Debating contemporary museum ethics: reporting Sekhemka

The sale by Northampton Borough Council (UK) of the Egyptian Sekhemka statue at auction house Christie’s became a key focus of international debate about contemporary museum ethics in 2015–2016. A decision to deaccession and dispose of a museum object would not traditionally be the subject of intense media scrutiny, but the case of Sekhemka was widely reported in local, national and international press. This article takes as its start point the question ‘What did media reporting of the sale of Sekhemka reveal about contemporary museum ethics, and the terms of their debate?’ It reports findings from a content and discourse analysis of 229 news stories dating from late 2012 when the sale was first proposed, to May 2016 when it was reported that in all probability the Sekhemka statue had finally left the country. The ambiguous and intriguing sale of Sekhemka might not be the last as global economic and geopolitical circumstances continue to impact our valuations and uses of cultural heritage. This paper demonstrates that we would do well to keep media reporting of such events under close scrutiny in the interests of a considered and informed contemporary museum ethics.     

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.     

Front and Back Covers,Volume 31, Number 6. December 2015

Front and back cover caption, volume 31 issue 6 Front cover AI and humanity A statue by Stephen Kettle of Alan Turing, sitting pensively at one of his code‐breaking machines in Bletchley Park. Made up from half a million pieces of Welsh slate, this statue was a landmark feature for the Life and Works of Alan Turing exhibition in 2012, which was curated following a public campaign to save the Turing‐Newman Collaboration Collection, a rare collection of his mathematical papers. Members of the Turing family additionally contributed some of the mathematician's personal belongings, including a teddy bear he used to practise his lectures on. Bletchley Park is now a huge heritage attraction, more so since The Imitation Game, a film based on the life of the pioneering computer scientist, came out. Previously known as the UK Government Code and Cypher School, this is now a site for the National Museum of Computing, which ncludes the huts and blocks that hosted a group of codebreakers whose work is said to have helped shorten the war by two years. In this issue, Ting Guo looks at Turing's personal trajectory in life and asks to what extent his search for artificial intelligence was inspired by considerations other than purely technical ones. To design artificial intelligence is to reproduce what is the essential ‘us’, what Pamela McCorduck refers to as an ‘odd form of self‐reproduction’. The desire for such machines, she argues, is a desire equally rooted in fear and allure, which reflects not only the drive for knowledge and human progress, but the discovery of the human self, which is itself driven by fundamental problems of being human. Back cover WORLDS IN MINIATURE Miniature worlds fascinate us. Taking familiar objects, scenes and environments and scaling them down to the minute generates a sense of wonder, forming a special connection between object and audience across which information can flow in subtle and unexpected ways. For centuries, people have used miniaturization to create tiny settlements with streets down which traffic doesn't flow and shops where no purchases are made. In doing so, they generate a fantasy, an idealized portrayal of a world they wish to see, not the one they inhabit. One of the most famous of these miniature communities is Madurodam in the Netherlands. Attracting more than 700,000 visitors a year, this park seeks to replicate particular dioramas of Dutch life, employing a dedicated team of professional modellers focusing on specific aspects of Dutch architecture and urban environments to portray a particular, explicitly positive, image of the Netherlands. The choices made at this site, and others like it all over the world, are part of a complex process of representation in miniature, a selection of iconography and design intentionally assembled to create unconscious impressions in visiting tourists, particularly children, about the full‐sized communities they resemble. As such, their representative powers are partial, a carefully curated miniature snapshot of certain aspects of an entire nation designed to act as a cultural and educational ambassador. In this issue, Jack Davy explores how the process of miniaturization, as evidenced by a Lego figurine, can encapsulate and transmit complex and controversial themes in a child‐like, non‐threatening manner. These processes operate subtly and inexplicitly, shaping our understanding of the wider world around us through the affordances of the small.     

