Globalisation and memory

Abstract

We live in the ‘era of disparition’, in Paul Virilio's words. Globalisation causes our common markers to disappear: time is worldly and instantaneous. Perception of space is modified; everything can be in the same place at the same time; places tend to standardise. Communities are baffled by wars, ethnocide, emigration. In the midst of all this, collective memory fights for existence. The motto of museums could be, as Virilio says, ‘searching for signs rematerialising the world’. To counter the deleterious effects of disparition, museums should stress the importance of territory and history. Ecomuseums in particular can become the archetype of social places for meetings, for common elucidation resulting in exhibitions, for remembering collective memory. The museum must help the community undertake not so much a duty of memory as a work of memory. The function of the museum is awakening consciousness in many dimensions.     

Strategic management for visitor-oriented museums

Abstract: Strategic management is a familiar concept in for-profit organisations but is relatively new to museums. This paper presents and discusses a model of strategic management for visitor-oriented museums that aims to be more comprehensive than current approaches. It shows how museums can overcome the tension between the strategic demand to develop visitor-oriented museum services and the duties and social mandate of museums as public institutions that are defined by cultural policy—enabling access to cultural heritage, promoting broad cultural participation and providing informal education. Visitor-oriented strategic museum management is concerned with attracting a variety of visitors as well as the development of museum services that are appropriate to diverse museum audiences. The model presented here emphasises the comprehensive strategic management concept. Audience research and evaluation are shown to be valuable analytic and revision tools for strategic management in visitor-oriented museums.     

The muse with a wandering eye: the influence of public value on coproduction in museums

ABSTRACT

Across management, marketing, public administration and museology literature, coproduction has been presented as an innovative approach to service improvement. This case study of the Australian museum sector contributes to the instrumentalisation debate, by revealing the potential inhibitors to such improvements when coproduction distracts rather than enhances the work of cultural institutions. While public value requires the strategic cultural manager to negotiate between ‘upstream audiences’ (government and funding bodies) and ‘downstream audiences’ (users and the body politic), these two groups appear to exert different levels of influence. This research suggests that upstream audiences currently absorb the attention of museums. As a result, the manner in which museums coproduce, and the motivations for this work, appear to be geared towards advocating the public value of museums to government and funding bodies. This case study suggests that museums sacrifice the service innovations and exhibition enhancements offered by coproduction (intrinsic outcomes) to pursue government funding and support (instrumental outcomes).     

Front doors to freedom,portal to the past: history at the Ellis Island immigration museum,New York

Heritage sites and museums play a significant role in the production and legitimization of historical knowledges and social identities. The potential for these institutions to act in ways that maintain deep‐rooted inequalities in the relative power of social groups has long been noted by academic commentators. A critique of the role of museums in reproducing ‘official’ histories is now well established. In this paper we explore new ways of conceptualizing and empirically exploring the production and politics of museum histories. By tracing the historical development of museums, we explore the power play between individual actors and institutions involved in production of the museum, and the multi‐vocal histories and landscapes which result from the interaction between these actors. We illustrate these arguments through a case study of Ellis Island Immigration Museum in New York Harbor.     

Cultural franchising,imperialism and globalisation: What's new?

Abstract

The late 1997 opening of Frank Gehry's spectacular new Guggenheim in Bilbao has been widely promoted as the international museum event of the decade. In the context of other developments, it has also been seen as evidence of Guggenheim director Thomas Krens's ‘tireless efforts to build the world's first global museum brand’. In post‐colonial countries such as Australia we know that museums have often been inextricably involved in imperial and international as well as national cultural power struggles. In this paper the ‘global brand’ view of the Guggenheim is further examined in an attempt to clarify whether this is just more of the same, (old wine in a new bottle) or whether museums are entering a new era of globalisation—and if so what may be some of the consequences for professional museum practice.     

The (Jean) Nouvel Other: Primitivism and the Musée du Quai Branly

The Musée du Quai Branly, located beside the Eiffel Tower in Paris, opened in June 2006. Constructed to house France's important collection of non-western art, the museum has been promoted as ‘decidedly post-colonial’ and a place of ‘reconciliation and sharing’. Historians have situated the creation of the museum within political debates over the restructuring of several of France's museums and, more broadly, the country's position in a post-colonial world, while focusing little critical attention on the building itself. The author argues that Jean Nouvel's architectural program for the Musée du Quai Branly—a ‘primitive shelter’ surrounded by a ‘sacred wood’—gives physical form to a primitivist aesthetic. The unproblematised binaries of self versus other and culture versus nature evident in Nouvel's design reveal a surprisingly unsophisticated theoretical standpoint. As a frame in which to view and understand the objects on display, the Musée du Quai Branly invites a primitivist—and colonial—reading of its collection.     

