‘Ending the hegemonic presumption’? Recent writings on US–Cuban relations*

For over fifty years relations between the United States and Cuba have been antagonistic, with each side blaming the other for the continuing impasse. This Caribbean Cold War has seen an unsuccessful armed invasion of Cuba (popularly known as the Bay of Pigs invasion), the threat of nuclear war between the US and the USSR (the ‘Cuban missile crisis’), and an intensifying series of measures by the US government to reverse the Cuban social and political revolution of the 1960s. Since the early nineteenth century Washington has sought to control Cuba; and the US conditions for relaxing its pressure on present‐day Cuba continue this tradition, itself part of a broader ideology (often short‐handed as the Monroe Doctrine) which sees the western hemisphere as America's legitimate and exclusive ‘sphere of interest’. This article examines a number of recent works dealing both with the US–Cuban relationship, placing this relationship in historical and geopolitical contexts, and with the impact on Cuban society of the economic crisis of the 1990s caused by the collapse of the Soviet Union.     

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.     

An Army of Educators: Gender,Revolution and the Cuban Literacy Campaign of 1961

The conventional scholarly narrative of gender in post‐revolutionary Cuba is that the revolutionary government prevented the emergence of an expressly feminist movement by addressing women's basic needs and simultaneously eliminating autonomous space for female organising. Recent scholarship has increasingly considered women's participation in revolutions in order to understand women's roles in post‐revolutionary societies. Looking beyond armed insurrection for instances of female participation in revolution, this article considers women's roles in the Cuban Literacy Campaign. An analysis of the testimonies of female former volunteer teachers and of the official rhetoric and content of the campaign suggests that the broader narrative of cooption, while certainly accurate overall, threatens to obscure instances in which women did challenge traditional gender norms in meaningful ways. This paper argues that the Cuban Literacy Campaign and the participation of women in that campaign significantly impacted Cuban patriarchal culture at a crucial moment of consolidation for the revolutionary regime. In other words, though the male‐led revolution did not give women the space to organise against patriarchy, by actively participating in the revolution, women did help change the nature of Cuban patriarchy.     

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.     

博物馆数字化科普平台建设

建设博物馆数字化的科普平台,加强了对馆藏文物的保护能力,促进了博物馆的历史文化教育和传播功能,具有重大的现实意义和深远的历史意义。本工作将介绍其构建方法:采用全景拍摄、三维扫描等数字化信息采集技术,对博物馆建筑的内外景、重点馆藏文物进行信息采集,构建虚拟的历史遗迹遗存、网上博物馆,将实体博物馆以数字化方式完整呈现,通过互联网/移动互联网提供身临其境的虚拟参观服务;采用二维码、电子标签、混合定位等技术,为现场观众提供自助音视频文化科普导览服务;策划制作面向广大青少年的反映中国历史文化遗产的4D影视科普作品及建设面向普通观众开放的博物馆4D动感影厅工程播放系统,以此构建博物馆数字化科普平台。     

A Forgotten Legacy: The Romanov Patronage of Finland’s Early Art Collections

The earliest art collections of Finland’s National Gallery came into being when, as the Grand Duchy of Finland, it was an autonomous part of imperial Russia (1809–1917). The prevailing view of Finnish museum studies, however, sees the Finnish Art Society, the precursor of the Finnish National Gallery, as being modelled on exclusively European cultural institutions. The history of the Society and its collections have thus been seen as resistant to any alien eastern influences, and as an attempt to differentiate Finnish culture from Russian art collecting practices. Drawing on the theoretical shift in cultural studies from the conception of stable, clearly demarcated cultural identities of nation states toward less rigidly defined identities, the aim of this essay is to reconstruct the hidden Russian presence in Finnish museum historiography. Based on original unpublished sources, my study shows that the earliest support of Finland’s cultural infrastructure was given by the Romanov patrons Nicholas I, Alexander II, and Alexander III. By exposing the absence and physical erasure of “imperial identity” in the official Finnish museum narrative, I reveal how museums can at once elevate particular discourses and practices while marginalizing other historical processes in a nation’s cultural past.     

