<p> Since the late 1980s, Canadian museum personnel have been actively engaged in collaboration with Aboriginal communities on issues to do with exhibition design and collections management. Despite these collaborative successes, tensions between museum employees and Aboriginal community members are commonplace, indicating that problems still remain within the relationships that have developed. </p><p> This thesis examines the implications of the Truth and Reconciliation Commission of Canada for the future of museum practice. It argues that unresolved colonial trauma is preventing those in the museum field from moving past an initial phase of relationshipbuilding to a successful era of partnership. When viewed through the lens of trauma, the museum field is heavily influenced by denial on the part of museum personnel as to the extent of violence committed against Aboriginal peoples at Indian Residential Schools and the resulting level of dysfunction present in current relationships between Aboriginal communities and non-Aboriginal museum employees. I provide a revised account of Canadian history, which includes the aspects of colonialism that are most often censored, in order to situate these problems as part of the historical trauma that is deeply embedded in Canadian society itself.</p><p> John Ralston Saul&rsquo;s concept of the M&eacute;tis nation is used as a framework for reconciliation, portraying Canada as a country that is heavily influenced by its Aboriginal origins despite the majority belief that the national culture has been derived from European social values. As a response to this proposition, the Circle is presented as the primary Canadian philosophical tenet that should guide both museum practice and Canadian society in the future. </p>

<p> During the 1950s <b>Katharine Prentis Murphy</b> (1882-1967) used authentic colonial era furnishings to create a series of complex, multi-layered museum and historic house installations that highlighted the aesthetic qualities of American antiques and placed her at the forefront of the post World War II Colonial Revival movement. Murphy placed objects from the 1750s into highly patterned and brightly colored room settings, which was an unorthodox design strategy for the time but one that incorporated popular trends and tastes of the 1950s. Her post war room settings appealed to consumers who were not ready to give up traditional furniture, or the conventional values and virtues associated with it, but who also wanted modern comfort and up-to-date styling. Murphy's displays revealed her own point of view as a designer and demonstrated how the resilient Colonial Revival movement evolved and expanded in the context of 1950s modernism.</p>

<p> This dissertation explores how California history museums represent the history of children and childhood. This work is inspired by earlier studies in the fields of anthropology, sociology, museum studies, and public history that question and analyze the underrepresentation or misrepresentation of groups, such as women and ethnic minorities, in US museums. How US museums represent children and their history has yet to receive scholarly attention. </p><p> This dissertation contributes to filling this gap in the literature and bases its conclusions on a state-wide survey of more than 200 California museums, interviews with 110 museum professionals or volunteers, site visits to 40 museums, and in-depth field research at 10 museums. I argue that too often the experiences, stories, and contributions of children are overlooked, absent, or marginalized in California history museums. When representations of children's history do emerge, they often reflect ideals rather than realities, universalize the historical experience of childhood, and, in the process, romanticize the past. This dissertation acknowledges obstacles that get in the way of richer representation and offers potential solutions.</p><p> During my study it became clear that multiple meanings of children's history are at work in the California museum community: the history <i> of</i> children, history <i>for</i> children, and history <i> by</i> children. This dissertation examines each in turn and demonstrates how conceptions of children, many with deep historical roots, influence not only museum exhibitions but also programming for children. Central to this dissertation is the study of history <i>by</i> children at the Pasadena Museum of History, which provides middle-school students the opportunity to teach history as docents to younger children. Drawing upon my three years of participant observation at this site and interviews with forty middle-school students, I contend that inviting children to participate, create, and co-produce in museum spaces improves children's attitudes towards museums, enriches representation, and brings to light perspectives that may otherwise remain marginalized.</p>

