporary society. This cannot be achieved without the cooperation of visitors, as well as the museum stakeholders. For fruitful relationships, museums have to design their activity and public offer taking into account the characteristics as well as the interests of various segments of its audience. The present paper discusses the prerequisites for a successful museum exhibition. Special attention is given to designing an effective exhibition on the history of communism. By investigating the profile of the potential visitors for such an exhibition, the paper draws a framework to be considered when designing it. The discussion is timely, since in the last few years there are discussions and initiatives related with the establishment of a museum of communism.</p>
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Witek, Michał. "Historia, naród i nacjonalizm. Ewolucja misji chińskich muzeów w kontekście współczesnej „gorączki” muzealnej w Chińskiej Republice Ludowej." Prace Kulturoznawcze 23, no. 2 (November 7, 2019): 183–211. http://dx.doi.org/10.19195/0860-6668.23.2-3.11.
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History, nation and nationalism: The evolution of the mission of Chinese museums in the context of the contemporary museum “fever” in the People’s Republic of ChinaThe peculiar “museum boom” in the People’s Republic of China PRC attracts much attention from Western researchers. This phenomenon is undoubtedly linked to the cultural shift towards national and cultural heritage promoted by the authorities, which in turn is an important element of the nationalist political ideology. This policy is becoming more and more important in the last three decades of the reform and opening-up period. Museums, like the concept of a “nation” and the nationalist ideology, came to China from the West at about the same time and in a similar political and intellectual context, which meant that the museums quickly became entangled in politics and propaganda. This situation, strengthened even further in the communist period, led to the creation of a very specific form of state-controlled museology. Nowadays, museums and associated thematic parks play a key role in the strategy of developing the culture of the Chinese government, the project of “management and social order.” In this context, these institutions form part of an important mission entrusted to them by the party — the mission of building a new cultural and historical narrative serving the needs of the “new China.” The mission of various types of museums in contemporary China is shaped by overlapping political, economic, ideological and even moral dimensions. It is an important element of the soft power of modern China, which is also an important global symbol of China, attracting millions of foreign tourists a year. In this dimension, the museum’s mission is significantly expanded, it becomes a tool for building an international position and prestige. The aim of the article was to look at the history of Chinese museums in the 20th century in the context of continuity and changeability of the missionary dimension of their functioning, and to conduct a critical analysis of this missionary dimension in the unique conditions of “capitalism with Chinese characteristics” in the contemporary PRC.
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Zagorodniuk, Igor. "Zoological museums and mammal collections in Kyiv for the last two centuries: history, values, and prospects." GEO&BIO 2022, no. 22 (June 30, 2022): 37–62. http://dx.doi.org/10.15407/gb2205.
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The history of formation, development, and transformations of mammal collections in Kyiv in the 19th–21st centuries is considered. A description of the history of formation of key natural history museums and the pres-ence in them of scientific collections of mammals are presented. Descriptions are given by periods and institu-tions, including old museums that has existed since the late 20th century. Among the descriptions are historical collections that has existed since the first half of the 20th century (including museums of Kyiv Polytechnic In-stitute, Ukrainian Scientific Society, Institute of History of Material Culture, and Pedagogical Museum) and collections that disappeared during World War II (museums of Kyiv State University and Ukrainian Agricul-tural Academy). The second part of the review is about modern museum collections that exist in such institu-tions as Kyiv National University (KNU), National Museum of Natural History (NMNH), and two museums (anatomical and forest birds and mammals) at the National University of Life and Environmental Sciences (NUBiP), as well as collections at the Institute of Geological Sciences (IGS) and the Institute of Zoology (IZAN) of the NAS of Ukraine. Additionally, brief information about famous museologists (taxidermists, researchers, collectors, and heads) as well as information about catalogues and other reviews of mammal collections are given. The details of migration of the collections are analysed, in particular as a result of social and military conflicts, due to the closure, merger, and status change of institutions. Despite the great risks of losing the col-lections, they had been saved repeatedly thanks to the care of museum workers and scientists. The NMNH is the leader by the volume of collections, among which the collections originally deposited in KNU, IZAN, and NUBiP occupy a special place. The prospects of further existence of the collections in their current state and the importance of supplementing the traditional criteria of their value with new ones that will meet the new tasks of faunal, morphological, biogeographical, and phylogenetic research are considered. Materials suitable for 3D morphological and genetic analyses are important among such new challenges.
