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Oral history in the exhibitionary strategy of the District Six Museum, Cape Town.Julius, Chrischen. January 2007 (has links)
<p>  / <span style="font-size: 12pt / font-family: " / Times New Roman" / ," / serif" / mso-fareast-font-family: 'Times New Roman' / mso-ansi-language: EN-US / mso-fareast-language: EN-US / mso-bidi-language: AR-SA">District Six was a community that was forcibly removed from the centre of Cape Town after its demarcation as a white group area in 1966. In 1989, the District Six Museum Foundation was established in order to form a project that worked with the memory of District Six. Out of these origins, the District Six Museum emerged and was officially opened in 1994 with the museum in the 1980s occurred at the same moment that the social history movement assumed prominence within a progressive South African historiography. With the success of <span style="mso-bidi-font-style: italic">Streets, the decision to &lsquo / dig deeper&rsquo / into the social history of District Six culminated in the opening of the exhibition, Digging Deeper, in a renovated museum space in 2000. Oral history practice, as means of bringing to light the hidden and erased histories of the area, was embraced by the museum as an empowering methodology which would facilitate memory work around District Six. In tracing the evolution of an oral history practice in the museum, this study aims to understand how the poetics involved in the practices of representation and display impacted on the oral histories that were displayed in Digging Deeper. It also considers how the engagement with the archaeological discipline, during the curation of the Horstley Street display as part of Streets, impacted on how oral histories were displayed in the museum.</span></span></p>
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Oral history in the exhibitionary strategy of the District Six Museum, Cape Town.Julius, Chrischen. January 2007 (has links)
<p>  / <span style="font-size: 12pt / font-family: " / Times New Roman" / ," / serif" / mso-fareast-font-family: 'Times New Roman' / mso-ansi-language: EN-US / mso-fareast-language: EN-US / mso-bidi-language: AR-SA">District Six was a community that was forcibly removed from the centre of Cape Town after its demarcation as a white group area in 1966. In 1989, the District Six Museum Foundation was established in order to form a project that worked with the memory of District Six. Out of these origins, the District Six Museum emerged and was officially opened in 1994 with the museum in the 1980s occurred at the same moment that the social history movement assumed prominence within a progressive South African historiography. With the success of <span style="mso-bidi-font-style: italic">Streets, the decision to &lsquo / dig deeper&rsquo / into the social history of District Six culminated in the opening of the exhibition, Digging Deeper, in a renovated museum space in 2000. Oral history practice, as means of bringing to light the hidden and erased histories of the area, was embraced by the museum as an empowering methodology which would facilitate memory work around District Six. In tracing the evolution of an oral history practice in the museum, this study aims to understand how the poetics involved in the practices of representation and display impacted on the oral histories that were displayed in Digging Deeper. It also considers how the engagement with the archaeological discipline, during the curation of the Horstley Street display as part of Streets, impacted on how oral histories were displayed in the museum.</span></span></p>
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Community Museum Governance: The (Re)Definition of Sectoral Representation and Policy Instruments in OntarioNelson, Robin 19 March 2021 (has links)
Research on museum policy often focuses on provincial or national museums, which are typically government agencies. These institutions are directly accountable to government and have an articulated role in an explicit federal or provincial museum policy. However, most Canadian museums are community museums – that is, nonprofit or municipal museums that collect and interpret locally relevant materials and have public programs targeting the community in which they are based. Community museums’ relationships with government(s) differ due to their legal structures (municipal, nonprofit), relatively small budgets, and limited number of staff. Within museum policy, community museums are distinct because they lack a direct relationship with a provincial or national government. Yet, in Canada, all levels of government are involved in their governance through regulatory and supportive activities. In particular, provincial governments have included community museums in museum policies, which tend to focus on professionalization, standards of operation, and simplifying access to resources. In other words, policies targeting community museums often subject them to norms, aiming to establish parameters and best practices for their operations. These actions seek to define and shape community museums, which raises the question: how are these policies (re)created, (re)assembled, and coordinated?
