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1.
Keeping cultures alive: archives and Indigenous cultural and intellectual property rights 总被引：1，自引：1，他引：0
Archives play an important role in the cultural survival of Indigenous Australians. The wave of colonisation has had such
an impact on Indigenous communities and the transmission of culture that access to records, materials, photographs and films
is, for Indigenous people, a key way of keeping culture. Indigenous cultural and intellectual property rights are Indigenous
people’s rights to their heritage. Archival organisations and museums collect and preserve Indigenous people’s culture. In
the past, this has been from an ethnographic eye, but the contemporary challenge is to work with Indigenous people to make
the archives alive, to foster and promote Indigenous cultural knowledge and cultural expression, and innovation. 相似文献
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Previous Possessions, New Obligations was launched by Museums Australia Inc. in 1993, the International Year for the World's Indigenous People, as a policy framework to guide the development of relationships between museums in Australia and Indigenous Australians. The policy was based on consultation with Indigenous people to develop protocols, policies and procedures for more sensitive collection management and for including Indigenous people in research and public programs; and to address issues of governance. It expressed the values that would underpin new relationships between museums in Australia and Indigenous Australians. An evaluation of the policy was conducted in 2000 in a collaboration between the Australian Museum Audience Research Centre, Sydney, and Museums Australia Inc., Canberra. The evaluation found that the policy had substantially met its goals, particularly in establishing the primary rights of Indigenous people to control their cultural material in museum collections. However, a range of substantially new issues emerged which require new policy responses and initiatives. 相似文献
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Abstract The Learning Science in Informal Environments report holds great potential for creating change among those who work in the field of science education. But to what extent can it inform other sectors of the informal education world? This article explores how the LSIE report might influence research and practice in art museums. By comparing the report to a recent study in art education, the authors point out areas of overlap and divergence relative to content and skills, identity, and communities of practice. We suggest several implications for how art museums and science museums might learn from one another. A call to action is made for further research and discussion about common learning goals and outcomes for the art museum experience. 相似文献
5.
Robert Stein 《Curator: The Museum Journal》2012,55(2):215-226
Abstract The deep trove of information available on the Internet and the expanding connections it affords to new communities online have been a transforming force in museums in the recent past. A single individual can publish thoughts and ideas to an audience of millions with a few simple clicks of a button. The cultural sector has made great strides in adopting these same methods to advance the missions and content of our organizations; however, a rise in participatory culture poses a number of challenges for the role of museums and our place in the evolving culture of our community. A debate surrounding the changing nature of authority and the participatory expectations of society is central to defining how museums can meaningfully engage with contemporary audiences. When making decisions that define how audiences play a role or not in their organizations, museums must consider the far‐reaching consequences of these choices on the relationships they have with their communities. 相似文献
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ABSTRACTPromoting and facilitating access to historical collections for Indigenous communities has recently increased across Australia. Such activities have been integrated into the practices of archives and libraries seeking to reunite Indigenous people with materials that not only document their past but also inform their future. Challenges in accessing these materials go beyond retrieval and include concerns about their emotional content. The State Library of New South Wales is working to create trusted environments for Indigenous peoples and collections with both physical and digital spaces. Through the presentation of work undertaken at the State Library, this article explores how the digital environment can be an effective extension of the physical site in which cultural collections are held. In addition, this article looks at issues that must be addressed to ensure the success and ongoing viability of Web spaces, specifically, the long-standing power dynamics that often dominate interactions with Indigenous collections and that have displaced power from the traditional owners of Indigenous knowledge. 相似文献
7.
Elaine Heumann Gurian 《Curator: The Museum Journal》1995,38(1):31-37
Our certainty about the definition of museums is disappearing and with it goes our assurance about where we are and what we are becoming. Observing visitors' use of the United States Holocaust Memorial Museum could cause us to change our understanding about how people use and act in museums. Further boundaries are blurring as the native communities worldwide ask museum personnel to change their methods of collections care and alter rules of accessioned objects' use. Without acknowledging it, museum personnel are becoming more comfortable with reproductions and purposebuilt material. Technology is making us a “paperless” society. Our need for and understanding of “authenticity” is changing, and we no longer rely purely on our objects to define our work. Are we destroying museums, changing with the times, or creating some new and potentially more vibrant and useful institutions? Can a new realignment and new definition of our institutions help us to create a more civil society? Do we wish to continue on this road? 相似文献
8.
