Who were bennelong and Pemulwuy? Museums in Sydney and interpretation of eora aboriginal culture

Abstract

The Eora Aboriginal People are the original inhabitants of the Sydney region [in NSW, Australia]. There are an estimated 2, 000 Aboriginal rock engravings in Sydney. Some museums in Sydney now acknowledge the traditional Aboriginal owners and use Eora words to name their exhibitions. These include: Ngaramang bayumi – music & dance (Powerhouse Museum); Merana Eora Nora – first people (Australian National Maritime Museum); Yiribana (Art Gallery of New South Wales); and Cadi Eora Birrung: Under the Sydney Stars (Sydney Observatory). The Aboriginal history of Sydney, however, is only told at the Museum of Sydney with installations, videos and spoken exhibits about Eora, the indigenous peoples of Sydney. This paper reviews the Eora Aboriginal exhibits at the Museum of Sydney. It questions whether visitors to Sydney learn about Bennelong and Pemulwuy, two key Aboriginal figures in the the early European settlement around Sydney Harbour. Sydney Aboriginal Discoveries on their Dreamtime cruise of Sydney Harbour provide another interpretation of Eora history and culture. The paper suggests the Eora heritage of Sydney should be more widely interpreted in Museums, National Parks and other public venues to rightfully acknowledge this Aboriginal history.     

Painful pasts,painful places: Confronting ambivalence at the Islands of Vanishment conference,Port Arthur Historic Site,Tasmania, 7–10 June 2002

Abstract

This is a museum about Power and Powerlessness

And the struggle for dignity by ordinary people.

Let this never be forgotten.

Let us be mindful of the abuses of the past and celebrate the human capacity

In all its diversity and richness

To overcome.

(From the Kwa Muhle Museum, Durban, South Africa)

Islands of Vanishment was more than just a conference; it was a piece of theatre, acted out in a place which has seen more than its share of suffering over the last 200 years. Throughout the conference the legacy of Port Arthur's painful past, and the sense of hope and emergence that has grown from it, was tangible, the sense of place which envelops the Port Arthur Historic Site contributing much to the success of this important event.     

The Construction of the Blists Hill Ironworks

Abstract

The manufacture of wrought iron by the puddling process has a long history in the UK and in Shropshire. Commercial production ended in 1976 when the firm of Thomas Walmsley and Sons Limited ceased its manufacture at their Atlas Forge in Bolton. The Ironbridge Gorge Museum is to reconstruct and operate a wrought iron manufactory at its Blists Hill Museum. This paper presents the nature of the intended reconstruction and discusses, the manning and material requirements for its operation.     

Hiding in plain sight: the Coptic Museum in the Egyptian cultural landscape

Abstract

Museums have long been important tools of nation building and of helping nations deal with their increasing diversity. The Arab Spring of 2011 brought massive social upheaval and change to the Middle East. Egypt experienced particularly dramatic changes. Long-standing fissures around who qualifies as an Egyptian, which groups dominate in this secular or religious nation, and what it means to be an Egyptian today came to the fore. How did different groups fare within this negotiation and what role did cultural institutions play? We explore these struggles through the lens of the Coptic Museum and the experiences of the Coptic community. We argue that the Museum historici s es Copticism, or depicts it as an historical, bounded period in Egyptian history. It also embraces a historical narrative that sees Copts as the direct descendants of the Pharaohs, and therefore the original Egyptians, although some later converted to Islam. By so doing, the Museum positions the community centrally but unchallengingly within the ever-changing ‘master’ national narrative, whether in its more religious or secular form. By telling this particular story, the community saves itself and its materials, but it also constructs and perpetuates its paradoxically central, but marginal position in the nation.     

An Ojibway Artifact Unraveled. The Case of the Bag with the Snake Skin Strap

Abstract

It is rare to come across a work of Native American textile art that is as intriguing for its aesthetic attributes as for the history with which it is associated. Sadly, the reason for this infrequency is not for lack of historical interest, but rather the deplorable deficiency of documentation for most Native American museum artifacts. It was fortuitous then, when I encountered a bag in the collection of the Royal Ontario Museum (ROM), Toronto, whose striking appearance is matched with documentation of its extraordinary history with Ojibway Chiefs Maungwudaus and John Tecumseh Henry. Recovering the bag's history required detective work. What follows is the story of emerging clues, surprising discoveries and the insights that they facilitated for the artifact 'detective'.     

Memorializing Race in the Deep South: The 'Good Darkie' Statue,Louisiana, USA

Abstract

The period between World War I and World War II saw the development of several memorials commemorating African Americans in the Southern USA. The 'Good Darkie' is unique amongst these in being a life-size bronze statue. It was erected in Natchitoches, northwestern Louisiana in 1927, where it remained in a prominent position in the centre of the town until it was taken down in 1969, ending up in the Louisiana State University Rural Life Museum where it is displayed as the statue of 'Uncle Jack'. The various meanings and values given to the statue over the last 80 years, from acceptable paternalism to its politicization in the 1960s, to the criticism currently levelled at its use make this an important case study in public commemoration. This paper explores the various meanings given to the statue by different social groups, which reveal how the concept of race, and solutions to the 'race problem' of the Southern USA have evolved over time.     