时代、文化资本与支配权:对张謇创办南通博物苑的再思考

面对19世纪末中国空前的民族危机和剧遽社会变迁,张謇选择了"实业救国"、"教育救国"的道路。南通博物苑作为张謇教育事业的重要组成部分,是其教育救国思想的具体体现。张謇在南通博物苑创办过程中实现了资本的文化化和文化的资本化双重过程:一方面,将经济资本转化为文化资本;另一方面,又将文化资本转化为其象征资本的一部分,使其获得更大社会权力,从而能够按照自己的政治理想对地方社会进行塑造。张謇对于作为文化资本的南通博物苑的支配主要体现在三个方面:藏品内容及知识系统的构建、博物馆教育作用的树立及对参观者的规范。张謇对文化资本的支配表面上是其个人意志的体现,由其政治理念所驱动;而深究,终不免受时代和机构属性等因素的制约与影响。     

Ecomuseums and the Democratisation of Japanese Museology

The idea of the ‘integrated museum’, a more socially inclusive form of cultural institution, was a key outcome from the UNESCO/ICOM ‘Round Table of Santiago’ in 1972. Many of the concepts embodied in this idea became part of ecomuseum philosophy and practice during the 1970s and 1980s, in particular the need to involve local communities and make museums more democratic. The ecomuseum has the potential to be a socially inclusive mechanism and is now a worldwide phenomenon. Many of its tenets (the museum as territory, fragmented sites, in situ conservation and community leadership) are used—in a variety of ways and with varying success—as a mechanism to conserve cultural and heritage resources and to construct and promote local or regional cultural identities. Although the philosophy and practice of ecomuseums has been subject to criticism, they are still being created, mainly in rural areas, as a means of conserving traditional landscapes and ways of life. Japan has embraced the ecomuseum philosophy, and three contrasting ecomuseums (Hirano, Asahi and Miura) are described here, their roles analysed and their democratic nature questioned. It appears that the ecomuseum does have the ability to be a truly democratic method of heritage conservation, but that ultimately much depends on leadership and the identification of the local community as the key stakeholder.     

Pioneer Living 1963 Style: Imaginations of Heritage in a Post‐war Canadian Suburb

This article connects the origins of a Canadian living history museum to the cultural and social developments of 1960s suburban Canada. Although there exists a strong literature on heritage and commemoration in Canada (and around the world), few scholars have looked explicitly at museums in that country. The literature on history museums elsewhere in the world is stronger. However, despite the strengths of this international literature, its focus has been on the use of museums in the present. An important aspect of the use of heritage, the historical contexts in which past museum visitors interpreted museum themes and displays, has not received much attention. This article argues that museum patrons of the 1960s, the decade in which many living history museums were founded, saw pioneer villages in the context of their own modernising lifestyles. However much Black Creek Pioneer Village might reflect anxiety about the direction of modernity, it also framed the past in ways that legitimated modern, suburban living.     

Shared heritage,shared authority,shared accountability? Co-generating museum performance criteria as a means of embedding ‘shared authority’

Abstract

This New Zealand case study presents insights from the perspectives of Māori and non-Māori museum stakeholders. It aimed to understand which activities and responsibilities mattered to stakeholders, in order to develop more meaningful accountability for their shared heritage. Using a participatory mixed method, the research explored how museum stakeholders assess their museum’s performance. Māori and non-Māori generated, sorted and rated 'possible performance statements’. A cultural analysis, using proprietary software, produced concept maps which illustrate differently nuanced museum constructs with different relative importance for constituent elements. Pattern-matching revealed divergent priority accorded certain museum activities, but also commonalities. Both cultural groups prioritised factors not generally featured in compliance-driven approaches to accountability reporting. For Māori, greatest importance was placed on care of taonga (‘treasures’), Māori-specific practice and engagement with Māori, while collections and staff were the key assessment factors for non-Māori. Incorporating stakeholder perspectives in a museum performance framework provides opportunities to report performance on dimensions which matter to wider communities. Where shared authority is taken seriously and stakeholders are involved, accountability becomes meaningful. This collaborative approach to performance framework development offers a tool for embedding the realities of shared authority into planning and delivering the museum’s activities and responsibilities.     

Guerilla art,social value and absent heritage fabric

There is extensive commentary on the role of unauthorised art, but little on the coincidence of heritage value and guerilla art. This paper analyses the relationship of the two in a 2007 statue which is a monument to a lost place for which there is no surviving historic fabric. The statue functions not just as a place of memory, but of guerilla art; a complex interplay has emerged between an official piece of government art and unsanctioned community performance. Growing heritage emphasis on social value over the previous dominance of original fabric suggests that the delight with which the statue has been greeted illuminates evolving heritage philosophy, monument language and the emergence of the importance of the heritage community especially for its potential performance value at a site. The dramatic contribution that the statue has made to the city has an impact on the fields of landscaping, planning, history and heritage.     