Objects and interactivity: A conflict or a collaboration?

The rapid growth in the number of hands‐on centres has led to fears of museums being taken over by interactive exhibits. These are expensive to develop and maintain, causing a problem for traditional museums faced with ever‐expanding collections and diminishing resources. This article considers whether objects and interactive exhibits are inevitably in conflict or whether they can coexist in harmony. The implications for future developments at the Science Museum in London are considered in detail.

The authors conclude that, far from conflicting with traditional museum functions, interactive exhibits and new technologies will help to ensure that museums are able to compete in an increasingly complex marketplace. Their vision of the interactive gallery of the future incorporates exhibits which enhance understanding of artefacts. In short, the objective will be to ensure that visitors interacting with ‘hands‐on’ exhibits will take away ‘minds‐on’ understanding of the museum as a whole.     

Speaking for the past in the present: Text,authority and learning in archaeology museums

Abstract

This paper examines the development of debates surrounding the nature of curatorial authority and of public education in archaeology museums, with particular reference to texts accompanying exhibitions of prehistoric material in England and Scotland. Traditionally, such texts have been conceived of as authoritative aids to museum education and communication. However, since the late 1980s, they have been criticised, particularly on the grounds of curatorial bias and inaccessibility. As a consequence, a new ‘cultural approach’ to museum texts was developed in the 1990s, based upon curatorial principles of critical awareness and public responsibility. The resultant texts have received mixed responses from museum archaeologists and visitors, whose perspectives reflect contemporary political tensions in Britain. They also highlight the fundamental question of the future status and role of text in museums. The answer proposed here is that texts, although not entirely popular with visitors, will remain key elements of archaeology museum displays, and that differences of curatorial approach and opinion, as expressed through texts, are beneficial to learning in archaeology museums.     

Historical empathy in a museum: uniting contextualisation and emotional engagement

Museums, memorial centres and other heritage institutions use various strategies to evoke an emotional response that serves to elicit empathy with the historical events and actors that are portrayed in exhibitions. To increase historical understanding, however, both emotional engagement with and contextual understanding of these historical figures are needed. Using the concept of historical empathy, this paper examines the continuous interplay between cognitive and affective dimensions of history learning in museums. We conducted a case study at Museon in The Hague, the Netherlands. We studied a learning session on children living through the Second World War, the museum’s strategies employed in the exhibition, the entrance narratives of secondary school students participating in the session and their engagement with the exhibition and with the educational activities. While most of the students did not feel related to WWII prior to their museum visit, the museum managed to engage many of them with personal stories and artefacts and by offering multiple and new perspectives. Our findings underscore the interplay between cognitive and affective dimensions of historical empathy and show that museums can serve as powerful contexts for developing this skill among school students.     

Museum Volunteering: Heritage as ‘Serious Leisure’

The growing number of volunteers in the heritage sector indicates a desire for a leisure experience by pursuing a subject interest with like‐minded people. Millar and others have suggested that volunteers are the ‘ultimate frequent visitors’, and as the day visitor market for museums and heritage attractions declines, this paper offers the repositioning of ‘heritage visiting’ from day visits to longer term connections with particular heritage attractions via volunteering. It draws on Stebbins’s concept of serious leisure as a way of reading museum volunteering as a leisure practice and argues that museum volunteering is a way of practising heritage as leisure that is ‘self‐generated’, with museum volunteers active in constructing their own identities. According to the concept of ‘serious leisure’, museum volunteers become part of a social world inhabited by those knowledgeable about heritage and history. The paper concludes by examining the adequacy of Stebbins’s P‐A‐P system for analysing the power relations between museum professionals and volunteers in the museum social world.     