<p> Focusing on the relationships between agriculture, industry, and sense of place, this thesis explores the dynamic landscapes and identities of the Verde Valley from the establishment of Anglo settlements in 1864 to the agricultural renaissance in 2014. It argues that agriculture remains an important part of the Verde Valley's physical and cultural landscape that should be better represented in public history exhibits. Using a methodology featuring interviews, archival research, and public history theory, this thesis takes an agri-ecological approach. This perspective internalizes the effects of farming upon the landscape, and situates it within the region's socio-economic-environmental ecosystem. This thesis also analyzes the valley's public history sites and the absence of its agri-ecological narrative. Renarrativization and the incorporation of living history techniques are two methods that can integrate agriculture into an existing site, such as Slide Rock State Park, or a future site, such as the Verde Valley Agricultural Heritage Center.</p>

<p> This study examines the tradition of beaded capes among the Lower Colorado River Yuman groups, with the goal of understanding the meaning and cultural significance that the capes held in the past and continue to hold for those that wear and create them today. Questions posed by this study ask how and to whom do beaded capes hold meaning; and why were the beaded capes overlooked by collectors if they are culturally significant? As a marker of River Yuman identity and artistic expertise, the lack of historic beaded capes that are held within museum collections is surprising, with only twenty-two museums across the United States and Europe housing a composite total of fifty-eight River Yuman beaded capes. This study attempts to answer the proposed questions by conducting interviews with River Yuman beadworkers and community members, regarding their perspectives on the meanings and symbolism presented by beaded capes, and the cultural significance of these items. In contrast, this study examines the views of Euro-American collectors that were collecting beaded capes in the late 19^th and early 20^th centuries when others were not. An understanding of outsider perspectives and motivation for collecting beaded capes is achieved through analysis of collector's field notes, journals, and museum accession files. Combining ethnography, archival research, and museum collections-based research, this study seeks to present a more detailed understanding of the River Yuman beaded cape as a marker of gender and ethnic identity. This research addresses the existing voids in knowledge about the cultural significance that the beaded capes hold for Quechan (Yuma) and Pipa Aha Macav (Mojave) people, and introduces that information to outsiders, creating a record of the views of River Yuman community members on the contemporary meanings that the beaded capes hold.</p>

