In recent year, the maintenances of cultural assets become world-wide trends. There are not only cultural heritages involved but also stories and beauties about the land where the residents live. Cultures exist everywhere without boundaries and bring out the resident characteristics which can draw other people in. This would be the chance for old community to refresh and be internationalized. The thesis is expected to observe the cultural development and management through the perspective of Eco-museums. After the Hamasen Community was determined, the observation and in-depth interviews with the older as the first-hand data compared to secondary dada are employed. After analyzing them, the comparison with two other cases (Lan Yang Museum and Ironbridge Gorge) is used to propose the suggestions for future development of Hamasen Community. Hence, three insights are concluded as the followings, 1. The residents think they should be involved in community activities. But due to lack of incentives, community identity is usually hard to be kept. However, it is in search of community identity through the process of implementing the concepts of eco museums & involvement of residents. 2. The concepts of local management & self financing can be executed in Hamasen Community. Local management also means assets should be locally kept & maintained and this will involve various cultures and knowledge incorporation which needs the specialists to transfer their knowledge to the residents to get them able to manage their community by themselves. 3. The outsiders who are the audiences as well in the museum interact with actors (residents) periodically. This makes Hamasen Community transferred into a famous sightseeing place. Within plenty of modern coffee shops along with the harbor, it is getting ancient & modern architectures betweens. And the newly developed appearances should be captured & sensed by residents.

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.

本研究基於博物館的演進與歷程、生態博物館的理念發展演進與對十三行博物館與八里地區的現況調查分析，透過主動參與以及對相關人士進行訪談，分析十三行博物館以生態博物館理念推動地區總體營造時，對地方競爭力與文化觀光產業的影響。 十三行博物館身兼公部門、專業者、在地者等多重角色，使其擁有良好的溝通管道，整合各參與角色的資源；多重角色亦使其得以擴大本身的博物館功能，成為公部門間整合監督的角色以及政府與居民間的對口單位。雖於計劃推廣初期，無法落實生態博物館由下而上的基本理念，但居民主動參與的程度的確在潛移默化中提高，各項具文化意涵的觀光資源，如：歷史文化資產、自然生態資源、地方人力資源等，亦在過程中不斷累積，回饋地方。在協助地方產業發展部分則是過程中努力較少之處，十三行博物館應繼續發展過去的地方產業園區計畫，成為地方產業與文化結合的觸媒。 八里文化觀光的發展現況為觀光資源豐富，卻缺乏有力推廣整合單位，使得區域內觀光推廣效益過於分散；而整體環境亦有改善空間。十三行博物館希望藉由八里左岸身生態博物館化以推動地方觀光，達到博物館永續營運的目標，因此應主動協同相關觀光推廣單位，形成共同合作的模式，讓觀光推廣能有全面性的觀點與整合效益。一旦促成觀光推廣整合單位，該單位應立即為八里觀光進行短、中、長期的整體規劃，短期針對目標客群設計整套行程，增加留客率；中期則針對相關行程進行發現小徑的規劃，促使相關行程中的路徑更符合觀光需求；長期則為整體環境進行完善規劃，並輔導地方產業朝高附加價值方向發展。 關鍵字：生態博物館、文化觀光產業、十三行博物館 / The primary focus of this thesis is to provide a thorough investigation and understanding of Shihsanghang Museum and its surrounding community, the town of Bali. As an eco-musuem, Shihsanghang utilizes “integrated community construction,” a model based on a local community’s competency to increase cultural tourism for their area. To better understand this topic, an explanation of the evolution and history of the concept of museum is presented, with special focus on the concept of the eco-museum. As a museum, Shihsanghang has access to multiple channels of communication, including the government, experts and specialists of the field, and the local community. Not only does this give Shihsanghang access to many different resources, but it also puts the museum in a position to expand its function, becoming a coordinator and mediator of government bureaus involved in Bali and a communication window between government and local residents. Being in such a position is vital to the success of an eco-museum, as it allows the museum the opportunity to develop from the “bottom up.” The idea behind such a process is that the museum, by interacting with the community, can utilize resident input to guide government action, versus the traditional notion of the government having complete say over the development of a museum. At first, Shihsanghang was not particularly effective in employing such a process. Gradually however, through influencing and interacting with the public and allowing the local community to slowly gain appreciation for the region, the museum was able to gather more and more feedback and participation from the residents. This in turn also opened up more resources to support local tourism. As for helping to develop the local cultural industry however, Shihsanhang has had limited success so far, and should continue to develop and become an agent between local industry and culture. Although Bali currently has many tourism channels and resources, it lacks a powerful unit to integrate all these promoting units. Furthermore, the surrounding environment still requires much improvement. For example, Shihsanhang hopes to improve tourism by “eco-museumising” Bali’s Left Bank and making it more attractive. Shisanhang has the ability and should begin integrating all the relevant promoting units, opening up opportunities for cooperation and creating a holistic approach to Bali’s tourism industry. If Shisanhang is able to achieve this, then it should proceed with a short-term, middle-term, and long-term plan. For the short-term, it should design tourism packages that target specific demographics as to increase a tourist’s visiting length. For the middle-term, it should develop “pathways” (themed-routes of Bali), as to make the sites visited by tourists in Bali more relevant to their interests. And for the long-term, it should make an entire development plan for Bali, helping to create high-value added local industries. Keywords： Eco-Museum, Cultural Tourism, Shihsanhang Museum

A new cultural policy developed in Sweden in the 1960’s in order to renew the activities of mseums in a more socially relevant direction. The dissertation examines whether the museums adopted the new policy and to what extent the objectives were achieved. The thesis analyses three main areas: the new cultural policy and the attempts to implement it; activities in selected museums along with different intellectual trends that shaped their activities; and the debate between different “thought collectives” (L. Fleck) regarding museums’ missions and objectives as well as expectations within the museum sector. How did the various “actors” relate to the objectives of the new cultural policy? The thesis confirms the potential of the museums as generators for renewal and innovation in terms of democracy and development of the society. There was a clear shift in attitudes from values associated with the “Cultural heritage museum” towards the in this thesis introduced idea of the “Community museum”. The study shows how museums tried to introduce activities relating to current political and social issues, which supports the principal hypothesis in the study, that the museums became more socially relevant during the investigated period. However, during the 1980s, there could be seen a clear recurrence back to the idea of “Cultural heritage museum”. The movement in opposite directions illustrates the museums’ strong ties to the earlier traditional ”styles of thought” (Fleck) and their role as cultural guardians, which severely restricted their capacity for innovation and new ways of thinking. Nevertheless, the Swedish Exhibition Agency (Riksutställningar) performed a role as a searhead for the new cultural policy, corresponding with the heterodoxy and new style of thinking represented by the “Community museum”. A number of persons dominating the debate within the museum sector had a crucial importance in the shift towards the concept of “Community museums”. A revitalisation of the exhibitions, pedagogy and content was accomplished, often as a result of the Swedish Exhibition Agency’s efforts to develop the medium. During the period 1965–1990 Swedish museum exhibitions moved towards a temporary and more socially oriented content. According to Steven Conn’s principal thesis “Do museums still need objects?” the importance of objects gradually declined during the last century. In line with this development, the new Museum of Work had no objects/collections of its own. Furthermore, the arrival of new technology in the late 1980’s gave preconditions for reshaping knowledge and contributed to new attitudes towards communication. Museums were now seen as centres for social contact and communication. The role of museology as an academic discipline in the reprogramming of the museums towards a more socially oriented approach is another important issue. Museology has been criticized by those who – int the debate – questioned the entire idea of “Community museum”.