Is cultural democracy possible in a museum? Critical reflections on Indigenous engagement in the development of the exhibition Encounters: Revealing Stories of Aboriginal and Torres Strait Islander Objects from the British Museum

Recent museological scholarship emphasises visitor participation and democratic access to cultural heritage as key to securing the ongoing relevance and future sustainability of museums. But do legacies of colonialist collecting practices and hierarchical conventions of representation in museums afford the possibility of genuine cultural democracy? This paper explores this question via detailed analysis of the Encounters exhibition, developed by the National Museum of Australia in partnership with the British Museum and promoted as an unprecedented partnership between the institutions and Indigenous Australian communities. Drawing on an extensive and emerging literature on museums, community engagement, participation and democracy, in tandem with analysis of public critiques and Indigenous responses to the exhibition, the paper suggests that the extent of Indigenous agency within the collaboration fell short of the articulated goals of the project. It concludes that the concept of maximal participation and release of agency to communities of interest may be difficult to achieve within existing museum frameworks.     

Rivet's Mission in Colonial Indochina (1931–1932) or the Failure to Create an Ethnographic Museum

By focusing on a transfer of a museological model from the Musée d'Ethnographie du Trocadéro to colonial Indochina, the paper examines the failure to create an ethnographic museum. The paper analyses, on the one hand, the collecting practices in the field and the circulation of knowledge, people, and objects from metropole to colony and vice versa. On the other hand, it seeks to highlight why Rivet and the École Française d'Extrême-Orient focused their research programme on the Montagnards from 1932 onwards at a time when French administration attempted to control the Highlands due to its strategic importance in terms of controlling Indochina. The concern with establishing ethnographic collections in Indochina extending from 1920s to 1938 attests the ways in which museums could be evolved in the governance of colonial populations. However, this concern underestimated the very fact that ethnographic museums differed for metropolitan populations and for colonizers.     

‘Dissidence’ in Holocaust Memorials in Literature: Jáchym Topol’s The Devil’s Workshop (Chladnou zemí)

Abstract

Established Czech precedent has made the town of Terezín an important literary symbol of Holocaust memory, used in the 1960s to construct myths of Czech innocent victimhood. Jáchym Topol’s novel, The Devil’s Workshop (2009), returns to the theme with great originality, avoiding such myths by using a compromised first-person Czech narrator, who is involved in setting up ‘dissident’ commemorative museums at Terezín and in Belarus. These draw on documented accounts of real atrocities for their authenticity. Competitive in national terms, commercialized, and ethically compromised, they are finally, arguably inevitably, silenced. Topol’s ‘truth-telling’ is discussed in the context of Theodor W. Adorno’s criticism of committed Holocaust literature, Benedict Anderson’s interpretation of museums as commercialized constructions of nationality, and Timothy Snyder’s historical account of the killings in Eastern Europe; the ambiguous pessimism of his novel stands up well to criticism and, it is argued, has lessons even for historians of the Holocaust.     

博物馆教育性格的养成——从《美国博物馆:创新者和先驱》一书谈起

与欧洲博物馆强调皇家收藏与民众教化的传统不同,美国的博物馆性格立足于社会教育与公众服务。自初创之日起,"教育至上"的性格一直贯穿美国博物馆发展的始终,由此养成的有关博物馆教育议题的思考成为国际博物学界的典范。爱德华·亚历山大在《美国博物馆:创新者和先驱》一书中系统考察了13位美国博物馆领军人物的超前理念和伟大事迹,他们无一例外地都在强调博物馆教育和公众娱乐的重要性,并在"教育至上"的博物馆性格上达成共识。这些先驱们在博物馆平台上发挥才智、创造典范的经验材料对于理解美国博物馆教育性格生成与演变的具体过程与整体图式具有举足轻重的作用。     

Foucault and museum geographies: a case study of the English ‘Renaissance in the Regions’

This paper explores the subject of museum geographies, focusing particularly on the development of museum policies in a changing political context. The empirical focus is the emergence and transformation of the museum programme Renaissance in the Region, which is linked to the concepts of primary, secondary and tertiary spatialisations presented by Michel Foucault. The paper discusses the development of the programme and how it transformed aspects of the primary, secondary and tertiary spatialisations of museums in England, before focusing attention on the geography of school visits to museums. The results of two extensive studies of school visits to museums in the programme suggest that large numbers of visits come from schools located in areas with high indices of multiple deprivation and income deprivation affecting children. It is argued that this social geography reflects the tertiary spatialisation of museums linked to their emergence in areas of past industrial development, although practices linked to reconfigurations of the primary and secondary spatialisation as part of the Renaissance in the Regions programme may also have played some role. The paper concludes by discussing recent changes in government policy and the degree to which the ‘New Renaissance’ policy may signify reductions in the social reach of museums into areas of social deprivation and exclusion.     