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Kent, Christopher, and Gaynor Kavanagh. "Museums and the First World War: A Social History." Albion: A Quarterly Journal Concerned with British Studies 27, no. 1 (1995): 169. http://dx.doi.org/10.2307/4052728.
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Frankland, N. "Museums and the First World War, a Social History." Journal of the History of Collections 7, no. 1 (January 1, 1995): 126–27. http://dx.doi.org/10.1093/jhc/7.1.126.
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Dube, Tomothy, and Gaynor Kavanagh. "Museums and the First World War: A Social History." Journal of Military History 61, no. 1 (January 1997): 181. http://dx.doi.org/10.2307/2953945.
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Kirana, Ayu Dipta. "REPRODUKSI NARASI TENTANG KEPAHLAWAN SOEHARTO: STUDI REPRESENTASI DI MUSEUM H.M. SOEHARTO." SASDAYA: Gadjah Mada Journal of Humanities 3, no. 2 (October 3, 2019): 120. http://dx.doi.org/10.22146/sasdayajournal.50347.
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The museum have the vision to become a media with the message and knowledge to share with a visitor. The vision of museum could be knowledge of museums representing national identity, culture, history, or biography of a public figures. The representation from one of a famous figure in Indonesia could we see in museum called Museum H.M. Soeharto. These articles aim to discover how the museum will work on Sang Bapak’s representation in the museum’s narration which are shown not only by a very lengthy text display but also on the attribute or object that scattered around in the museum’s yard. A whole object collection in museum will work based from the vision and aim of the museum. In the museum context, it called musealisation. It means that all the object collections are separated from their social context in real life then it enters the context of the museum so it will work based from the story or vision that made by what curator want and re-create the hero’s narration of Soeharto.
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Liverovskaya, Tatyana, and Marina Pikulenko. "THE CALIFORNIA ACADEMY OF SCIENCES AS A PRIME EXAMPLE OF THE AMERICAN MUSEUM." LIFE OF THE EARTH 43, no. 2 (June 8, 2021): 202–16. http://dx.doi.org/10.29003/m2026.0514-7468.2020_43_2/202-216.
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The article is dedicated to one of the largest museum centers of natural history in the world - the California Academy of Sciences (San Francisco, USA), which is, since its founding in 1853, both a research and scientific and educational organization. The California Academy of Sciences, in its current version, presents a prime example of the development of basic museum’s concepts in USA: guardianship, corporate museum, museum communication, achieving the goals of sustainable development of society, the involvement in science the population on the basis of the system “STEM-education” (Science, Technology, Engineering Mathematics). The article analyzes the history and modern activities of the museum in terms of exhibition features, scientific and educational practice. Architectural, artistic and engineering solutions, features of internal infrastructure, themes, content and design of the exhibition complex reflect the stated national mission to "explore, explain and sustain"), in accordance with the implementation of the declared environmental concept of sustainable development (fighting global climate warming, the development of technologies of energy conservation, cleanliness and waste of production, etc.). On the basis of our own museum observations, analysis of literary data, we can conclude that museums as social institutions and interactive technologies used in the educational process are most suitable for the task of introducing the widest range of citizens to science and culture. The example of the California Academy of Sciences provides important guidelines for the development of museums in our country.
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Berger, Stefan, Anna Cento Bull, Cristian Cercel, Nina Parish, Małgorzata A. Quinkenstein, Eleanor Rowley, Zofia Wóycicka, Jocelyn Dodd, and Sarah Plumb. "Reports." Museum Worlds 6, no. 1 (July 1, 2018): 112–24. http://dx.doi.org/10.3167/armw.2018.060109.
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War Museums and Agonistic MemoryWithin the EU-Horizon-2020-funded project Unsettling Remembering and Social Cohesion in Transnational Europe (UNREST),1 one work package (WP4) analyzed the memorial regimes of museums related to the history of World War I and World War II in Europe. An article by Anna Cento Bull and Hans Lauge Hansen (2016) entitled “Agonistic Memory” provided the theoretical framework for the analysis. Drawing on Chantal Mouffe’s work (2005, 2013), the authors distinguish three memorial regimes: antagonistic, cosmopolitan, and agonistic.Unexpected Encounters: Museums Nurturing Living and Ageing WellAs the world’s population ages, how can museums nurture living and aging well? The conference Unexpected Encounters: Museums Nurturing Living and Ageing Well, organized by the Research Centre for Museums and Galleries (RCMG) from the School of Museum Studies, University of Leicester, set out to interrogate this question, and invited conference delegates to consider how museums unconsciously make assumptions about older people and perpetuate the dominant societal view of aging as a “problem.”
