Art museums still have an essential role, both for the art world and the wider society. This thesis deals mainly with their transformation and challenges they have to face in relation to contemporary society. It focuses on the development of museums, the transformation of values they embody and also on changes in normative expectations in conjunction with them. The paper also discusses the role of museums with increasing emphasis on their educational role, because this role could help museums to succeed in their current efforts to open to the wider audience. Today, these attempts to democratize represent crucial task of art museums. These efforts, however, depend on the concept of aesthetic taste which the paper also deals with. To be successful, it is desirable to view taste as a skill that can be cultivated through education. Since those who influence success in this field are museum professionals, this work deals also with their position within the museums and the art world and the strategies which are used by them. The fundamental shifts in art museums and their responses to the demands of the public occurred as a result of institutional critique that began in the 60's of last century. The new museology, critical curating and relational aesthetics can be included under this trend. As these...

Ao longo da história, o Museu foi uma instituição de muitas características, finalidades e motivações, acompanhando as mudanças sociais de seu tempo. Ele possui hoje, um papel fundamental em diversos aspectos contemporâneos, compondo parte estruturante para o desenvolvimento da sociedade. Contudo, ele enfrenta grandes desafios para manter-se vivo e ativo em suas funções, o que nos leva a refletir se as instituições museais contemporâneas de fato cumprem a sua função social. Diante disso, o objetivo principal dessa dissertação foi analisar as transformações da instituição Museu, apresentando a sua trajetória a partir das mudanças dos paradigmas do conhecimento da sociedade. Como desdobramento desse objetivo e em virtude do movimento da Nova Museologia, a pesquisa teve como objetivo específico apresentar o Museu contemporâneo sob o prisma das novas formas de diálogo com a sociedade, trabalhando com a hipótese de que, essa mudança na postura museológica aproxima o museu da sociedade, contribuindo para o alcance e aprimoramento de sua função social. Buscando atingir tais objetivos, o método de pesquisa constituiu-se de uma abordagem qualitativa, exploratória e explicativa onde os procedimentos metodológicos foram aplicados as pesquisas bibliográfica e documental. Deste modo, a partir dos questionamentos: O que é conhecimento? O que é Museu? A que se destina? e A quem se destina? expostos em cada paradigma: Greco-Romano, Judaico-Cristão, Ciência Racional e o Paradigma Atual, elaboramos quadros com as respostas consolidadas para fundamentar reflexões acerca do passado, do presente e do futuro dos museus. Destacamos que em sua trajetória paradigmática de transformações e (re) transformações, o museu encontrou no movimento da Nova Museologia a busca pelo aprimoramento de sua função social. Nesse sentido, as análises feitas do passado, no Capítulo 2, e do presente, no Capítulo 3, nos permitiu que, no Capítulo 4 delineássemos a perspectiva de três novas formas de diálogos do museu com a sociedade: Diálogos por meio do Lazer Cultural, Diálogos por meio da Educação Não Formal e Diálogos por meio do Patrimônio Cultural, que a nosso ver, fazendo uso da criticidade e do desenvolvimento recíproco, favoreceriam o alcance das três finalidades prima do Museu (estudo, educação e lazer) e, consequentemente, o alcance e o aprimoramento de sua função social, razão de sua existência e objeto de estudo dessa pesquisa / Throughout history, the Museum was an institution of many characteristics, purposes and motivations, accompanying the social changes of its time. Today, it has a fundamental role in several contemporary aspects, forming a structuring part for the development of society. However, it faces great challenges in order to remain alive and active in his functions, which leads us to reflect on whether contemporary museological institutions actually fulfill their social function. Therefore, the main objective of this dissertation was to analyze the transformations of the Museum institution, presenting its trajectory from the changes of the paradigms knowledge of the society. As a result of this objective and due to the New Museology movement, the research had as its specific objective to present the contemporary Museum under the prism of the new forms of dialogue with the society, considering the hypothesis that, this change in the museological methodology approaches the museum society, contributing to the achievement and improvement of its social function. In order to reach these objectives, the research method consisted of a qualitative, exploratory and explanatory approach where the methodological procedures were applied to bibliographical and documentary research. Thus, from the questions: What is knowledge? What is Museum? What is it for? and Who is it for? in each paradigm: Greco-Roman, Judeo-Christian, Rational Science and the Current Paradigm, we elaborate tables with the consolidated answers to support reflections about the past, the present and the future of the museums. We emphasize that in its paradigmatic trajectory of transformations and (re) transformations, the museum found in the movement of the New Museology the search for the improvement of its social function. In this sense, the analyzes of the past in Chapter 2 and in Chapter 3 have allowed us to delineate the perspective of three new forms of dialogues between the museum and society in Chapter 4: Dialogues through Cultural Leisure, Dialogues through Non-Formal Education and Dialogues through Cultural Heritage, which, in our view, making use of criticality and reciprocal development, would favor the achievement of the three primary purposes of the Museum (study, education and leisure) and, consequently, the scope and improvement of its social function, reason for its existence and the object of study of this research