Ancient technology and computer aided design: olive oil production in southern Spain

Abstract

Until the twentieth century, the two most widely used technologies for extracting oil from olives were the tower press and the beam press. Although many examples still exist, this paper is the first to discuss either press from the point of view of engineering. Working from sketches, photographs and measurements obtained from exhibits in the Museo de la Cultura del Aceite (Museum of Oil History) in Hacienda 'La Laguna', Jaén, Andalucia, Spain, the presses have been modelled using computer aided design techniques. Computer animation has also been employed to establish how the presses worked.     

Ironbridge—The First Ten Years

Abstract

This year the Iron Bridge in Telford, Shropshire, celebrates its bicentenary. One of the best known symbols of industrialisation in eighteenth century England, it is also the focal point of the Severn Gorge which stretches for three miles from Coalbrookdale to Coalport. Here the Ironbridge Gorge Museum Trust has been engaged for the last ten years in preserving and interpreting the remains of this 'cradle of the Industrial Revolution'. This paper reviews the Trust's development over this period, the nature of its finance and management and some of its aims and aspirations for the future.     

Notes and News

Abstract

This paper seeks to cast some light on a so-called Green Man ivory knife handle from Perth and on the cultural context from which it sprang. It was made and lost or disposed of during the 14th century and, although its full life-story includes its archaeological recovery and subsequent curation in Perth Museum, its main importance lies in what it can tell us of medieval people. Exploring its material and production, its function as a handle, its iconography and its cultural background reveals this importance. Bringing these strands together gives us a snapshot of medieval cognition, focusing, on the way elements of seasonal ritual were consumed in the medieval burgh of Perth.     

By the People,for the People. The Case of a Community Museum of Traumatic Greek Heritage

Abstract

This article will delineate the history and activities of the Museum of Political Exiles of Ai Stratis in Greece. The museum was founded in the 1980s by a group of former inmates who were banished in the North Aegean island of Ai Stratis, a site of political confinement between 1920s and 1960s. Since its inception, the museum has aspired to be a platform of communication, a place of healing that is by the people for the people. The aim here is to examine how this was achieved and what lessons have been learned from the endeavours of an organization that deals with a rather traumatic chapter of modern Greek history. Emphasis will be placed especially on what role the subjects of history have assumed in the design of the permanent exhibition and the educational and cultural activities.     

Mediating legacies of empire in the post-imperial museum

ABSTRACT

Throughout the Balkans, the history museum remains a crucial site where memories of an imperial past are molded, rationalized, and integrated into the wider arc of nationalist narratives about a country and its people. The legacy of the Ottoman Empire is particularly fraught in Greece, where this period is almost always classified as ‘post-Byzantine’ within the context of government institutions. In this paper, I set out to trace the legacy of the Ottoman Empire as it has been mediated in multiple museum sites throughout the country. I will primarily focus on two case studies: The National Historical Museum in Athens and the Museum of Ali Pasha and the Period of Revolution in Ioannina. Comparing these two sites and their practices of display bring into sharper focus the dynamics of how historical memory plays out in a central versus regional sphere of belonging and identity.     

Touching history and making community. The memory of the 1980 Turkish military coup in the 12 September Museum of Shame

ABSTRACT

This contribution draws on ethnography conducted in Istanbul to analyse the Museum of Shame, an amateur exhibition dedicated to the memory of leftist militants who were victims of state violence following the 1980–1983 military coup in Turkey. This museification is the work of a group of ex-revolutionaries and can be considered a cultural practice that challenges statist historiography and creates a mnemonic community. By exhibiting the possessions of murdered militants, it inscribes their personal experiences into collective frames and fosters intergenerational transmission. Its temporality reflects the ethos of the revolutionary fighter, turning mourning into a political statement. However, though this museum practice allows the community to become an agent of history, it is unable to encompass the varying experiences of ex-militants. Its aestheticization of violence and its moral injunctions limit the extent of social solidarity and advance essentialisms that contribute to the construction of marginality from the inside.     

A.F.R. Wollaston and the 'Utakwa River Mountain Papuan' skulls

This note describes the results of research into the provenance of a small collection of human remains currently held at the Natural History Museum in London. These remains consist of four skulls, which almost certainly derive from individuals of the Amungme community in what is now the Indonesian province of Papua (Irian Jaya). The precise circumstances of the original collection of these skulls by the Wollaston Expedition to Dutch New Guinea of 1912–13 have not previously been clarified, and evidence is offered here to suggest that the silence on this matter has been deliberate.     