Como toda Dissertação de Mestrado este trabalho não visou chegar a nenhuma comprovação e sim a uma verificação dos requisitos básicos para a criação de um programa adequado dentro das necessidades básicas da nossa cidade na área de museus assim como da Arte Brasileira e suas manifestações artísticas, acarretando um aprofundamento no conhecimento da arquitetura de museus e da arquitetura como um todo, através de uma atualização das correntes arquitetônicas, das novas tecnologias, dos novos materiais e de um novo sistema museológico, evidenciando um novo papel do museu e da arquitetura de museu no mundo atual. Espero ter demonstrado, através dos trabalhos programados realizados entre 1994 e 1995 e da proposta de um museu para a exposição de arte contemporânea no segmento das instalações e propostas interativas realizado entre 1996 e 1997, o conhecimento adquirido e modestamente poder ter contribuído com o aprendizado nesta área. Assim a Dissertação intitulada \"Arquitetura de Museus\" foi dividida em duas partes: Pesquisa e Projeto. A Pesquisa denominada \"Arquitetura de Museus - A Produção Mundial Arquitetônica em Exposição\" foi dividida em quatro partes; 1. \'O Mundo dos Museus\' com uma abordagem evolutiva da história dos museus no mundo. 2. \'O Museu e seus Visitantes\' trata das relações do museu com seu usuário, as partes integrantes do museu e sua estruturação dentro de um programa proposto. 3. \'1970-1995\' apresenta um painel da produção mundial da arquitetura de museus e finalizando com a relação de 15 projetos divididos em 5 áreas, a saber; Reestruturação, Anexos e Ampliações, Projetos Completos, Galerias e projetos. 4. \'Conclusão\' visa salientar os pontos positivos subsequêntes desta corrida arquitetônica e evolução museológica observada nos últimos 25 anos, bem como suas causas. O Projeto derivou da constatação da necessidade de um museu para a cidade de São Paulo dentro dos padrões museológicos atuais e mundial, visando preencher uma lacuna existente no segmento das instalações e artes interativas como modo de expressão artística, além de um espaço urbano destinado à arte como um centro de atividades múltiplas, comerciais educacionais e de lazer. É muito importante destacar que o intuito, tanto da pesquisa como do projeto não foi, em momento nenhum, fixar um paradigma de museu. O que ocorreu, isto sim, foi a verificação da possibilidade de idealidade de um museu para com o seu programa, seu tema e seu caráter previamente propostos. / This paper, as every Dissertation of Master\'s Degree, has not a purpose to confirm, but only to verify the necessary basic qualifications to the creation of a suitable programm for the basic necessities of our town concerning Museums having as subject Brasilian Art and its artistical manifestations, leading to an improvement of the knowledge of museum architecture and of architecture as a whole, by the means of modernization of architectural currents, of new technologies, of new materials and of new systems for museums, showing clearly a new role of the museums and a new role of the museum architecture in the contemporary world. I hope to have been able to prove through the Established Works done between 1994-1995 and through the proposal of a museum built to exhibit contemporary art in the section about installation and interactive proposals done between 1996-1997, the acquired knowledge and humbly hope to have been able to contribute to apprenticeship in the area. In this way the Dissertation under the title \"Museum Architecture\" was divided in two parts: Research and Project. The research named \"Museum Architecture - The World Architectural Production Explaned\" was divided into 4 parts: 1. \'The World of Museums\' with an evolution approach of the history of museums all over the world. 2. \'Museums and its Visitors\' deals with the relations between the museum and its visitors, the components parts of the museum and its structures within a suggested programm. 3. \'1970 - 1995\' - presents a picture of the architectural world production of museuns ending with a list of 15 projects divided in 5 areas as: Restructure, Annex and Enlargement, Complete Projects, Galleries and Projects. 4. \'Conclusion\' it intends to print out the positive aspects of this architectural run and museological evolution observed in the last 25 years, as well its causes. The Project derived from the verification of the necessity of a museum for the city of São Paulo, within the actual and worldly accepted museological standards, trying to fill up a gap existing between the segment of interative art and installation as a mean of artistic expression, beyond that a city space devoted to art as a center of multiples activities, shoppings and leisure. Its very important to accentuate that the purpose of the research as well of the project, was not, at any moment, to establish a model of museum, but indeed, a verification of the possibility of idealizing a museum with its own programm, own theme and own character, previously proposed.

Orientador: Maria de Fátima Morethy Couto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T06:09:05Z (GMT). No. of bitstreams: 1 Baroni_GiulianoAmadeu_M.pdf: 4817342 bytes, checksum: c397511c001bc87c7568d7c5c104be1c (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa objetiva investigar a vida e a obra da escultora Felícia Leirner, estabelecendo relações entre sua produção e a de outros artistas nacionais e internacionais do século XX bem como as relações presentes entre sua produção e os principais eventos culturais desenvolvidos na São Paulo do século XX. Também investigamos a história dos parques de escultura pelo mundo, em especial no cenário norte americano e pesquisamos sobre a cidade de Campos do Jordão - SP, onde se localiza o Museu Felícia Leirner, para, posteriormente, uma investigação mais a fundo sobre o surgimento e os aspectos museográficos deste parque de esculturas / Abstract: This research aims to investigate the life and work of sculptress Felicia Leirner and connect her production with the ones from other national and international artists of the twentieth century as well as the relationships present between her production and major cultural events held at the São Paulo of the twentieth century. We also investigated the history of sculpture parks around the world, especially in North American scene and research about the city of Campos do Jordão - SP, where is located the Felicia Leirner Museum, to then investigate more about the emergence and museographic aspects of this sculpture park / Mestrado / Artes Visuais / Mestre em Artes Visuais