A partir da década de 1960, com o surgimento do novo paradigma da democracia sociocultural, diversas críticas direcionaram-se aos museus e à museologia e deram base para o surgimento de um movimento museológico internacional denominado Nova Museologia, oficializado em 1984 no I Atelier Internacional Ecomuseus/Nova Museologia, realizado em Québec (Canadá). A Nova Museologia enfatizou a vocação social dos museus e propôs diversas renovações teóricas e metodológicas ao campo museológico estabelecido. No Brasil, observamos repercussões desse movimento principalmente a partir da década de 1980, com a redemocratização do país. Paralelamente à renovação de museus já consolidados, surgem novas iniciativas, denominadas majoritariamente ecomuseus e museus comunitários, que objetivam, através de uma curadoria coletiva e da promoção de práticas ativas, populares, participativas, comunitárias e experimentais, a valorização, preservação e difusão dos patrimônios locais (Natural, Cultural, Material e Imaterial), garantir que o museu atue como espaço de representação e promova, a partir da contextualização do patrimônio, a compreensão, o questionamento, a conscientização e a transformação da realidade. O atual projeto de pesquisa teve como objetivos: revisar termos e conceitos ligados à Nova Museologia e a essa nova tipologia de museus em bibliografia pertinente ao tema, relacionando e confrontando autores diversos; realizar um mapeamento dos museus comunitários, ecomuseus e demais iniciativas de memória e patrimônio de base comunitária que se compreendem enquanto museus no contexto brasileiro; elaborar um panorama-síntese para uma melhor compreensão da diversidade dessa tipologia de museus. / Since the 1960\'s, with the emergence of the new paradigm of socio-cultural democracy, several criticisms were directed at Museums and Museology and this process triggered the emergence of an international museological movement called New Museology, made official in 1984 at the I Atelier International Ecomuseums / New Museology, held in Quebec (Canada). The New Museology emphasized the social vocation of museums and proposed several theoretical and methodological renewals to the established museological field. It is possible to observe repercussions of this movement in Brazil mainly from the decade of 1980, with the redemocratization of the country. Parallel to the renovation of already consolidated museums, new museological experiences are emerging, mainly called museums community and ecomuseums, which aim, through collective curation and the promotion of active, popular, participatory, community and experimental practices, the valorization, preservation and diffusion of local Heritage (Natural, Cultural, Material and Immaterial), to ensure that the museum acts as a space for representation and to promote, from the contextualisation of heritage, understanding, questioning, awareness and transformation of reality. The current research project aimed: revise terms and concepts related to New Museology and this new typology of museums in relevant bibliography, relating and confronting diverse authors; to carry out a cartography of community museums, ecomuseums and initiatives of memory and community-based heritage that is understood as a museum in the Brazilian context; elaborate a panorama synthesis for a better understanding of the diversity of this typology of museums.

