HERITAGE AND MUSEUM ARTEFACTS AS CULTURAL RESOURCE FOR CREATIVE PRACTICE IN SOCIAL TRANSFORMATION / Second International Conference on Best Practices in World Heritage: People and Communities (29 April – 2 May 2015), Menorca, 2015. – P.156-165 (original) (raw)
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Museums for a new culture: Museums for Peace
In this article I will suggest a few ideas from the perspective of Philosophy for Peace (Martínez Guzmán, 2001) I am researching on. I wood like to share these thoughts with those among the peace workers who are committed to the creation of museums that exhibit the human efforts to pave the way for peaceful coexistence and diminish the possibilities of violence, war, exclusion and marginalization. Firstly I will transform de concept of museum from the point of view of its etymology. Secondly I will review some examples of peace museums to insert them in a framework of peace education. Finally, I would like to explain the importance of this new kind of museums and their role in changing the cultures of war for the culture of peace focusing on the Peace Museum of
The Jahangirnagar Review, Part-C, Vol. XXIII, 2012
The aims of the essay are to discuss about the contemporary role of museum towards the community and the indigenous society. In this essay I will address some question about the role of museum in the society both in historical and the contemporary context toward the indigenous or non western society. It will provide a brief historical overview of museum, the indigenous society and community related to the museums in different parts of the world. It will discuss the role of the museum in the society to represent the culture and heritage of the country and compare or contrast with some example of museums and the indigenous society. The historical and contemporary role of museum in creating stereotypical images of indigenous societies or non-Western societies has been discussed and put some effort, how this stereotype can be challenged. How museums can nowadays work to make positive contributions to indigenous and non-Western societies. The conflict over ownership and interpretation of tangible and intangible heritage of indigenous populations is one of the important issues are focused in the discussion. Although in the past, historically it is evident that the museum role and function was problematic and critical which was closely related with socio-political and power relation. Nowadays museum is in a new era of information that leads the museum to take different positive initiative for the society in equal manners
Museums, Heritage, Culture: Into the Conflict Zone
Museums are described as places that build understanding between cultures. They can as easily be zones of mis-understanding and friction. This paper examines three instances when groups in Bangladesh, Afghanistan and India come into conflict with museums and professionalised heritage regimes. What seems at first to be local vs. global conflicts are embedded in very complex local politics.
Museums as Contact or Conflict Zones - The Museum as a Target for Change
EXTREMES On curating, 2021
The title of curator Johanne Løgstrup’s contribution to this issue is based on a chapter in History of Consciousness scholar James Clifford’s book Museums as Contact Zones (1993). To the title of her essay “Museums as Contact or Conflict Zones,” Løgstrup adds the word “conflict” due to the fact that she believes that there is a need to acknowledge that conflict is inherited with the very idea of the museum. Løgstrup raises a series of ethical questions regarding the museum and collection practices, specifically asking who has been excluded from the history that has been told so far in order to encompass the culture of Western history and how do we decolonize our museums and radically transform them from within? In order to deal with the above questions, Løgstrup expands on the example of the temporary opening of the Sámi Dáiddamusea (the Sami Art Museum) based in the closed Nordnorsk Kunstmuseum in Tromsø, Norway: “Finally, Sápmi, Norway and the world has a museum dedicated to Sami art! After almost 40 years of activism, acquisition, negotiation, lobbyism and stubbornness, the world of art enters a new era. A big day for Sápmi. A big day for Norway. A big day for the world.” These emotionally charged opening lines of the museum announcement shed light on the history of oppression of the Sami people and their culture. The title of the opening exhibition, There is no., carries several meanings: one was that there is no permanent institution to present the Sami art collection, and the second refers to a long discussion surrounding the hierarchy of art and the dismissal of indigenous cultures that are not considered art, but have different relationships to art objects, for example, regarding them as crafts or as relics.
1993
Peter an i. :n Dungen A peace museum should exhihit o.jects related to ideas, efforts, achiesements about peace. Tile fight for peace (and with peaceful means) is a story tilled with action, drama and heroism. The rich diversity of peace histoi, should be full reflected in the inuseum, based On a careful selection of themes, and within each theme of events, individuals, movements ek A general outline of eighteen possible major themes is presented. In addition. separate sections characteriied by the nature of the objects displayed may he of salue (for example, a "Cartoon Gallery", a gallery of Nobel peace laureates or "The Great Books of Peace") and add to the liveliness and variety 01 the peace museum.
Museums in our country are wisdom of great communities and priceless heritage of Mankind preserving facts, ideas, thoughts and evidences of development in multifarious directions; connecting them with the world bridging the isolation is the moral responsibility of every curator. Referring to the Anthropological Museums which maintains a space for learning about thecultural, social as well as the physical history of the inhabitants of the world which grind down this earth as their halt after so many evolutions. The waves of destruction washed away one by one era over millions of lives and inflicted terrible change in evolution. Now this evolutionary story creating challenges for Museum to disseminate the each chapter of the story in a panoramic view for audience in both pre and post evolution context. The present discourse highlights on how the "social functions" can conflate other cultural institutions to develop the sustained efforts for preserving our heritage, focussing on the new emerging methodologies at hand briefing the categories of "folk" and "Tribe"; how new ethnographies can create empathetic ties with each parts of country and among the communities. The future of museum research in India lacks the dynamism, having lacunae in Museum visionary. To how much extent its true? Does the country really lack dynamic professionals? The question is why we fail to attract the talent to highlight and disseminate the tangible and intangible Museum research? What are the hurdles in creating a new vision for Museum research? Why we need to change the poor situation of dissemination network? Country's treasures are under threat and out of reach from the masses. Museum Anthropologist with visionary can change the scenario of entire Museum research. Apathetically it becomes more challenging to develop new mechanisms to avoid the worst threat to dissemination of Anthropological research through Museum. Now it's time to convert the Callousness towards Museums into sensitivity and it can be possible with the unusual collaborations only.
2022
Following Alba Iulia and Nyíregyháza, the third conference on museum history was organized in Szeged – first postponed by the pandemic, then arranged online. Though 10–11 November 2021 still fell in the Covid-period, still it was a happy time that now we tend to call the pre-war era. Today we know that it was a peaceful and friendly period, when composing the mailing list of the invitees we did not have to consider the citizenship of the participants. The present volume includes 21 contributions from the researchers of Romania, Russia, Crimea, and Hungary. They cover wide and varied topics of general museum history, exhibitions, museum history and archaeology, public education, and archaeological parks. Even though participants come from different institutions (big and small museums, universities, research centres) of different countries, during the days of the conference and now, turning the pages of the present volume we see a lot of similarities in the history, foundation circumstances, building problems of our museums, and the enumeration can be continued… I close this short introduction by expressing the hope that the series of conferences on museum history (the most precious of which is a personal meeting with colleagues) will continue in the nearest – peaceful! – future. On the behalf of the organizers Valéria Kulcsár