Managing performance in publicly funded museums in England: effects,resistances and revisions

Based on accounts gathered from nine museums and four professional/policy-making bodies, as well as policy analysis, this article maps out and assesses the effects of and ways of experiencing the new managerialist mode of governance within the publicly funded museums in England, focusing specifically on performance management in museums. It will be argued that the performance management regime has impacted local authority museums and national museums in distinct ways, creating different professional/organisational cultures as a result. These impacts pertain specifically to the professional and organisational autonomy of museums, with significant differences between small local authority museums and large national museums. This has serious implications for the way different types of museum relate to new managerialism and their mode of functioning. Some of the negative and unintended impacts of the performance management regime have induced a reappraisal – initially championed by the art world – and a move towards lightening up the new managerialist overload and pressure by introducing some elements of a peer-review model and accommodating in some form the qualitative singularity of museum experience. I will conclude by reflecting on the underpinning assumptions of new managerialism in museums against the backdrop of the project of museum professionalism and the singularity of its creative work.     

Debating heritage authenticity: kastom and development at the Vanuatu Cultural Centre

In October 2003, 28 cultural expressions from around the world were proclaimed Masterpieces of the Oral and Intangible Heritage of Humanity, complementing the adoption of the Convention for the Safeguarding of the Intangible Cultural Heritage by UNESCO. This proclamation has been part of the broader remit of the international organisation to protect the world’s cultural diversity from modernity and globalisation. Inherent in this is an underlying notion of cultural authenticity, implying that certain expressions, which are considered to be endangered and therefore in need of institutional protection, constitute ‘original’ and ‘pure’ manifestations of cultural identity. Taking forward debates on the safeguarding of intangible heritage, this paper examines cultural authenticity in the context of the Vanuatu Cultural Centre, the principal cultural organisation, museum and research institution of the Melanesian archipelago. The proclamation of the practice of sandroing (sand drawing) as a masterpiece of intangible heritage, and other heritage interventions taking place in Vanuatu and recorded during fieldwork in 2007, provide an interesting perspective for examining how global cultural initiatives are negotiated by local constituencies. Here, heritage preservation is coupled with calls for development, which invites new ways for thinking about authenticity not according to predefined criteria, but with respect to local understandings.     

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.     

Front and Back Covers,Volume 27, Number 6. Decemver 2011

Front and back cover caption, volume 27 issue 6 Front cover ANTHROPOLOGY IN CHINA China has its own anthropology ancestors, revered today well beyond the discipline. In this photograph, former Vice Chairman of the Standing Committee of the National People's Congress Gu Xiulian and former Finance Minister Xiang Huaicheng jointly unveil a statue built to commemorate the centenary of the birth of Fei Xiaotong, China's most celebrated anthropologist. Official sources declared that the statue was intended to highlight the academic achievements of this nationally celebrated anthropologist. The Wujiang Municipal Party Committee and the Wujiang municipal government also dedicated a ‘Cultural Garden’ to ‘further expand the popularity’ and ‘enhance the influence’ of Kaixiangong village, the village in which Fei did most of his fieldwork. The Culture Garden is made up of an Exhibition Hall of the History and Culture of the Village, built in memory of Fei Xiaotong's sister, Fei Dasheng, and the Fei Xiaotong Museum. The museum explores the anthropologist's extraordinary life, highlighting in particular Fei's 26 visits to Kaixiangong. However, many Kaixiangong residents, and some government officials, were not enamoured of the commemorative statue that was erected on 23 October 2010. In his official standing pose, Fei Xiaotong was deemed ‘too distant’, and unlikely to ‘find repose’. Wu Weishan who had carried out the original official commission (and whose 31‐foot statue of Confucius was inexplicably removed from Tiananmen Square earlier this year), then visited Kaixiangong village and consulted its residents, after which he sculpted free of charge what was generally felt to be a more fitting replacement. The new statue depicts Fei relaxed and smiling in an armchair, echoing the Chinese ‘big‐tummy Maitreya Buddha’. Villagers believe this statue to be a more apt tribute to Fei's memory, and have expressed the hope that it will bring happiness to their village. Back cover BACK TO ‘CIVILIZATION’? Civilization is the name of a successful series of computer games (more than nine million units sold globally: see http://www.civilization.com ). Over the past two decades, the games have become increasingly sophisticated, not only in terms of programming, but also with respect to the background history, sociology and economics. For example, irrigation can increase food production, and granaries enable surpluses to be stored and populations to increase. The moods of the citizens matter too: ‘If a city has more happy citizens than content ones, and no unhappy ones, the city will throw a celebration for the ruler called “We Love the King Day”, and economic benefits ensue.’ Featured civilizations range from the Aztecs to the Zulu. It is not known whether Sid Meier (‘the father of computer gaming’) and his fellow game designers have ever studied anthropology. Even if they had, it is unlikely, as Chris Hann points out in his editorial in this issue, that the concept of civilization would have figured prominently in their curriculum. Civilizational analysis is a lively subfield of sociology and has never really gone away in archaeology, but it largely disappeared from anthropology in the second half of the twentieth century. Hann discusses some of the reasons for this, and lends his support to recent efforts to revive anthropologists’ interest in the concept. For all its variation, Sid Meier's addictive gameplay exemplifies the fiercely competitive, often violent ethos of today's capitalist civilization. The aim of each game is to rule the world in the name of just one civilization. Hann sees affinities with recent popular books engaging with world history, which rely heavily on contemporary readers’ familiarity with IT. The big question is whether ‘killer apps’ (Niall Ferguson) and the rise of silicon intelligence at the expense of carbon (Ian Morris) will eventually eliminate civilizational pluralism.     