The red line over European colonialism: comparison of the Macao museum and Hong Kong museum of history after their return to China

Hong Kong and Macao were once European colonies. A unique, hybrid culture of East and West now flourishes in these two Special Administrative Regions (SARs) of China. Both cities opened new history museums in 1998, but they adopted remarkably different approaches in their representation of their complicated and politically sensitive history. The Hong Kong Museum of History (HKMH) represents history by closely following the orientation of traditional Chinese nationalism. The postcolonial characteristics adopted by the Macao Museum to reproduce history, in contrast, are likely amongst the richest of all history museums in China. What are the reasons behind the different historical representations by Hong Kong and Macao, which were both promised a ‘One country, Two systems’ policy by the Chinese central authority? This paper argues that both museums reveal two faces of a rising China; the one in Hong Kong emphasises national dignity, and the people’s identification with and loyalty to the nation when it is engaged in state building. The one in Macao emphasises the multiple roles in finding a balanced position to coexist with superpowers, forging friendships with developing countries and building an idealised image of a (re-)rising nation through historical construction. The difference between these two museums indicates the exceptional flexibility of China’s postcommunist regime in engaging in soft power diplomacy.     

The politics of donating technological artifacts: techno-nationalism and the donations of the world’s first jet engines

The Smithsonian Institution’s aviation collection includes two early jet engines, both of which were given to the museum by foreign donors. The first, a prototype of Britain’s first jet engine, which flew during World War II, was donated by the British state in 1949. The second, a replica of Germany’s first jet engine, which flew in late August 1939, was donated by Germany’s leading museum, the Deutsches Museum, in 1980. The two are today presented as equivalent artifacts, yet the paths followed by the two objects to the American museum were anything but equivalent. Recovering the political and historical contexts that informed each of these two donations shows how what was apparently the same action fulfilled two very different agendas. Unlike the British donation, which was calculated to support Britain’s (at that time solitary) claim to having invented the jet engine, the German donation supported a narrative of dual invention, which had become the internationally agreed standard story between 1949 and 1980. This dual-inventor narrative allowed the German museum to forward a more subtle goal than promoting a national inventor; that of depoliticizing and normalizing Germany’s aerospace tradition internationally despite the fact that German aviation had been a locus for German nationalism and National Socialist largess. Reflecting on these two donations raises questions about how technology – particular historical claims about technology made in museums – have contributed to the construction of national identities.     

Heritage,Tourism and Museums: the case of the North Atlantic islands of Skye,Scotland and Prince Edward Island,Canada

Heritage tourism, and the products and experiences related to it, represent a growing attraction in international tourism and the museum is a potential partner in the development of heritage activities for tourists. This paper explores the relationship between tourism and museums and analyses their roles in relation to heritage. It recognises that the shared characteristics of tourism and museums provide a basis for the two to work together in the development of heritage tourism. This exploration is illustrated by the comparison of case studies of legislated museum provision and their relation to tourism on two North Atlantic islands. In conclusion, the paper argues that while in some cases museums may be seen as somewhat reluctant partners in the process of heritage tourism they are in fact constrained by traditional roles and responsibilities and influenced by both differing jurisdictional contexts and views as to their functions.     

Time to Grow Up? Canadian Understandings of Revolutionary Cuba to the Missile Crisis of 1962

The Cuban missile crisis was a moment during the Cold War when rhetoric, brinkmanship, and politics intersected with notions of masculinity, empire and colonization to nearly disastrous ends. The crisis occurred at a moment of transition in Canada in which Canadians were profoundly concerned over the state of Canadian–Cuban relations and Canada’s place in the world. This article examines how previous understandings and preconceptions of “Cuba”—such as feminized and infantilized images of Cuban leader Fidel Castro in political cartoons and editorials in newspapers – influenced how Canadians understood the crisis, their nation and how the Canadian government should interact with other powers. While both negative and positive images of Castro and Cuba were present in Canadian public discussion, Canadians utilized the same imagery to argue that their government should act in its own best interests after the missile crisis.     

Museums,memory and meaning‐creation: (re)constructing the Tajik nation

To overcome the traumas of the 1992–1997 civil war, the Tajik authorities have turned to history to anchor their post‐independence nation‐building project. This article explores the role of the National Museum of Tajikistan, examining how the museum discursively contributes to ‘nationalising’ history and cultural heritage for the benefit of the current Tajik nation‐building project. Three main discursive strategies for such (re)construction of Tajik national identity are identified: (1) the representation of the Tajiks as a transhistorical community; (2) implicit claims of the site‐specificity of the historical events depicted in the museum, by representing these as having taken place within the territory of present‐day Tajikistan, thereby linking the nation to this territory; and (3) meaning‐creation, endowing museum objects with meanings that fit into and reinforce the grand narrative promulgated by the museum. We conclude that the National Museum of Tajikistan demonstrates a rich and promising, although so far largely unexplored, repertoire of representing Tajik nationness as reflected in historical artefacts and objects of culture: the museum is indeed an active participant in shaping discursive strategies for (re)constructing the nation.     