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Sevastyanov, Alexander V. "From the history of museum work in Crimea: Activities of the Russian Society for the Study of the Crimea — Society for the Study of the Crimea (1922–1932)." Issues of Museology 13, no. 1 (2022): 39–56. http://dx.doi.org/10.21638/spbu27.2022.103.
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The article deals with the museum direction in the popularization and research activities of the Russian Society for the Study of Crimea — the Society for the Study of Crimea against the background of the active development of the local history movement in the USSR in the 1920s and early 1930s. Three main forms of cooperation between the public scientific organization and the museum institutions in the region are traced: the participation of the Society members in the work of museums, and in creating new museums of local history (in Alushta and Kerch); publications of employees of Crimean museums about the profile work of institutions on the pages of the Society’s printed organ — the scientific journal “Krym”; author’s methodological articles of members of the Society on museum topics on the pages of the journal “Krym” (K.E.Grinevich, V.G.Opalov). Consideration of the plots of cooperation between amateur local historians, professional historians, archaeologists, ethnographers and museum workers allows us to form a comprehensive picture of the atmosphere and moods that were decisive in the scientific and social movement of the first decades of Soviet power. The dynamics of local history initiatives, the change of priorities in popularizing work helps to trace the patterns of transformation of the local history movement by the beginning of the 1930s. This was fully reflected in museum work, particularly in the leveling of any creative independence of museum teams and their incorporation into the structure of state ideological apparatus. This led to a crisis in the local history and museum movement and contributed to the unleashing of harassment and repression against local Soviet historians and museum workers, both at the all-Union and regional levels.
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Manikowska, Ewa. "Museums and the Traps of Social Media: The Case of the Auschwitz-Birkenau Memorial and Museum." Santander Art and Culture Law Review, no. 2 (6) (2020): 223–50. http://dx.doi.org/10.4467/2450050xsnr.20.017.13020.
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In this article I discuss both the recent threats as well as opportunities posed by social media to the activities of museums, taking into account social media’s importance as an evolving space of both social outreach and social activism. Recalling the controversies around the U.S. and UK museums’ social media responses to George Floyd’s death, I argue that museums run the risk of politicization and entanglement in controversial issues which are not necessarily linked to their profile and mission. I analyse museums’ social media guidelines, good practices, and mission statements, and posit that they play a fundamental role in integrating the new realm of the Web 2.0 into traditional museum activities. My main case study and example of good practice is the Auschwitz-Birkenau Memorial and Museum. It has constantly embedded general ethical and educational principles and guidelines of Holocaust commemoration and education into its more than 60-years’ experience in dealing with and taming political and cultural controversies surrounding this memory site of universal importance, and this embeddedness lies at the core of its social media activity. Defined as an “online community of remembrance”, it consists of well-thought-out initiatives which aim at informing the public about the everyday history of the camp, involving itself in the current commemorations and anniversaries, and rectifying simplifications and misinformation about Auschwitz and the Holocaust. I also analyse the fundamental role played by the official social media profiles in managing the crisis which arose at the beginning of 2018 with the amendment of the socalled “Holocaust Law” in Poland.
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Lazzeretti, Luciana, Andrea Sartori, and Niccolò Innocenti. "Museums and social media: the case of the Museum of Natural History of Florence." International Review on Public and Nonprofit Marketing 12, no. 3 (May 17, 2015): 267–83. http://dx.doi.org/10.1007/s12208-015-0136-5.
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Mulyana, Eldi, Alni Dahlena, and Slamet Nopharipaldi Rohman. "Strengthening Social Studies Learning Sources through Culture And History Of Yogyakarta Ulen Sentalu Museum." Journal Civics and Social Studies 6, no. 1 (June 6, 2022): 9–15. http://dx.doi.org/10.31980/civicos.v6i1.1600.