Using archival research and interviews, this thesis documents community museum governance in Ontario, where provincial museum advisors and associations emerged as museum professionals embedded in policy development and implementation in the 1950s. Considering the advisors and associations’ service delivery and advocacy activities, actor-network theory (ANT) is used to discuss their work assembling and coordinating policy for Ontario’s community museums. Their work distinguishes community museum governance from the governance of national or provincial institutions because they define and establish norms, contribute to change in governance, and enact ongoing change as they (re)assemble resources for community museums. The advisors and associations have facilitated relationships between museums and actors related to museums’ work as educational institutions, sites of local action, tourism operators, agents of social change, and collecting institutions, resulting in multiple configurations of actors supporting and regulating museum activities.
This thesis has found the advisors and associations historically worked for a museum community to address its needs, resulting in written policy and museums’ inclusion in government instruments. These established instruments have, to some extent, reduced the need for ongoing advocacy by targeting museums with a clear objective and normalizing museums’ participation in policy areas outside of culture. However, these instruments also reflect and reinforce historic inequities in community museum governance, privileging municipal museums with historic access to provincial support and, as a result, the capacity to advocate for their own interest through an association. Responding to growing government disinterest, the provincial museum association has refocused its efforts from defining a community in need to defining a sector that contributes to society and the economy through partnerships that can address diverse policy objectives.
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The travelling museum of Barberton : making dialogue work in a rural community museum.Stone, Kristy 03 October 2013 (has links)
Cotemporary
museum
theory
calls
for
dialogue
as
a
means
of
making
museums
multi-‐
vocal
and
representative
of
larger
audiences.
Dialogue
is
seen
to
be
a
break
with
prior
modernist
practices
and
epistemology.
However,
in
most
cases
what
is
meant
by
dialogue
and
how
to
implement
it
is
not
made
clear.
I
proposed
using
the
Community
of
Enquiry
Approach
to
dialogue
in
the
development
of
the
Travelling
Museum.
The
Travelling
Museum
is
a
community
museum
based
at
‘The
Centre’
on
the
land
of
the
Swazi
chief
in
Emjindini.
I
was
concerned
that
labelling
the
community
and
associating
the
museum
with
the
chief
could
perpetuate
essentialised
ideas
of
what
it
meant
to
be
Swazi.
I
was
also
conscious
of
not
wanting
to
be
the
‘outsider
expert’
and
for
the
museum
to
be
developed
by
the
community
it
was
intended
for.
It
was
for
these
reasons
that
I
decided
to
employ
the
ideas
of
dialogue.
While
implementing
dialogue
through
the
Community
of
Enquiry,
I
started
to
question
whether
this
method
of
dialogue
could
become
normative,
and
whether
it
excluded
or
silenced
certain
members.
I
wanted
to
locate
this
approach
to
dialogue
on
a
larger
theoretical
base,
in
order
to
understand
how
dialogue
challenges
and
departs
from
modernism
and
moves
into
postmodernism.
In
order
to
do
this
in
the
Report
I
explore
postmodern
and
modern
theories
of
knowledge
and
difference.
My
research
method
is
to
use
critical
incidents.
These
are
moments
of
noticing
or
jarring
in
my
practice,
which
when
interpreted
allow
me
to
interrogate
theory
and
practice.
The
first
incident
questions
my
openness
to
the
other
where
I
raise
concerns
of
relativism.
The
second
and
third
incidents
address
issues
of
power
and
access
in
museums.
I
conclude
by
recommending
a
new
role
for
the
museum.
No
longer
in
a
role
of
cultural
authority,
museums
can
take
on
the
new
role
of
artist.
As
an
artist
the
museum
can
be
multi-‐partial
and
act
as
social
commentator,
provocateur
and
catalyst
for
change
(Gogan,
2005,
p.60
).
