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1.
As Colombia began to develop its Intangible Cultural Heritage (ICH) policy, it signed an agreement with the Smithsonian Center for Folklife and Cultural Heritage to collaborate on a Smithsonian Folklife Festival of Colombia's national living traditions, to be shown on the National Mall in 2011. This essay addresses the role of the Smithsonian Folklife Center in advocating for a cultural heritage policy grounded in cultural democracy and intercultural dialogue, as well as its collaboration with UNESCO in crafting the 2003 convention for the protection of intangible cultural heritage. We focus on the Center's signature collaborative program, the Smithsonian Folklife Festival, and on our experience with the 2011 Festival program, Colombia: The Nature of Culture. We examine the relationship between the Festival and Colombia's intangible cultural heritage communities, policies, and practices, through intercultural dialogues that contribute to shaping Intangible Cultural Heritage policy from the bottom up. 相似文献
2.
Richard Kurin 《Curator: The Museum Journal》2014,57(4):405-414
The Smithsonian Folklife Festival began as a four‐day event held over the Fourth of July holiday in 1967, outdoors on the Mall. The impulse for it came from Smithsonian Secretary S. Dillon Ripley. The form of it came from Ralph Rinzler, field research director for the Newport Folk Festival and a documentarian who sought out authentic, grassroots American musicians. The Festival was conceived as giving voice to the less known and under‐represented, a philosophy that quickly expanded to encompass the world of what is now called intangible cultural heritage. The Festival's museology has as its core the foregrounding of the cultural exemplars and the primacy of their voices in the presentations. It has energized new possibilities for what can be done in the Smithsonian and on the National Mall, and in the lives of people, communities, and institutions well beyond. 相似文献
3.
George Hein, museum education theorist, asserts that there are five qualities a “constructivist exhibition” must have (1998, 35). The authors, assembling observations of visitor engagement and qualitative data from the 2013 Smithsonian Folklife Festival, compare the event to Hein's constructivist exhibition criteria, to assess whether the Festival allowed visitors to “make meaning,” and to see whether visitor meaning‐making meshed with the goals of the curators. The answers have the potential to help improve visitor experiences and learning outcomes at museums and other curated cultural events. 相似文献
4.
C. Kurt Dewhurst Diana Baird N'Diaye Marsha MacDowell 《Curator: The Museum Journal》2014,57(4):455-472
Today there is a growing global awareness of the need to address issues related to the safeguarding and use of both tangible and intangible heritage. By engaging with communities in the documentation of local cultures—especially their folklife, or in other words, their traditional intangible cultural heritage—museums can create collections that will serve as foundations for museum research, exhibitions, and programs that have more resonance with and relevance for those communities. Interactions of these kinds—in particular those of the Smithsonian's Center for Folklife and Cultural Heritage and the Michigan State University Museum, home of the Michigan Traditional Arts Program, as well as collaborations between the Smithsonian Folklife Festival and the Great Lakes Folk Festival, and other programs around the world—have served as important platforms for public discourse about a variety of issues and have produced programs and exhibitions both at home and around the world. 相似文献
5.
[目的/意义]推动我国图书馆的口述文献采集工作，提升我国图书馆口述文献利用服务水平。[方法/过程]通过网络、文献、邮件等方式，对美国国会图书馆下属的美国民俗生活中心进行全面调研，对其开展的退伍军人历史、职业民俗、民权口述历史调查和洛马克斯家族等典型项目进行介绍总结，在此基础上分析该中心开展口述文献采集与利用的经验。[结果/结论]分析结果认为，该中心积极利用数字技术与平台、探索多元化采集模式、加强与社会组织合作、设立各种基金与倡导捐款、尊重参与者合法权益等做法和经验，对我国图书馆界具有一定的借鉴意义。 相似文献
6.
Martin R. Kalfatovic Effie Kapsalis Katherine P. Spiess Anne Van Camp Michael Edson 《Archival Science》2008,8(4):267-277
The Flickr Commons was created as a forum for institutions to share their rich photographic collections with the emerging
Web 2.0 audience of Flickr; the Smithsonian Institution was the fourth member of the Commons. The Smithsonian effort was a
direct collaborative effort of the libraries, archives, museums, and information technology staff that generated new pathways
for collaboration between these units. As the world’s largest museum complex, these Smithsonian units serve as a microcosm
for collaboration in the information age. The Flickr Commons project provided insights into how the knowledge, skills, and
abilities of libraries, archives, and museums (LAM) can converge in the Web 2.0 environment to provide collection access to
new, and in some cases unknown, audiences. Simultaneously, by putting “LAM” content into an environment that allows for direct
interaction by these audiences, the knowledge of the content for holding institutions is enriched. By exposing Smithsonian
content within the Flickr environment, the Institution is learning what content is desired by the Web 2.0 world, how to bring
crowd-sourcing into professionally curated collections, and how to bring diverse institutional skills together in a collaborative
project. 相似文献
8.
读书节是图书馆进行读者服务的重要途径,也是其开展特色服务的一个重要特征,是图书馆业务的拓展和延伸。通过广东交通职业技术学院图书馆几年来举办读书节活动的实践,对高职院校举办读书节活动存在的问题以及今后该如何更好地开展相关活动进行了思考。 相似文献
9.