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.     

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.     

晚清民国博物馆理论补述

鸦片战争之后国门洞开,中西文化在不断碰撞中时时交流融汇,国人逐渐认识到陈列、展览、博物馆的实质内涵与功用所在,并有诸多实践.同时经过中外纵横考察与对比,学者开启了博物馆理论研究的先河,建构了博物馆学科及专业领域研究的理论框架,对博物馆的功能与作用、建设与管理、发展历史等作了见仁见智的研究.这其中除了张謇、蔡元培、陈端志...     

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.     

从上海世博会看城市文化建设与博物馆的关系

2010年上海世博会的主题"城市,让生活更美好",诠释了城市文化建设与博物馆的关系。随着我国经济文化建设事业的不断深入发展,不同门类的博物馆作为城市文化的标志性建筑如雨后春笋般地出现;其所陈列展览的内容是这些城市或地区历史文化的缩影。一座城市若没有博物馆就彰显不出其高雅的文化品位,因为它表现了该城市及其所在地区的文化底蕴,并给人们提供着丰富的精神食粮。伴随着现代化的社会进程,博物馆与城市文化建设之间相互依存关系显得更加密切,所以,我们在进行城市文化建设时,要把博物馆事业的发展放到突出的位置。     

Museums and the ‘Death of Experience’: singularity,interiority and the outside

This paper discusses a number of well-known critiques of the museum that seek to identify it as a problematic space for experience. The key argument put forward is that we can find within that analysis a critical geography around the museum that help us to understand the work that it does in relation to experience. Three spatial motifs are drawn from this analysis and discussed: the singular, the interior and the outside. The paper argues that museums since the nineteenth century have established a topos for experience based on a mimetic realism around the experience of both culture and history through the first two of these spatial expressions. Through them museums produces a fabulation of culture and history that supplements for the lack of topos for experience found within modern society as a whole. The latter spatiality – that of the outside – is found in the form of the absent–presence of the event in relation to the archiving principle of the museum, thereby continually unsettling the first two expressions and calling them into question. This dynamic reveals the museum as a space to critically think about what it does with experience and the importance of spatial analysis for that.     

Evaluating the efficiency of museums using multiple outputs: evidence from a regional system of museums in Spain

Data Envelopment Analysis is used to evaluate museum efficiency. This approach enables us to create a relative efficiency measure for each museum, taking into account resources used by museums and the performance of their activities based on four well-defined tasks: conservation, research, communication and exhibition. Empirical analysis of data from a regional museum system in Spain is performed, considering a complex production function with several inputs and outputs. The main findings indicate that at least half the museums chosen operate efficiently, with the major cause for inefficiency being inadequate resource management. Only few museums evidenced significant inadequate scaling problems. Major progress, mainly due to improvements in internal efficiency, is evident in the museum system ratios when analysing productivity evolution using the Malmquist Index. By contrast, technological change has less impact, proving that cultural heritage is less receptive to new technologies as compared to other cultural industries.     

The “War on Terror” and the Military–Archaeology Complex: Iraq, Ethics, and Neo-Colonialism

The archaeological response to the 2003 invasion and occupation of Iraq is often portrayed as a crusade to rescue antiquities, destroyed either directly by the military action itself or indirectly by the looting of archaeological sites and museums. I argue in this paper that this narrative is awfully inadequate, and masks the ethical and political dimensions at the core of this historical episode. I contend that, in their often well-intended attempts to rescue antiquities, most archaeologists involved have projected a professionalized, apolitical and abstract response, devoid of the social and political context, and based on the fetishisation of a narrowly and problematically defined archaeological record. I argue further that the increasing collaboration of many archaeologists with the invading militaries and occupation authorities since 2003, assisted by the “cultural turn” especially within the US military, have laid the foundations for an emerging military-archaeology complex. I trace the contours of this phenomenon by examining various archaeological and museum discourses and practices. This new development (with historical resonances that go as far back as the 18th century, if not earlier) is linked directly with the ontology and epistemology of archaeology, and deserves further close scrutiny and analysis. The thesis advanced here does not advocate inaction and withdrawal in situations of warfare, but a critical engagement that safeguards the autonomy of the scholar; critiques the political agendas and power structures of contemporary warfare; deconstructs its discursive basis and its ideological overtones; and shows its catastrophic consequences for people and things alike, past and present.     

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.