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Espaços que suscitam sonhos: narrativas de memórias e identidades no Museu Comunitário Vivo Olho do TempoTolentino, Átila Bezerra 11 March 2016 (has links)
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Previous issue date: 2016-03-11 / Based on theoretical assumptions that consider the social aspects of memory, this work aims to analyze the process of construction of memories and identities of Vale do Gramame, rural area of João Pessoa, represented in the exhibition narrative of Museu Comunitário Vivo Olho do Tempo. The theoretical debate permeates study authors that consider memory as a social phenomena and consequently take into account the social aspects of identity construction. It also involves discussions by authors who treat the cultural heritage as a category of thought and his reflections on the conflicts inherent in the process of constitution of collective memories, full of disputes between remembering and forgetting and, consequently, between power and resistance. To situate the impact of creating the Museu Comunitário Vivo Olho do Tempo, it’s presented a brief historical background, conceptual and politic on the field of social museology and Sociomuseology. The intention is to identifying how the reflections and debates in the area influenced the design and the implementation of public policies for the field of museums today and the establishment of various community-based museums in Brazil. Moreover, this work attempts to challenge the interfaces and differences between which is considered social museology and Sociomuseology, as well as the dilemmas and conflicts in the academic field which govern this reflection line. As the museum's keynote is to present the cultural references and Vale do Gramame memories, which thus constitute its identity, from the look of the masters of local popular culture, this work also seeks to give voice to those social actors. From interviews, their voices and their memories are brought to light, in order to evoke the senses and meanings that these social subjects give to their role as socio-historical actors of the construction of their identities and their cultural references. / Com base em pressupostos teóricos que consideram os aspectos sociais da memória, esta dissertação tem como finalidade analisar o processo de construção das memórias e identidades do Vale do Gramame, zona rural de João Pessoa, representadas na narrativa expositiva do Museu Comunitário Vivo Olho do Tempo. O debate teórico perpassa estudos de autores que consideram a memória como um fenômeno social e, consequentemente, levam em conta os aspectos sociais da construção de identidades. Também envolve discussões travadas por autores que tratam o patrimônio cultural como categoria do pensamento e suas reflexões sobre os conflitos inerentes ao processo de constituições de memórias coletivas, carregado de disputas entre a lembrança e o esquecimento e, consequentemente, entre o poder e a resistência. Para situar as influências da criação do Museu Comunitário Vivo Olho do Tempo, é apresentada uma breve trajetória histórica, conceitual e política sobre o campo da museologia social e da Sociomuseologia, com vistas a identificar como as reflexões e os debates na área influenciaram a concepção e a implementação das políticas públicas voltadas para o campo dos museus na atualidade e a constituição de diversos museus de base comunitária no país. Ademais, procura problematizar as interfaces e diferenças entre o que vem a ser museologia social e Sociomuseologia, bem como os dilemas e conflitos no campo acadêmico a que está sujeita essa linha de reflexão. Como a tônica do museu é apresentar as referências culturais e as memórias do Vale do Gramame, que consequentemente constituem uma determinada identidade a partir do olhar dos mestres e mestras de cultura popular locais, este trabalho também procura dar voz a esses atores sociais. A partir de entrevistas, as suas vozes e suas memórias são trazidas à tona, a fim de evocar os sentidos e significados que esses sujeitos sociais dão ao seu papel como atores sócio-históricos da construção de suas identidades e de suas referências culturais.
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[en] MARÉ S MUSEUM: BETWEEN EDUCATION, MEMORIES AND IDENTITIES / [pt] MUSEU DA MARÉ: ENTRE EDUCAÇÃO, MEMÓRIAS E IDENTIDADESHELENA MARIA MARQUES ARAUJO 15 July 2013 (has links)
[pt] A pesquisa entrelaça memória, espaços educativos não formais e identidade.
O objetivo central é analisar a dimensão educativa do Museu da Maré no Rio de
Janeiro e suas possibilidades de contribuição para o fortalecimento identitário de
grupos populares através da valorização e ressignificação da história e da
construção das memórias locais. Abordo o conceito, os pressupostos teóricos e
desafios dos museus comunitários como espaços educativos não formais,
enfocando como estudo de caso o Museu da Maré.
Os museus comunitários e ecomuseus emergem no Rio de Janeiro com o
Ecomuseu de Santa Cruz em 1983, porém ganham visibilidade com o Museu da
Maré a partir de 2006, por ser este o primeiro museu de favela no Brasil criado
pela própria comunidade.