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-04T15:01:47Z No. of bitstreams: 1 Mayra Ferreira Martyres Alexander.pdf: 5800165 bytes, checksum: e2b95c0e12973de9cd47a71d20b9ff44 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-04T19:17:54Z (GMT) No. of bitstreams: 1 Mayra Ferreira Martyres Alexander.pdf: 5800165 bytes, checksum: e2b95c0e12973de9cd47a71d20b9ff44 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-10-04T19:18:07Z (GMT) No. of bitstreams: 1 Mayra Ferreira Martyres Alexander.pdf: 5800165 bytes, checksum: e2b95c0e12973de9cd47a71d20b9ff44 (MD5) / Made available in DSpace on 2018-10-04T19:18:28Z (GMT). No. of bitstreams: 1 Mayra Ferreira Martyres Alexander.pdf: 5800165 bytes, checksum: e2b95c0e12973de9cd47a71d20b9ff44 (MD5) Previous issue date: 2017-08-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present research presents as main focus on the possibility of the creation of the Ecomuseum of Belém, considering as reference the new museology that when recognizing the city as an open place for interaction, it allows a dialogue between the urban design of the city and museum. The urban restructuring actions that occurred in the city triggered the need to safeguard the goods through the preservation of cultural heritage, this scenario associated with the dynamics of the city and the appreciation of its architectural, natural and cultural heritage, in addition to local customs and rituals, contributed to the elaboration and implantation of the ecomuseum. This configuration of museum emerged in the face of the restlessness of new habits, the processes of communication and technologies that instigate to add other possibilities of interactions in the quotidian of the city. It is believed that the present characteristics in the city of Belém qualify it to be classified as an ecomuseum, since they are aligned with the debate of the contemporary museum and can transform the look on Belém and its urban landscape, fomenting an open museum for exchanges, either with the visitor/ inhabitant, with the institutions, and/or with the public and urban space. Based on this premise, a development, management and action plan was developed, with the participation of the community and public and private institutions, for the ecomuseum. This proposal seeks to debate the preservation and appropriation of urban space through design, art, architecture and nature. / A presente pesquisa apresenta como foco principal a possibilidade de elaboração do Ecomuseu de Belém, considerando como referência a nova museologia que ao reconhecer a cidade como local aberto à interação, possibilita um diálogo entre o design urbano da cidade e museu. As ações de mudanças na paisagem urbana ocorridas na cidade, desencadearam a necessidade de salvaguardar os bens através da preservação do patrimônio cultural, cenário este que associado a dinâmica da cidade e tendo como referência a valorização de seu patrimônio arquitetônico, natural e cultural, além dos costumes e rituais locais, contribuíram para a elaboração do ecomuseu. Essa configuração de museu surgiu diante da inquietude de novos hábitos, dos processos de comunicação e das tecnologias que instigam a agregar outras possibilidades de interações no cotidiano da cidade. Acredita-se, que as características presentes, na cidade de Belém, a qualificam para classificá-la como ecomuseu, pois elas se encontram alinhadas com o debate do museu contemporâneo e podem transformar o olhar sobre Belém e sua paisagem urbana, fomentando um museu aberto para trocas, seja com o visitante/habitante, com as instituições, e/ou com o espaço público e urbano. A partir dessa premissa, foi elaborado um plano de desenvolvimento, de gestão e de ações, com participação da comunidade e instituições públicas e privadas, para o ecomuseu. Essa proposta busca debater a preservação e apropriação do espaço urbano por meio do design, arte, arquitetura e natureza.