Caught between nationalism and internationalism: replicating histories of Antarctica in Hobart

In December 2013, a replica of ‘Mawson’s Hut’ (a historic structure in Antarctica) joined a growing list of polar tourist attractions in the Australian city of Hobart, Tasmania. Initially promoted as the city’s ‘latest tourist hotspot,’ the ‘replica museum’ quickly took its place in Hobart’s newly redeveloped waterfront, reinforcing the city’s identity as an ‘Antarctic Gateway’. The hut forms part of a heritage cluster, an urban assemblage that weaves together the local and national, the past and present, the familiar and remote. In this article, we examine the replica hut in relation to the complex temporal and spatial relations that give it meaning, and to which it gives meaning. Our focus is the hut as a point of convergence between memory, material culture and the histories – and possible futures – of nationalism and internationalism. We argue that the replica hut, as a key site of Hobart’s Antarctic heritage tourism industry, reproduces and prioritises domestic readings of exploration and colonisation over a reading of Antarctic engagement as a transnational endeavour. However, like other ‘gateway city’ heritage sites, it has the potential for aligning with a larger trend in international heritage conservation and heritage diplomacy, that of prioritising narratives of the past that weave together transnational connections and associations.     

The Past under the Shadow of the Present: The Case of the National Museum of Korean Contemporary History

The National Museum of Korean Contemporary History, which opened in 2012, has been the focus of a heated controversy between the progressive and conservative camps over the “proper” ways to represent South Korea’s turbulent history. I build on the relationship between heritage, collective memory and national identity, and argue that the division that typifies South Korean society has implications that extend beyond socio-political issues. Anchored within a broader discursive context, the museum became an important memory carrier involved in the process of debating the issue of national identity. Although no agreement has been reached regarding the “proper” historical narrative the site should exhibit, the museum has nevertheless offered an opportunity to shape a form of national identity that can embrace a more complex perspective on the country’s contemporary history. At present, though, this contentious site has demonstrated the extent to which the legacy of the conservative–progressive divide remains deep. I offer a discursive context that is useful for the study of current debates over heritage sites in South Korea, while the overall analysis illuminates the idea that the “present-centred” management of heritage in national museums can, potentially, play a part in the process of forming more intricate notions of national identity.     

SVEN OLOV LINDHOLM AND THE LITERARY INSPIRATIONS OF SWEDISH FASCISM

Very little research has been done into the leader of the most prominent Swedish fascist party of the interwar period, the leader of the Nationalsocialistiska Arbetarepartiet, Sven Olov Lindholm, in spite of extensive source material in his personal archive. This article explores the literary influences on his politics, which Lindholm cited in his private documents and interviews, both contemporary and post-war. The immediate impact of notable Swedish writers, poets especially, such as Verner von Heidenstam, Viktor Rydberg, Esaias Tegnér, and Bertel Gripenberg, is demonstrated. These authors, largely of the Swedish Romantic tradition, are shown to be parts of one major Scandinavian cultural current in particular, namely Gothicism (göticism), manifested through a centuries-long interest in the Old Nordic heritage. In Sweden, the influence of new far-Right ideas that made their way into the country in the 1920s intersected with Gothicism in unique ways, which gave Swedish fascists a peculiar relationship to both fascism and their national heritage. Ultimately, these literary Gothicist influences allowed a particular naturalizing codification of Swedish fascism in the 1930s. Under the influence of, above all, contemporary Finno-Swedish health specialist Are Waerland, Lindholm is shown to have actively shaped Swedish fascism in line with his literary exemplars.     