Middle of nowhere: contesting rural heritage at the World Famous Gopher Hole Museum

Abstract

The World Famous Gopher Hole Museum in Torrington, Alberta, Canada, is a rural museum located in a relatively isolated hamlet of less than 200 people. Inside the museum, small diorama boxes feature taxidermied gophers dressed in tiny clothing and posed as townspeople dining in restaurants, shooting pool and chatting at a beauty parlour, among other activities. Drawing on methods stemming from critical museum theory, critical rural studies and critical heritage studies, this article analyzes the ways in which both local residents and visitors from outside the region understand the museum, considering why it is indeed world famous, attracting over 5000 international tourists each year. It argues that the Gopher Hole Museum succeeds in part because its organisers are active agents who take pride in the museum without attempting to refute the sometimes negative responses to it, or control the ways in which outsiders interpret it. The museum in Torrington is a complex ‘open text’ that both employs and critiques the conventional methods used in natural history and heritage museums to offer multiple narratives about childhood, heritage and rural life, addressing local people as well as tourists.     

'[...] But it's Not Like I Know Anything About Them!': Immigrants in the Museum in Finland

Abstract

Museum education has undergone a profound transformation from the ideals of the Enlightenment through modernism to those of postmodernism. Museum visitors are no longer perceived as passive receivers of information provided by experts but as active learners who freely construct their own meanings, driven by their personal motivation. Museum education is no longer about educating the masses but facilitating learners in their individual learning processes. Learning outcomes are no longer to be measured by the amount of new information absorbed in an exhibition but by more abstract things: improved quality of life, increased awareness of one's own identity, and better self-esteem or increased ability to cope in society. The question is: how can museums provide their visitors with such learning possibilities? This article presents three projects that have been carried out at the Aboa Vetus & Ars Nova Museum in Turku, Finland, to test methods and models for increased personal experience and involvement, especially in facilitating interaction and understanding between cultures. As a result of this it is proposed that exhibitions and their related activities should be planned in such a way that they facilitate the self-on — the individual's projection and associations through involvement of emotions — thus facilitating connections between the exhibition and contemporary life.     

A REDISCOVERED LOST SEAL FROM GEZER

Abstract

A carnelian pebble stamp seal excavated by Macalister at Gezer and believed lost, and a seal kept today in the Bible Lands Museum in Jerusalem, are one and the same. A cast of the original kept by the Palestine Exploration Fund in London proves to be identical to the seal in Jerusalem. The unique iconography of the seal showing a man in a cultic gesture in front of a griffin, as well as its stylistic details, show it to be an Assyrianized product of the late eighth or seventh century bc, possibly of local production.     

A mid-18th-century mikveh unearthed in the Jewish Historical Museum in Amsterdam

Abstract

In 2006 archaeological research was conducted in the New Synagogue, part of Amsterdam's Ashkenazi Synagogue complex, built between 1671 and 1752, which now houses the Jewish Historical Museum. The most remarkable find was a mid-18th-century mikveh or ritual bath, used for ceremonial purification by immersion; such baths played a key role in Jewish life. The excavated example was well preserved and retained its water supply and heating system. Although it served in a specific Jewish ritual context, the structure followed the everyday construction principles of Amsterdam builders.     

The educational work of a National Museum: creating knowledgeable young citizens in Ottawa,Canada

ABSTRACT

This article explores the geographies of education at the National Museum of Canada in the first half of the twentieth century. Through an analysis of the spatialization of children’s museum education, we highlight how the museum sought to inculcate in young Canadians knowledges about their country, its people, and natural resources. We situate children’s museum education within the broader context of Canadian nationalism, other museum activities, and public education in the capital. Focusing on the design and material organization of the museum, we highlight how the space of the museum, from the objects on display to the imposing grandeur of the building, sought to impress upon students the importance of the knowledge it conveyed. Finally, we illustrate how the museum’s programming aimed to provide children with knowledge of their national heritage, building citizenship through claims of development as destiny.     

A cohort of trees,photographs, scientists,an artist and a curator: the collaborative study of environmental change

ABSTRACT

I explore how a historic image archive can be re-worked through collaborative artistic-scientific practice, and how photography can be ‘re-performed’ as a strategy to observe an environmental change. The focus is on a project by the photographer Chrystel Lebas, who between 2011 and 2017 worked in collaboration with botanists from the Natural History Museum, London. The collaborators used historic and contemporary photographs for seasonal observations in the field. Their specific interest was in the potential for using historic visual ecological records to investigate environmental change as observed now.

The paper explores the hybridization of technical, aesthetic and embodied knowledge, the application of montage and the tacit creation of a visual framework for observation. It draws attention to the potential inflexibility in interpretation inherent in the accepted systematic practice of placing ecological records within a herbarium in a natural history collection. Secondly, it illustrates the neglected potential of photographic collections within scientific research.     

Captain Cook upon Changing Seas: Indigenous Voices and Reimagining at the British Museum

ABSTRACT

This article reviews the British Museum exhibition, Reimagining Captain Cook: Pacific Perspectives, 29 November 2018–4 August 2019. It situates the exhibition within a global context of exhibitions held around the 250th anniversary of Cook’s first voyage, and critically considers its attempt to reframe dominant narratives surrounding Cook, his voyages and more broadly the colonization of the Pacific through a focus on Pacific Islander perspectives within a changing museum sector.