This dissertation explores the intangible cultural heritage of the collection of musical instruments from the Mandé region of West Africa (present-day Senegal, Mali, Guinea, Guinea-Bissau and the Gambia) currently held at the Metropolitan Museum of Art in New York City. It uses the geographical shadow of the Mandé empire—once the locus of economic power globally—to circumscribe a collection of twenty-three instruments at the museum that share historical and socio-cultural characteristics, although the ruptures between them are also illustrated through individual analysis of each. It then considers their significance over time at the museum, in current debates concerning African cultural heritage and in terms of community access. The culmination of eleven years of musical study and practice in and out of Senegal, the U.K. and the U.S., this dissertation argues for a practice-oriented rather than object-oriented analysis of cultural heritage.

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This thesis explored the 1941 docent-training course for members of the Junior League held at the Metropolitan Museum of Art. The research focused on understanding what place this philanthropic organization held in the American art museum at that time. This course at the Metropolitan Museum of Art was formed as an attempt to teach Junior League members to become trainers of docents and volunteers in their own communities. Additionally, I looked into the background of the museum staff members Francis Henry Taylor and Roberta Murray Fansler Alford Capers and the Junior League member Helen T. Findlay. Utilizing historical research methods, four augments were formed regarding why this docent-training course occurred; (a) the new leadership and structure in the museum facilitating those training, (b) the collaborative work of Helen T. Findlay and Francis Henry Taylor and their passion towards art education for all audiences, (c) the Junior League’s continued commitment to community involvement, and (d) the fundamental need women had for involvement outside the home. The research concludes with a reflection toward the difficulties and hardships that accompany conducting historical research into the women of art education including non-traditional forms of historical documentation. / text

This thesis document details the theoretical and practical implications of using theatrical techniques and drama-based instruction in the visual art museum setting. Presented are four diverse museum theatre programs created and implemented at The Blanton Museum of Art at the University of Texas at Austin. These programs support the argument that drama-based instruction and theatrical techniques can help deepen and/or complicate the notion of visitor engagement in a visual art museum. The theoretical underpinnings of museum theatre are investigated by examining elements of applied theatre and museum learning and the progressive education theory which shapes their practice. The belief is put forth that creative participation in museum education is essential for personal and critical connection with visual art. Theatre is a dynamic and powerful tool to support this creative participation. Findings include recommendations for utilizing museum theatre programming implemented by an applied theatre practitioner as it promotes the use of critical thinking and problem-solving skills, engages the senses, and stimulates meaningful dialogue. / text

Thesis (M.A.)--Baylor University, 2008. / Includes bibliographical references (p. 52-55)

Thesis (Ph. D.)--University of Zurich, 1995. / Vita. Includes bibliographical references (p. 74-88).

Thesis (M. Arch. D.U.)--University of Notre Dame, 2006. / Thesis directed by Steven W. Semes for the School of Architecture. "April 2006." Includes bibliographical references (leaves 49-50).