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.     

Achilles or Adonis: Controversies Surrounding the Male Body as National Symbol in Georgian England

This paper analyses the controversy that arose when a monumental bronze nude statue of Achilles was unveiled at Hyde Park Corner (London) in 1822 as a monument to the Duke of Wellington and his army. The neoclassical statue (made by Richard Westmacott) perfectly embodied the ‘modern male stereotype’. According to historian George Mosse, this masculine image was a powerful and stable symbol of nineteenth‐ and twentieth‐century bourgeois societies. Intended by the commanders and artist as just such a symbol, the statue in practice was unable to express these high ideals. Ever since its unveiling, the statue has elicited laughter and ridicule. The uneasiness created by male public nudity is an aspect that Mosse missed in his history of masculine imaginary, in which he focused on certain moments of ‘spectacular’ masculinity in modern Western history. Ultimately, the failure of Westmacott's Achilles can best be understood from the well‐known feminist framework on the gendered ‘economy of the gaze’, a framework that is all too often absent in the historiography on masculinities.     

遗产化与旅游化对地方文化记忆系统的影响——以元阳哈尼梯田为例

文化记忆具有复杂系统性,从单一要素理解可能导致对遗产保护与旅游发展关系的误解,不利于地方文化记忆与文化认同的传承。本文采用质性方法分析元阳哈尼梯田遗产化与旅游化对文化记忆的影响。研究发现：一方面,权威话语主导的遗产化通过遗产归属族群、核心区与核心要素选取与认定等途径将文化记忆的主体、媒介、空间等系统要素建构为哈尼化的核心—边缘结构,导致遗产地文化记忆系统内不同主体、空间与媒介的发展失调。另一方面,市场话语主导的旅游化通过多主体参与、核心景点与周边村落协同发展及多元媒介要素展演的路径解构文化记忆系统的主体、媒介、空间等要素,在一定程度上消解了权威遗产化带来文化记忆系统要素的核心—边缘化消极影响。     

遗产认同:概念、内涵与研究路径

本文从遗产产生、发展及其遗产本质属性特征的视角提出了遗产认同的概念,并从“遗产身份”和“遗产认同”两个角度解释了遗产认同的内涵,即前者强调遗产的客观属性,后者强调主体对遗产的认知。在此基础上,根据遗产与认同的四种交叉关系,作者提出了遗产认同相应的研究路径,即从时间视角的遗产化过程分析每个阶段的遗产认同;以尺度的视角从表征层面的空间身份和文化身份特征理解遗产认同;从非表征层面的遗产实践分析相关者如何通过具体行动表征和重构自己的身份认同。遗产认同概念的提出与研究不仅可能丰富新文化地理学的景观研究理论,也为遗产旅游地治理提供理论借鉴,未来还需对遗产认同与遗产保护利用关系做进一步探讨。     

Villages that Never Were: The Museum Village as a Heritage Genre

Villages of relocated buildings now constitute a phenomenon of the world’s repertoire of heritage. They go by a multitude of names depending on particular inflection: open air museum, folk museum, living history museum, heritage village, museum village and so forth. ¹ [1] On the range of villages, see Thompson, ‘The Social Significance of Folk Museums’; Marshall, ‘Folklife and the Rise of American Folk Museums’; Leon and Piatt, ‘Living History Museums’; Shafernich, ‘On‐site Museums, Open‐air Museums, Museum Villages and Living History Museums’; Moolman, ‘Site Museums’; de Jong, ‘Approaches and Concepts’; Chappell, ‘Open‐air Museums’; Corbin, ‘Representations of an Imagined Past’. This paper reviews the context of the form of the genre’s manifestation in Australia, where it is often known as the ‘pioneer village’. They are the fruit of a populist vision of national history which celebrates white rural settlement as its central theme. In practice, the villages manifest a deep commitment to collecting and saving old buildings as the meaningful construction of a favourite historical identity. But the generation that established Australia’s villages has been overtaken. Today, the intersection of museum villages with the managerialist pressures of local economy enhancement and modern professional standards of heritage management challenge most villages’ survival.