This thesis examines the use of social media by museums aiming to establish collaborative relationships with the public. Social media platforms have been widely espoused as transformative in allowing diverse, new or previously excluded audiences to enter into egalitarian, participatory relationships with museums. This thesis deconstructs the concepts of participation and collaboration and identifies the various factors that constrain the extent to which social media enables participatory relationships between previously unequal actors. These factors include the historical disciplinary aims and cultural authority of museums, persistent social inequalities, and the motivations of social media followers. It elucidates crucial questions such as, are various publics enabled to participate on an equal level with each other and with museums? Who benefits from collaborative projects in general and which parties benefit from the use of social media in particular? What are the factors that limit the establishment of collaborative practice? And, conversely, what are the factors that define truly collaborative practice? This research examines museums' use of and discourses surrounding social media as well as social media followers' motivations for engaging with museums online. A large body of quantitative and qualitative data gained through in-depth web-based surveys is analysed, primarily using critical discourse analysis, and informed by other critical orientations including media archaeology and the sociology of expertise. The analysis indicates that museums consider social media to be a transformative, democratising technology. However, museums' acceptance of technologically determinist arguments significantly inhibits positive societal change and the extent to which collaborative relationships can be established with various publics. This research contributes significantly to the existing archaeological and museum studies literature by providing a theoretically and empirically informed critical analysis of the prevailing positive discourses surrounding social media and participation. It has important practical implications for museums in arguing that targeted, critically informed and ethically aware projects are necessary to achieve situations resembling 'collaboration'. It provides a significant body of data that will inform the formulation and continuation of collaborative projects in museums. Furthermore, it informs broader archaeological debates on involving various publics in archaeological practice. This thesis also demonstrates the importance and effectiveness of critical discourse analysis and related critical approaches for analysing large bodies of qualitative data.

Textiles are an important part of social history and often neglected in museum collections. Lace objects are textiles with an unambiguous European heritage. Examples of this kind of tangible heritage object are found in many private and national museum collections in South Africa. This research considers needle lace crafted by students of the Koppies Lace School established in the early 1900s in the (then) Orange River Colony. The research draws on theories of representation (Hall, 2013), whiteness (de Kock, 2006), and craftwork (Risatti, 2007) to interrogate the unique context of this lace. The analysis includes examples of needle lace from Iziko Museums in Cape Town, as well as the War Museum of the Boer Republics and the Emily Hobhouse Old Age Home in the Free State. The discussion repositions lace as ethnographic object and argues for its value to South African museum collections. Koppies lace is identified as a unique collection when placed within its larger socio-historical context, and appreciated in terms of what was achieved while the lace school was in operation. This research argues that the value of Koppies lace objects to South African heritage lies within this larger intangible context and knowing and sharing this knowledge. / Dissertation (MSocSci (Heritage and Museum Studies)) University of Pretoria, 2021. / Historical and Heritage Studies / MSocSci (Heritage and Museum Studies) / Unrestricted