Andrew J. Pekarik James B. Schreiber Nadine Hanemann Kelly Richmond Barbara Mogel 《Curator: The Museum Journal》2014,57(1):5-27
The theory and practice of IPOP emerged from structured observations and interviews with visitors to the Smithsonian Institution museums in Washington, D.C. from the 1990s to the present—a dataset useful in constructing a long view. This research has had one overarching intention: to serve museum visitors better, that is, to provide visitors with experiences that are above average, special, significant, and memorable. In numerous studies and interviews during the last 16 years, visitors have repeatedly spoken about their reactions to Smithsonian museum exhibitions in four typologies distilling their primary interests: I = ideas, P = people, O = objects, and—as we were obliged to add at a later stage—a second P for “physical.” The evidence suggests that exhibitions that strongly appeal to all four visitor typologies will be highly successful with visitors. 相似文献
10.
论文从余秋雨反对设立中国阅读节的三条理由入手,以图书馆员的视角分析了国民阅读中图书馆存在的弊端,并提出了若干建议. 相似文献
11.
山寨是近年来出现的热门词语和现象,在以年轻人为主的群体中流行开来。从山寨机到山寨明星,从山寨秀到山寨春晚,由原来的商业产品扩展到娱乐节目,甚至成为一种生活方式。本文将从传播学的角度解读山寨现象。 相似文献
12.
Beatrice Drengwitz Benjamin Elbers Lisa Debora Jahn Irmela Wrogemann 《Curator: The Museum Journal》2014,57(1):97-106
The motivation for this article arose from the wish to share our outside perspectives on how national museums in the U.S. mediate ideas of national identity. We are four students out of a larger group of 15 German students in Cultural Studies at Leuphana University of Lueneburg. We conducted empirical research on various national museums within the Smithsonian Institution and also on the soon‐to‐be‐opened National September 11 Memorial Museum in New York City. The objective of our research was to explore the role that American national museums play in a globalized world by investigating how such museums address changing national identities over time. 相似文献
13.
Jane Zhang 《档案与原稿》2017,45(1):3-17
Winter counts are pictographic calendars created and used by certain Native American communities as mnemonic devices for remembering the sequence of events that mark each year, and for retelling community stories. Drawing on resources from the Smithsonian Institution’s National Anthropological Archives’ winter count collections and related literature, this study reviews and discusses the characteristics of pictographic records, traces their making and remaking histories, and revisits the pictorial tradition in the American history of records and record keeping. 相似文献
14.
论文从开拓、务实、包容、协作、民本几个方面阐述了首届南图阅读节中所体现出的现代图书馆服务精神。强调在当今时代,现代图书馆人应该看到图书馆的服务对象在不断发展变化,必须及时更新服务理念,秉持现代图书馆服务精神,拓展服务范围,积极融入社会,才能更好地实现公共图书馆的社会价值。 相似文献
15.
The Cartoon Connection: The Art of Personal Humour (London, and North Pomfret, Vt.: Hamish Hamilton, 1978—E5.50/$14.50) The Smithsonian Collection of Newspaper Comics edited by Bill Blackbeard and Martin Williams (Washington/New York: Smithsonian Press/Harry Abrams, 1977—price not given but about $25/12.95 for the two formats) Ring Lardner's You Know Me Al: The Comic Strip Adventures of Jack Keefe (New York: Harcourt Brace Jovanovich Harvest Books, 1979—$6.95, paper) Erving Goffman's Gender Advertisements (Cambridge, Mass.: Harvard University Press, 1979—$12.50) 相似文献
16.
《期刊图书馆员》2013,64(2):17-26
An experimental telefacsimile network of four nodes is described. Slow-speed equipment at four branches of the Smithsonian Institution Libraries was used to transmit journal articles to speed delivery. The study concludes that telefacsimile can be justified for its capability to meet urgent needs but that these are infrequent. Good planning and monitoring are essential. 相似文献
17.
[目的/意义]结合品牌理论和国内外阅读推广现状,分析"书香中国·北京阅读季"品牌化运作特点,为我国全民阅读推广品牌建设提供借鉴与参考。[方法/过程]使用文献、网络和实地等调研方法,对"书香中国·北京阅读季"的品牌化建设进行分析、总结和提炼。[结果/结论]"书香中国·北京阅读季"品牌化建设形成了具有可复制性的城市阅读推广模式,具有强烈的品牌意识、鲜明的形象设计、清晰的定位和活动方案,以及完善的推广平台和全方位的传播体系,为全民阅读推广提供了经验和范本。 相似文献
18.
Sherry Devereaux Ferguson 《Communication Studies》2013,64(4):246-253
During the turbulence of the French Revolution, a small foppish provincial lawyer arose to preach a rhetoric of virtue designed to legitimize Jacobin rule. Assuming a Christlike ethos, Maximilien Robespierre inspired a cult that met weekly to read his speeches and sing hymns of praise. The Festival of the Supreme Being marked the climax of Robespierre's reign of virtue. 相似文献
19.
论文从余秋雨反对设立中国阅读节的三条理由入手,以图书馆员的视角分析了国民阅读中图书馆存在的弊端．并提出了若干建议。 相似文献
20.
Abstract An exhibition team at the National Museum of the American Indian, working with a visitor studies specialist from the Smithsonian’s Office of Policy and Analysis, used visitor studies conducted by the entire team during planning for a reinstallation of part of the permanent collection. The studies evolved organically during the exhibition planning as questions and hypotheses arose among the team. The answers led to further studies. This research model brought team members together in a spirit of inquiry and a process of discovery, changed their perceptions of themselves and their subjects, and suggested a new typology of visitors. 相似文献