A partir da década de 1960, com o surgimento do novo paradigma da democracia sociocultural, diversas críticas direcionaram-se aos museus e à museologia e deram base para o surgimento de um movimento museológico internacional denominado Nova Museologia, oficializado em 1984 no I Atelier Internacional Ecomuseus/Nova Museologia, realizado em Québec (Canadá). A Nova Museologia enfatizou a vocação social dos museus e propôs diversas renovações teóricas e metodológicas ao campo museológico estabelecido. No Brasil, observamos repercussões desse movimento principalmente a partir da década de 1980, com a redemocratização do país. Paralelamente à renovação de museus já consolidados, surgem novas iniciativas, denominadas majoritariamente ecomuseus e museus comunitários, que objetivam, através de uma curadoria coletiva e da promoção de práticas ativas, populares, participativas, comunitárias e experimentais, a valorização, preservação e difusão dos patrimônios locais (Natural, Cultural, Material e Imaterial), garantir que o museu atue como espaço de representação e promova, a partir da contextualização do patrimônio, a compreensão, o questionamento, a conscientização e a transformação da realidade. O atual projeto de pesquisa teve como objetivos: revisar termos e conceitos ligados à Nova Museologia e a essa nova tipologia de museus em bibliografia pertinente ao tema, relacionando e confrontando autores diversos; realizar um mapeamento dos museus comunitários, ecomuseus e demais iniciativas de memória e patrimônio de base comunitária que se compreendem enquanto museus no contexto brasileiro; elaborar um panorama-síntese para uma melhor compreensão da diversidade dessa tipologia de museus. / Since the 1960\'s, with the emergence of the new paradigm of socio-cultural democracy, several criticisms were directed at Museums and Museology and this process triggered the emergence of an international museological movement called New Museology, made official in 1984 at the I Atelier International Ecomuseums / New Museology, held in Quebec (Canada). The New Museology emphasized the social vocation of museums and proposed several theoretical and methodological renewals to the established museological field. It is possible to observe repercussions of this movement in Brazil mainly from the decade of 1980, with the redemocratization of the country. Parallel to the renovation of already consolidated museums, new museological experiences are emerging, mainly called museums community and ecomuseums, which aim, through collective curation and the promotion of active, popular, participatory, community and experimental practices, the valorization, preservation and diffusion of local Heritage (Natural, Cultural, Material and Immaterial), to ensure that the museum acts as a space for representation and to promote, from the contextualisation of heritage, understanding, questioning, awareness and transformation of reality. The current research project aimed: revise terms and concepts related to New Museology and this new typology of museums in relevant bibliography, relating and confronting diverse authors; to carry out a cartography of community museums, ecomuseums and initiatives of memory and community-based heritage that is understood as a museum in the Brazilian context; elaborate a panorama synthesis for a better understanding of the diversity of this typology of museums.

TITLE Representing History and Ethnography, Interacting with Heritage Analysing Museological Practices at the Huron-Wendat Museum ABSTRACT This master thesis is an analysis of the current specific actions on representation and interaction taken in contemporary ethnographic museums. The aim is to highlight museology pathways used to represent local indigenous culture and to explore how the public is involved with and relates to these specific discourses on heritage. Special attention will be devoted to the study of the shift of museums from authoritative places of education to socially inclusive spaces. The mission of heritage professionals in terms of representation will be analysed, as well as their work on the notions of accessibility and involvement for and with the public. The Huron-Wendat Museum in Wendake, Québec, serves to investigate these museum practices. Drawing from thorough fieldwork and extensive secondary literature, this master thesis will further probe the prevailing notions of identity, continuity and unity of the new museology in a postcolonial context. KEYWORDS ethnographic museums; new museology; cultural heritage; representation; interaction; social inclusion; First Nations; postcolonialism

This dissertation critically analyses New Zealand’s National Museum Te Papa Tongarewa. Since it opened in 1998, Te Papa, arguably the world’s foremost exponent of the ‘new museology’, has been popularly and critically supported for its innovations in the areas of popular accessibility, bicultural history, and Maori-government management arrangements. As the first in-depth study of Te Papa, I examine and problematise these claims to exceptionality. In producing an analysis that locates the museum within cultural, political, economic and museological contexts, I examine how the museum’s particular institutional program develop, and point to limitations in its policy and practice.