A oferta de cursos universitários em Museologia se expandiu de maneira significativa ao longo das duas últimas décadas no Brasil. Se até princípios dos anos 2000 o país contava com apenas dois cursos de Bacharelado ativos - o da Universidade Federal do Estado do Rio de janeiro (UNIRIO) e o da Universidade Federal da Bahia (UFBA) -, atualmente, encontram-se cadastrados no Ministério da Educação (MEC) dezesseis cursos voltados para essa área de formação, o que evidencia a dinamização e crescimento do setor museológico no cenário brasileiro. Não obstante, este processo de ampliação das perspectivas de formação profissional suscita uma série de questões e desafios, devendo ser objeto de análises que colaborem para a proposição de diretrizes comuns para a capacitação profissional, com vistas ao fortalecimento do campo disciplinar da Museologia. Sendo assim, no intuito de contribuir para as discussões voltadas à capacitação na área - principalmente no que se refere ao ensino das noções de gestão e de planejamento, sob a perspectiva desta disciplina - a presente pesquisa teve como finalidade mapear o perfil da oferta formativa que caracteriza os cursos de Bacharelado em Museologia atualmente em funcionamento e, mais especificamente, verificar como as ideias de gestão e planejamento aparecem nos currículos dos referidos cursos. Para o seu desenvolvimento, nos valemos de métodos qualitativos de análise, como levantamento bibliográfico sobre a consolidação da Museologia enquanto campo disciplinar independente e sobre a trajetória do ensino na área dentro do contexto brasileiro; além da consulta das diretrizes nacionais para formação na área e dos programas pedagógicos dos cursos, com suas respectivas matrizes curriculares e ementários das disciplinas. A sistematização e posterior análise dos dados permitiu identificarmos que houve avanços no âmbito da formação profissional em nível de graduação em Museologia no Brasil não só em termos quantitativos, como também em termos qualitativos, o que, sem dúvida, vem contribuindo para a consolidação deste campo disciplinar. Com relação à gestão e ao planejamento, o protagonismo alcançado por estes temas junto ao universo museológico fez com que, na atualidade, sejamos levados a tratá-la como uma função do museu, para além das tradicionais funções de salvaguarda, pesquisa e comunicação (DESVALLÉES; MAIRESSE, 2013). De fato, esta centralidade se reflete na configuração da oferta formativa em vigor no país, que dispõe de componentes curriculares que abordam questões relacionadas a estas noções. Entretanto, sinalizamos para a importância de pensarmos a gestão desde uma perspectiva museológica, que dialoga com as dimensões teóricas e práticas do campo, contribuindo para a consolidação da Teoria Museológica e para a conformação daquilo que Maria Cristina Oliveira Bruno (2015a) identifica como olhar museológico - olhar este que se fundamenta em contraposição às visões fragmentadas e tecnicistas que tendem a compreender as experimentações no campo de modo compartimentado, o que impossibilita o entendimento de sua totalidade dentro de uma perspectiva processual. / The offer of courses in Museology in universities has expanded significantly in the last two decades in Brazil. If until the early 2000s the country had only two active bachelor\'s degrees courses -the Federal University of the State of Rio de Janeiro (UNIRIO) and the Federal University of Bahia (UFBA) -today there are currently registered in the Ministry of Education (MEC) sixteen courses connected to this area of training, which evidences the dynamization and growth of the museological sector in the Brazilian scenario. Nonetheless, this process of the expansion of the perspectives on professional training raises a number of issues and challenges and should be the subject of analyzes that contribute to the proposal of common guidelines for professional training, aiming to strengthening the disciplinary field of Museology. Therefore, in order to contribute to the discussions focused on training in the area -mainly in relation to the teaching of management and planning concepts from the perspective of this discipline -the present research had the purpose of mapping the profile of the training offer that characterizes the bachelor courses in Museology currently in operation and, more specifically, to verify how the ideas of management and planning appear in the curricula of the same courses. For its development, we use qualitative methods of analysis, such as a bibliographical survey on the consolidation of Museology as an independent disciplinary field and on the trajectory of teaching in the area within the Brazilian context; besides the consultation of the national guidelines for training in the area and the pedagogical programs of the courses, with their respective curricular matrices and courses of the disciplines. The systematization and subsequent analysis of the data allowed us to identify that there has been progress in the field of professional training at the undergraduate level in Museology in Brazil, not only in quantitative terms, but also in qualitative terms, which undoubtedly has contributed to the consolidation of this disciplinary field. With regard to management and planning, the protagonism achieved by these themes in the museological universe has made us nowadays treat it as a function of the museum, in addition to the traditional functions of preservation, research and communication (DESVALLÉES; MAIRESSE, 2013). In fact, this centrality is reflected in the configuration of the training offer now operated in the country, which has curricular components that addresses issues related to these notions. However, we point out the importance of thinking about management from a museological perspective, which dialogues with the theoretical and practical dimensions of the field, contributing to the consolidation of the Museological Theory and to the conformation of what Maria Cristina Oliveira Bruno (2015a) identifies as a museological view(olhar museológico) -which is based in opposition to the fragmented and technicist visions that tend to understand the experiments in the field in a compartmentalized way, which makes it impossible to understand its totality in a processual perspective.