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AbstractThe existence of culture and history in the museum as a place to store a collection of historical objects often gives the impression that the museum is an ancient, dark and unkempt building. Meanwhile, the new paradigm in museum management is that museums are no longer just a place to store historical objects, but need to present collections in attractive packaging so that visitors are interested in coming back to the museum. This research method is a qualitative method with interview data collection techniques, observation and documentation studies. Data analysis techniques include data collection, data presentation, data reduction and data verification. The results of this study are (1) the cultural and historical values of the ulen sentalu museum in attaching existing philosophical values, (2) cultural and historical values related to the rules of conduct in the museu ulen sentalu used as a source of social studies learning. Thus, it can be used as culture and history contained in the Ulen Sentalu museum and used as a source of social studies learning as part of educational literacy.Keywords : Ulen Sentalu Museum, Culture and History, Social Studies Learning Resource
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Subotic, Jelena. "Scholars and the Politics of International Art Restitution." Contemporary European History 32, no. 1 (January 23, 2023): 33–37. http://dx.doi.org/10.1017/s0960777322000613.
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Almost every week brings news of another major European museum agreeing to return looted art. Since the 2000s we have grown somewhat accustomed to the headlines describing a ceremonial return to its original owners of a painting looted in the Holocaust, a process that took decades to develop and was initially met with considerable resistance in the art world and in the countries where this art was displayed.1 In the past few years, however, building in part on the perceived success of Holocaust art restitution but also on the increased visibility and impact of national and global social movements demanding racial justice and institutional decolonisation, major international museums have come under ever stronger pressure to return art looted as part of colonial occupations. Perhaps the most organised of the current campaigns is the campaign to return the so-called ‘Benin Bronzes’ – a vast collection of various artifacts looted from the Kingdom of Benin (in today's Nigeria) and dispersed across major international museums, most prominently the British Museum in London, the Ethnological Museum in Berlin, and the Musée du quai Branly in Paris, among others. Since 2020, a number of museums have pledged to return their holdings of Benin Bronzes and restitute them to Nigeria, where a major new museum is being built to display them in Benin City. All of this activity has also reenergised perhaps the most famous case for restitution – the movement to return the Parthenon ‘Elgin’ marbles from the British Museum to the Acropolis in Athens.
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Hoffman, Rachel. "The Collector's Unconscious: Innocence and Culpability in Field Research." History in Africa 21 (1994): 339–47. http://dx.doi.org/10.2307/3171893.
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During February of 1987 the National Museum of Mali in Bamako and the Fowler Museum of Cultural History at UCLA began a collaborative project to study and document social institutions that support weaving and associated technologies in Mali, and to collect examples of locally-produced textiles for each of the two museums. Claude Daniel Ardouin, Director of the National Museum of Mali until 1987, defined a textiles collection project as part of what he conceived to be the National Museum's mandate to protect Mali's cultural heritage, a heritage in which the production of textiles plays a significant role. Ardouin quite literally reinvented Mali's National Museum as an actively archival institution, believing it to be essential and instrumental in conserving the country's rich artistic traditions. Toward this end, in 1986 Ardouin and Philip L. Ravenhill, then Director of the West African Museums Project, began discussions with Doran H. Ross, Deputy Director of the Fowler Museum of Cultural History, about collaborative, long-term research. Resources and expenses would be shared, resulting in a mutually enriching collaboration.Early 1987 marked the first field season of the partnership that developed out of that early meeting. By 1991, under the joint auspices of Ross and Samuel Sidibe, present Director of the National Museum of Mali, the collaboration had completed the projected five field seasons of textiles documentation and collection covering five regions of Mali. This paper addresses some practical aspects of this extended, institutionally sponsored, collaborative fieldwork. It also discusses the collaborative project under the sometimes harsh light of postcolonial self-examination.
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Dubois, Arnaud. "How to understand engineering sciences with the techniques of the body: The case of the bridges collection of the Musée des Arts et Métiers explained by circus acrobatics." Social Science Information 56, no. 2 (April 13, 2017): 254–69. http://dx.doi.org/10.1177/0539018417697387.
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In this article, I will examine an experimental mediation performed by acrobats at the Paris Musée des Arts et Métiers in May 2016. I will ask if body techniques can facilitate the public’s understanding of the abstract engineering sciences exhibited in a science and technology museum. Using the ethnographic study of this performance, I will ask if this new type of museum mediation opens up new research issues about technical gestures and helps us to blur boundaries between tangible and intangible heritage in the museum context. In doing so I try to redeploy the methods of analysis of museum collections and to contribute to the theoretical and methodological renewal of the history of technology. I show that this new way to mediate science and technology museum collections using body techniques and gestures produces a methodological indistinctness between intentionality and contingency that often marks the epistemological break between art, technology and science in western culture. This anthropological way of looking at museums of science and technology opens up new research issues not only for the museum’s scientific and technical heritage but also for the history of science and techniques.