The future of the enthnographic museum (Respond to this article at http://www.therai.org.uk/at/debate)

This essay discusses the recent past of ethnographic museums and raises questions about their future. In the last thirty years or so, ethnographic museums have faced many challenges arising both from within and beyond anthropology to the extent that in the post‐colonial and post‐modern era they could be said to have suffered an identity crisis. Many have been renamed, remodelled or rehoused in spectacular new premises (such as the Musée du Quai Branly in Paris). Only a few have remained largely unaltered, as at the Pitt Rivers Museum in Oxford where the authors of this essay are employed. Drawing on the theoretical literature in museum anthropology and material culture, many years of ‘hands on’ curatorial experience and the insights gained from a five year collaborative research project involving ten major ethnographic museums in Europe, the authors investigate how ethnographic museums might engage with new audiences and new intellectual regimes in the future.     

The Turtle Garden: Tan Kah Kee’s last spiritual world

Abstract

This paper explores the role of diasporic subjects in China’s heritage-making through a case study of the Turtle Garden built by Tan Kah Kee in Xiamen, China. Tan is the first person with Overseas Chinese background who built museums in the P.R. China and has been regarded as a symbol of Overseas Chinese patriotism. This paper argues that the Turtle Garden, conceptualised as a postcolonial ‘carnivalesque’ space, is more than a civic museum for public education. It reflects the owner’s highly complex and sometimes conflicting museum outlook embedded in his life experience as a migrant, his encounter with (British) colonialism in Malaya, and integrated with his desire and despair about the Chinese Communist Party’s nation-building project in the 1950s. Rather than a sign of devotion to the socialist motherland as simplistically depicted in China’s discourse, the garden symbolises Tan’s last ‘spiritual world’ where he simultaneously engaged with soul-searching as a returned Overseas Chinese and alternative diasporic imagining of Chinese identities and nation. It brings to light the value of heritage-making outside centralised heritage discourses, and offers an invaluable analytical lens to disentangle the contested and ever shifting relationship between diasporic subjects, cultural heritage and nation-(re)building in the Chinese context and beyond.     

An Italian city-state geared for war: urban knights and the cavallata of Todi

The prominent presence of noble families in towns is generally accepted as a distinguishing feature of medieval Italy's communal city-states. Paradoxically, the nobility, as the exclusive supplier of trained and fully equipped cavalrymen, would retain a pivotal position in the communal armies when, in the Duecento, their political power was questioned. In this article a detailed study has been made of the nobility's role in the organisation of the [ac]cavallata (the public obligation to maintain warhorses) as well as in the militia (cavalry service) of the Umbrian town of Todi in the decades around 1300, when Todi as a city-state reached the zenith of its power. It is argued that in Todi cavallata and militia did not coincide in all respects, and also that both institutions were to some extent open to members of the sizeable class of the sergentes. The sergentes were responsible for the ‘rural’ part of the cavallata, and they provided the cavalry of the communal army with light horsemen.     

Re-presentar the religious: nation,community and identity in museums 1

This paper examines the roles that museums play as ‘unofficially sacred’ places, underscoring or challenging the religious life of a people and ‘nation’. It focuses on three key questions: (1) Do sub-national and transnational religious formations pose a challenge to or present opportunities for nation-building strategies, and what part do museums play in this struggle? (2) In what ways do re-presentations of religion in museums contest or reinforce religious community and identity? and (3) What challenges do museum displays pose to the understanding of religious meanings? This paper explores these three key questions about the intersection of religion with politics and ideologies, social relations, and cultural interpretations and transformations using an in-depth case study of an exhibition on the Jewish community in Singapore.     

Memory, Distortion, and History in the Museum

Museums are conventionally viewed as institutions dedicated to the conservation of valued objects and the education of the public. Recently, controversies have arisen regarding the representation of history in museums. National museums in America and Germany considered here, such as the Smithsonian's Air and Space Museum, the Holocaust Memorial Museum, and the German Historical Museum, have become sites of contention where national histories and personal memories are often at odds. Contemporary art installations in museums which take historical consciousness as their theme similarly raise contentious issues about public knowledge of and personal interest in the past. When members of publics find that their memories of the past or their expectations for museum experiences are not being met, a kind of "distortion" occurs. The "distortion" related to memory and history in the museum is not so much of facts or interpretations, but rather a distortion from the lack of congruity between personal experience and expectation, on the one hand, and the institutional representation of the past on the other. This essay explores the possibilities for a redefined relationship between personal memory and history that is experienced in contemporary museums.