Volker Kirchberg 《Curator: The Museum Journal》2007,50(2):239-254
Abstract Sociologists have described “scenes” as voluntary social groupings or figurations that are “… thematically focused cultural networks of people who share certain material and/or cognitive forms of collective stylization,” according to Hitzler, Bucher, and Niederbacher (2001, 20). This terminology is quite useful for thinking about Stephen Weil's assertion that visitors play a role in shaping museums. Through “scenes,” we see how this might happen, and how visitors might already be exerting subtle pressure on the forms and contents of museums. The study of scenes could help us develop a tool that would offer a unique vision of the influences that visitors have on museums. 相似文献
9.
Elaine Heumann Gurian 《Curator: The Museum Journal》2010,53(1):71-85
In this paper, I suggest that museums have not explored their potential opportunities enough when dealing with their communities under stressful conditions. Each reader, however, should decide when what I am talking about is no longer appropriate for museums in general or your museum in particular. While some museums have moved more in the direction of serving their communities, I am struck by how little philosophical change has actually taken place in most museums after a year into this universal economic downturn. I argue that incorporating a broader palette of social services may make institutions more useful, but at some point these institutions might cease to be traditional museums. My question would be: “Should you care?” I do not suggest that all museums become full‐service community centers, though some might explore that option. Perhaps the question might become: How do we expand our services so that we make museums’ important physical assets of safe civic space and objects useful for tangible three‐dimensional learning into more relevant programs that reach all levels of community, and are rated by many more as essential to their needs and their aspirations for their children? 相似文献
10.
Lynda Kelly 《Archival Science》2004,4(1-2):45-69
Museums present different contexts for learning, particularly when compared with places such as schooos, universities and
libraries. They have been described as free-choice learning environments visited by a broad range of people. Museums have
the opportunity to shape identities—through access to objects, knowledge and information visitors see themselves and their
culture reflected in ways that encourage new connections, meaning making and learning. However, across the world museums are
finding themselves competing with other leisure and learning experiences in an increasingly global world. The long history
of audience research in the cultural sector demonstrates the interest museums have had in their visitors over time. This paper
outlines the development of audience research in museums, the context within which it operates, and describes the processes
of audience research through a series of case studies drawn from the work of the Australian Museum Audience Research Centre.
It is argued that the shift in museums from mission-led program development to balancing content and audience needs through
a transaction approach requires a broader research-focused agenda. While traditional ways of conducting evaluations are necessary
and useful, to remain viable audience research needs to be more strategic, working across the sector in new ways and utilising
new methods. How programs impact on users and facilitate learning about a wide range of key issues that museums are concerned
with is a leadership role that audience research can take across both the cultural sector and other free-choice learning contexts.
To achieve this, a communities of practice approach is suggested as a potential framework for audience research in the contemporary
museum. 相似文献
11.
Abstract This paper presents some personal perceptions about “drivers of change,” which have impacted the role and nature of museums since the 1980s, leading to the rise of the visitor‐centered museum. Such changes mirror developments occurring in society. In the case of museums, a decline in public funding has occurred at a time when increased resources are required to enable museums to successfully compete for the visitor dollar in the expanding “experience economy.” The authors suggest that the role and nature of museums in the future will be shaped by their responses to many challenges, the most important being: how to increase visitor numbers without negatively impacting on visitor satisfaction; how to adjust policy and practice as museums approach the limits of visitor growth; how to start to reverse the trend of declining public funding by demonstrating museums’ value to society through the adoption of community‐centered policies and practice; and perhaps the most unpredictable, how museums will adjust their policies and practices in the face of possible climate change. 相似文献
12.
Christina Kreps 《Curator: The Museum Journal》2003,46(3):311-323
This article examines changes that have been taking place in the museum world over the past several decades—changes that have been transforming the social practice of curatorship in museums. We are seeing the emergence of more holistic, integrated and culturally relative approaches to curatorial work that acknowledge the relationships among objects, people, and society, and explore these relationships in social and cultural contexts. Through cross‐cultural comparison, curating can be seen as a form of social practice linked to specific kinds of relationships between people and objects as well as to wider social structures and contexts. This approach allows us to transcend debates over whether or not museums and curatorial work should be either object‐ or people‐focused. One approach cannot be separated from the other. 相似文献
13.
Michael M. Ames Author Vitae 《Museum Management and Curatorship》2006,21(3):171-186
Museums are not usually seen to be agents of change. If they are to serve as important mechanisms for empowering local communities to define, recognize, and develop their own indigenous heritages, they should first consider a potential contradiction contained within this initiative: museums specialize in the representation of other peoples, while people have the sovereign right to represent themselves. Left unresolved, this contradiction could produce counterfeits of good intentions. The introduction of professionalized cultural management may mitigate the responsibilities of the citizenry to actively participate in the production and preservation of their own heritage. 相似文献
14.