O quadro teórico baseou-se para o conceito de memória, principalmente em
Paul Ricoeur, Jacques Le Goff e Beatriz Sarlo. Para o de identidade utilizamos
Stuart Hall, Manuel Castells, Vera Maria Candau e Tomaz Tadeu da Silva. Para
espaços educativos não formais privilegiei Maria Glória Gohn, Jaume Trilla e Elie
Ganem. Por fim, para os conceitos da Nova Museologia, museu comunitário e
ecomuseu me apoiei basicamente em Mário Chagas e Hugue de Varine.
De inspiração etnográfica, meu caminho metodológico baseou-se na história
oral. Na pesquisa de campo utilizou-se três tipos de aproximações ao objeto de
estudo: observação de diferentes atividades desenvolvidas no Museu e de diversos
ambientes da comunidade em geral, entrevistas semiestruturadas feitas aos
pescadores da Maré e aos diretores e funcionários do Museu da Maré e análise dos
Livros institucionais do Museu, a saber: o Livro de Assinaturas e o Livro de
Depoimentos dos visitantes.
Como uma das principais conclusões de minha pesquisa sobre a dimensão
educativa do Museu da Maré posso afirmar que me deparei de fato com um
Museu que tem significado para a região da Maré e dialoga com a cidade, o país e
outros lugares, embora não represente totalmente todas as suas comunidades. No
entanto, ele se fez comunitário, na medida em que foi criado e tem a participação
cotidiana do movimento social e da comunidade local de seu entorno.
Além disso, o fato do Museu da Maré apresentar uma linguagem
museográfica que suscita referências da história local e permite que seus visitantes
reflitam sobre as mesmas, se emocionem e construam memórias locais
possibilitando através das mesmas um fortalecimento identitário, torna
especialmente evidente e significativa sua dimensão educativa.
Por fim, o Museu da Maré gera visões de nós e dos outros estabelecendo
um jogo sutil e constante entre identidades e alteridades em suas memórias
construídas e histórias narradas. / [en] The research intertwines memory, non-formal educational spaces and identity.
The main objective is to analyze the educational dimension of the Maré Museum
in Rio de Janeiro and its possible contributions to the strengthening of the group
identity related to popular groups through appreciation and reinterpretation of the
history and construction of local memories. I approach the concept, the theoretical
assumptions and challenges of community museums as non-formal educative
spaces, by using the Maré Museum as a case study .
The community museums and ecomuseums emerge in Rio de Janeiro with
the Eco-museum of Santa Cruz in 1983, but became more visible with the Maré
Museum as of 2006, since this is the first museum in Brazil s slums created by the
community itself.
The theoretical framework related to the concept of memory was essentially
based on work of Paul Ricoeur, Jacques Le Goff and Beatriz Sarlo. For the
theoretical framework associated with identity development, I have chosen the
studies performed by Stuart Hall, Manuel Castells, Vera Maria Candau and
Tomaz Tadeu da Silva. For the non-formal educational spaces theoretical basis I
have privileged Maria Gloria Gohn, Jaume Trilla and Elie Ganem. Finally, for the
concepts of New Museology, community museum and ecomuseum I rely
primarily on Mario Chagas and Hugue de Varine.
My methodological approach of ethnographic inspiration was based on oral
history. In the field research I used three types of approaches to the object of
study: observation of different activities in the Museum and of the community at
large, semi-structured interviews to fishermen of the Maré and to the directors and
staff of the Museum of the Maré and analysis of the institutional books of the Museum, namely the Book of Signatures and the Book of Testimonies from
visitors.
As one of the main conclusions of my research on the educational
dimension of the Mare Museum I can state that this museum does have meaning
for the region of Maré and dialogues with the city, the country and elsewhere,
although it does not fully represent all its communities. However, this museum
has been able to develop a community related feature , as it was created by and
has the daily involvement of the social movement and the local community of
their surroundings.
Moreover, the fact that the Mare Museum display a museographic language
which raises references of local history and allows visitors to reflect on them and
build local memories enabling a strengthening of identity, makes its educative
dimension particularly evident and significant.
Finally, the Maré Museum generates visions of ourselves and others by
establishing a more subtle and constant dynamic between individuals identities
and their constructed memories and narrated stories.
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