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Gosson, Renée K. "‘Tous ceux sans qui la France ne serait pas la France’: The case for a French national museum of colonial histories." French Cultural Studies 29, no. 2 (May 2018): 120–37. http://dx.doi.org/10.1177/0957155818755608.
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Although France is known as the country of museums, it has yet to inaugurate a museum of French history. At a time of mounting tensions between an increasingly multiracial and multicultural French population, on the one hand, and an inherently problematic model of French Republican integration on the other, one wonders whose history would be represented. In the wake of one of France’s worst cases of social unrest – the 2005 riots – Paris opened two new national museums (the Musée du Quai Branly and the Cité Nationale de l’Histoire de l’Immigration), which held great promise of leading France toward postcoloniality. Unfortunately, neither site advanced the nation’s largely silenced conversation about its colonial history, its enduring effects and its contemporary manifestations. Against a backdrop of increased Islamophobia, exacerbated as much by the 2015–17 terrorist attacks in Paris and Nice as by the anti-’immigration’ rhetoric during the 2017 presidential elections, I examine the call for a new museum and its potential to bring France closer to postcoloniality.
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Amoako – Ohene, Kwasi, Nana Ama Pokua Arthur, and Samuel Nortey. "Museums: An institution for knowledge acquisition – A spotlight on the museum education in Ghana." International Journal of Technology and Management Research 5, no. 2 (July 11, 2020): 10–23. http://dx.doi.org/10.47127/ijtmr.v5i2.86.
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Museums, just like formal institutions of learning always have understood that conserving collections for study and exhibition can be an important part of the educational process. Since 1957, Ghana has established several museums under the Museums and Monument Board. These museums just like others are required to play a great deal of role in the social, educational, economic development of a nation. However, it is distressing to note that with the highly endowed museum assets of Ghana, such as the Cape Coast Castle Museum, Ghana National Museum, Fort Appolonia Museum of Nzema History and Culture, the Elmina Castle Museum, Ho Museum, Bolga Museum, Wa Museum, The Head of State Museum and Museum of Science and Technology both in Accra, there has been little contributions to Ghana’s Gross Domestic Product. Significantly, visitor experience and satisfaction is very low. In this view, this study sought to investigate educational activities of Ghana Museum and Monument Board (GMMB) and inquire into their educational activities. Employing qualitative approaches, the study used a triangulation of observations, interview and focus group discussion to assemble data from these museums. In conclusion, the museums provide some sort of education but there is no formalized educational framework serving as a guide. They mainly employ monotonous experience of guided and self-guided gallery tours, and occasionally, the museum curators and educators organize a oneoff programme such as an outreach to schools and special exhibitions as well as seminars. Recommendations to strengthening museum education in Ghana are addressed
Citation: Kwasi Amoako – Ohene, Nana Ama Pokua Arthur, and Samuel Nortey.Museums: An institution for knowledge acquisition – A spotlight on the museum education in Ghana, 2020 5 (2): 10－23. Received: March 3, 2020 Accepted: June 30, 2020
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McGrath, Jim. "Museums and Social Media During COVID-19." Public Historian 42, no. 4 (October 23, 2020): 164–72. http://dx.doi.org/10.1525/tph.2020.42.4.164.
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Drieënhuizen, Caroline, and Fenneke Sysling. "Java Man and the Politics of Natural History." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 177, no. 2-3 (July 9, 2021): 290–311. http://dx.doi.org/10.1163/22134379-bja10012.
Full textAbstract:
Abstract Natural history museums have long escaped postcolonial or decolonial scrutiny; their specimens were and are usually presented as part of the natural world, containing only biological or geological information. However, their collections, like those of other museums, are rooted in colonial practices and thinking. In this article, we sketch a political and decolonial biography of ‘Java Man’, the fossilized remains of a Homo erectus specimen, housed in Naturalis, the Natural History Museum, in the Netherlands. We describe the context of Dutch colonialism and the role of indigenous knowledge and activity in the discovery of Java Man. We also follow Java Man to the Netherlands, where it became a contested specimen and part of a discussion about repatriation. This article argues that the fossils of Java Man and their meanings are products of ‘creolized’ knowledge systems produced by Empire and sites of competing national and disciplinary histories and identities.