Danielle Rice and Philip Yenawine are veteran art museum educators who have wrestled for decades with the thorny issues involved in teaching about and learning from art objects in the museum setting. While there is general agreement within art museums today that the object should be the focus of educational practice, debate continues as to the most effective processes for facilitating learning. Gallery teaching is one of the most contested arenas, with much of the disagreement centering on the place of information in teaching beginning viewers. In art museums, the issue of what and how to teach is complicated by the fact that many people, including artists, museum professionals, psychologists and educators consider art primarily as something to be enjoyed, and they posit this enjoyment in direct opposition to learning about art. Partly because of this, the function of art museum education and gallery‐based instruction is still evolving. 相似文献
15.
Elaine Heumann Gurian 《Curator: The Museum Journal》2001,44(1):97-113
Abstract This article examines three elements largely overlooked by the museum profession when thinking about community building—space, space mix, and unexpected use of space. It suggests that if museum planners were to pay overt attention to these, they could greatly enhance the community‐building role museums increasingly play. When considering museums and communities, writers in the museum field have focused on broadening audiences, public programs, collections and exhibitions. Physical spaces have been regarded as necessary armature but not as catalysts themselves. There are many subtle, interrelated and essentially unexamined ingredients that allow museums to play an enhanced role in the building of community and our collective civic life. The article describes the characteristics of the Livable Cities Movement and New Urbanism and suggests ways in which museums could encourage these characteristics—and thereby consciously use their interior and exterior spaces to build community. 相似文献
16.
Scholars, commentaries, guide books, and people “on the street” seem to agree and take for granted that natural history museums are mainly aimed at children. Nevertheless, no studies have specifically investigated the public image of natural history museums. In this study, we provide quantitative evidence that natural history museums are indeed seen by the public as being primarily aimed at children and families with children, and we discuss the consequences that this fact has for the potential role that natural history museums could have in promoting science literacy and for the perception of science in general. 相似文献
17.
The language people use to talk about something can constrain as well as facilitate understanding. This essay explores the lessons learned through a study of how people talked about music to examine what it can mean for museums and museum experiences. The study itself had people talk about their interest, background, and ways of engaging with music, then listen to random cuts of preselected music to talk about what they were hearing. Several themes emerged from the study, suggesting there are clusters to ways in which people frame their experiences of music, which extend to how people might understand the museum experience and what museums might do to make that experience more relevant. 相似文献
18.
Ken Yellis 《Curator: The Museum Journal》2010,53(1):87-103
There are an estimated 17,500 museums in the United States. If people think these institutions are pretty much the same once you get inside or that the differences between them are unimportant, it might be hard to persuade them that all 17,500 are needed. Exhibitions can have great transformational power; why don’t they exercise that power more often? Have museums not fully understood exhibitions as a medium? Have we not devoted enough attention to the full repertoire of visitor feelings? Have visitors been telling us this and we have failed to listen? For many people, museums play many roles in their lives; for most others few or none. How can this be? “Museum‐adept” visitors seem to prize museums as theaters in which their own emotional and spiritual journeys can be staged, but what about the non‐museum‐adept? Can the museum‐adept teach us how to realize our medium’s full potential? 相似文献
19.
Angelina Russo Jerry Watkins Lynda Kelly Sebastian Chan 《Curator: The Museum Journal》2008,51(1):21-31
Abstract Major museums worldwide are starting to use social media such as blogs, podcasts and content shares to engage users via participatory communication. This marks a shift in how museums publicly communicate their role as custodians of cultural content and so presents debate around an institution's attitude towards cultural authority. It also signifies a new possible direction for museum learning. This article reports on a range of initiatives that demonstrate how participatory communication via social media can be integrated into museum practices. It argues that the social media space presents an ideal opportunity for museums to build online communities of interest around authentic cultural information, and concludes with some recent findings on and recommendations for social media implementation. 相似文献
20.
Carine Ayele Durand 《Curator: The Museum Journal》2010,53(4):491-500
Abstract In this study of artistic practice surrounding the development of the Pasifika Styles exhibition at the Museum of Archaeology and Anthropology (Cambridge), the author argues that certain methodologies employed in artistic practice, such as techniques of assemblage, not only suggest ways in which collaborative initiatives between museums and their communities can be realized, they also offer practical direction for the development of complementary ethnographic techniques. Interest among museum practitioners in what artists can offer museums is explored in relation to their increasing need to demonstrate their social relevance. 相似文献