This thesis aims to illustrate and explain contemporary interactions between Western ethnographic museums and broader society. It is based on one central case study, the Slovene Ethnographic Museum (SEM) in Ljubljana, Slovenia. A majority of informants expressed a wish for the museum to be a platform for dialogue. In connection to their visions, this thesis discusses the potential of ethnographic museums to work towards promoting and facilitating inclusivity and social change as well as some tensions that arise from this development. This is done through an analysis of ethnographic data on museum employees’ views on the relevance and responsibilities of the museum and its status as a cultural and scientific institute. New museology and actor-network theory are used as primary analytical tools. A responsibility to represent ‘correctly’ in the museum is related to the influence that tangible and intangible heritages, as actants, can have on society. It is argued that cultural heritage could be instrumental in achieving positive social change. However, there is a core tension between the envisioned position of the museum and the power hierarchy that it maintains through its identity as a scientific institute that shapes dominant knowledge.

This thesis presents a case study conducted at the Museum of Ethnography in Stockholm, focusing on the digital tools and implementations within the exhibitions of the museum. It aims to explore the perspectives and interactions on digital tools and implementations of both museum employees, and visitors, examining the potential discrepancies that may arise. The study falls within the field of Digital Humanities, with a specific emphasis on the impact of new museology and digital applications within cultural heritage institutions. To establish a comprehensive understanding of the subject, varying ethnographic methodologies are employed. Interviews have been conducted with employees at the museum to investigate their understanding and planning regarding the use of digital tools and implementations in their exhibitions. Additionally, interviews with visitors as well as on-site observations were conducted to provide insight into visitor experiences and interactions with the digital tools and implementations. Lastly, one participatory observation during a tour of an upcoming exhibition was performed to add perspective from the professionals of the museum. The findings reveal that digital tools and implementations are highly regarded as invaluable assets by the Museum of Ethnography. However, the thesis finds that the diverse professional backgrounds within the museum staff adds complexity to understanding the digital tools and implementations, which affects the staff’s ability to find harmonious solutions for problems of accessibility of the tools. Visitors tend to find direct interactions, such as games or educational movies, more accessible and easier to engage with, while immersive sounds and projections may go unnoticed. The study contributes to the existing body of knowledge in Digital Humanities by expanding the knowledge about the effective utilization of digital tools and implementations in cultural heritage museums, through this case study. It serves as a guide for other GLAM institutions, offering new diverse perspectives of both museum professionals and visitors.

Over the past century the phenomenon of thanatourism, or dark tourism, has become increasingly popular, with tourists now able to encounter death at a wide range of sites across the world. While much scholarship has focused on tourism at sites of disaster and atrocity, less research has taken place into thanatourism in a museum context. This thesis investigates how Gotlands Museum is offering its visitors a dark tourism experience by adopting thanatourism theming in its exhibitions and programmes. It explores the ways the museum presents Gotland’s dark history, asks how and why the museum has adopted thanatourism as a thematisation strategy, and considers whether this strategy is helping the institution achieve future sustainability. This study is based on in-depth interviews with current staff members at the museum, who have been involved with creating exhibitions and presenting programmes related to Gotland’s dark history. Detailed observation of the exhibitions Medieval Gotland and 1361 – The Battle for Gotland, as well as the guided city tour The Bloody Summer, also provide additional data. The study finds that Gotlands Museum has harnessed the ‘purposeful Otherness’ of death through implementing thanatourism theming in both its permanent exhibitions and public programming in order to reach new and wider audiences. It also finds that this is an example of the museum embracing new museology and adopting the customer-centric focus of the tourism industry by presenting thrilling exhibitions and programmes to attract more visitors. The study suggests that by implementing popular thanatourism-themed exhibitions and programmes, Gotlands Museum has been able to be economically, socially and culturally sustainable by attracting visitors, educating diverse groups, telling diverse stories and preserving Gotland’s history for future generations.