This thesis examines the documentation process of a collection of contemporary objects made by a Northern Tutchone artist, Mrs. Gertie Tom, from Whitehorse, Yukon Territory. The beaded moosehide objects were purchased by the University of British Columbia Museum of Anthropology between 1992 and 1994, and include a vest, a 'shell' belt, gloves, moccasins, mittens, and a hat. The documentation process included Mrs. Tom documenting her objects in her own words. This thesis investigates the steps, cost, and time involved in documenting the six objects. It also explores how object documentation fits within museological debates on access, collections management, and current museology. Museums are facing an increasingly changing environment. Originating people are requesting changes in the relationship between museums and objects. The cost of caring for museum collections is increasing and many objects within these collections are inadequately documented and consequently of little value for research. At the same time, museums continue to collect. In addition, many scholars think the future of museums is in current and controversial ideas rather than objects. The single, often paternalistic, museum message is being challenged, and people are arguing for museums to exhibit a variety of voices and opinions. This thesis answers the questions: What does this project contribute to issues of collections access, especially with reference to First Nations material? What costs are involved in documenting museum collections? Does documentation improve information available on collections? Does it allow people, not just objects, to become an integral part of museums and to bring new ideas and issues to museums? Although the documentation process required a commitment of time and money, my research confirms that having people document their own objects is beneficial in reference to current museological issues. The information provided by Mrs. Tom not only documents her objects but offers insight into other aspects of her life and Northern Tutchone culture in general. The documentation, in addition to providing answers to questions such as provenience, use, and materials, reveals ideas and interpretations of the objects from Mrs. Tom's point of view. Having Mrs. Tom document her objects in her own words means she, rather than the museum, is the authoritative voice. In an effort to bring a balance between objects and ideas, museums should only acquire objects they can afford to document. / Arts, Faculty of / Anthropology, Department of / Graduate

This thesis provides a description and analysis of the process of developing a museum education programme at the UBC Museum of Anthropology (MOA). The programme Debra Sparrow: Weaving Two Worlds Together was developed collaboratively with Musqueam weaver, artist, and educator Debra Sparrow and myself, Jill Baird. At the time, I was temporary Education Coordinator at MOA between December 1993 and June 1995. The case study of this collaboration process is presented from the perspective of myself and Debra Sparrow and examines the working relationships and different individual cultural assumptions which we experienced in our collaboration. It also explores the evolving relationships between collaborators, and the institutions and communities each represents. The thesis contributes to the gap in the literature on museum and education collaborations by documenting the process, integrating theory and praxis, and stimulating the discussion within the discourses of museology and education on collaboration and change. More importantly, it illustrates that First Nations and non-First Nations museum workers can work together in a way which respects each other's world views. / Education, Faculty of / Graduate

Bibliography: pages 107-117. / The following thesis focuses on the relationship between archaeologists, museologists and the broader community, in terms of educational programmes. It consists of a case-study comprising an educational project based on theoretical ideas of People's Archaeology as influenced by theories of Freirean education. The process of the educational project is illustrated through the description of interviews and workshops. The case-study indicates that there is a gap between academic and community percpetions of the role of archaeology and museums. Results from interpretations indicate that much more research emphasising the constitution, situation and perceptions of specific communities, especially those which have previously been marginalised by broader society, is needed in order to improve the educational services which museums and archaeologists offer to the community.

Emotions are sometimes thought of as human universals, biological facts shared by everyone due to the place of emotions as a function of evolution. A competing theory of emotion has been developed in the field of the history of emotions, where emotions instead are thought of as less unstable historically variable categories. The field of history of emotions has contributed to a heightened interest in emotions in general, including in the places of emotions within museums and museum discourse. Emotions are not only thought of as instrumental in the service of a museum’s pedagogical or political goal but are also subjects of exhibitions in their own right. A first principle for the following work has been that museum exhibitions are discursive acts with narrative form. In this masters thesis, I have wanted to examine the ways in which museums exhibit emotions and their histories and to what extent exhibited emotion require certain curatorial considerations to function as meaningful narratives within the context of the history of emotions. Throughout, theoretical approaches are borrowed from the study of literature and from cultural studies to work toward this goal. Two case studies are carried out in which I consider the poetics of exhibition and the role this poetic plays for the interpretation of the two narratives as wholes. An exhibition about the role of the ultras type of football supporters in the uprisings of the Arab Spring was found to centrally place emotions as catalysts for ultras’ political action. The style of narrative was found to be contributing to the sharp division between implicit audience and the culture depicted that ultimately, it was argued, gave this exhibition a place within the discourse of Orientalism. The second case study was of an exhibition about the history of love, and analysis revealed a confusion of two theoretically competing meta-narratives of love within the narrative. A universal and ahistorical metanarrative of emotion was found to work against the foundation of the exhibition as historical narrative. From these two case studies, I draw the conclusion that curators wishing to exhibit emotions must carefully consider the structure of their narratives, both because of the role of emotion in self-understanding and because of the demands on a historical narrative of emotion. This is a two-year master’s thesis in Museum and Cultural Heritage Studies.

'Museum Communication: Learning, Interaction and Experience' is a study of how museums have evolved and handled their communication approaches at both theoretical and practical levels. It discusses questions like; how has museum communication developed? What influences do these developments have on museology and its related disciplines? How will museum communication develop in the future? These are questions closely connected with essential concepts of learning, interaction, participation and experience, which will be discussed throughout the thesis. Learning and exhibition theories will be considered alongside discussions of epistemological and philosophical approaches, interpretation, and social development of museological research. The research forms a discourse analysis of museums' own views and opinions of these issues through replies of a questionnaire. It also focuses on specific case studies and examples in order to combine theoretical definitions and empirical approaches with museological developments. To form a deeper understanding of how museological communication is developing, the research includes interviews with professionals of philosophy and storytelling as well. Finally, the approaches are summarised in a new museum model developed from future studies. This model, called 'The Transformative Museum', identifies essential points in which museums have developed their communication practices and theories, and discusses how these may develop in the future. As the responsibilities of museum curators develop, museums have to embrace the concepts of transformation and flexibility too. Inquiries, research, learning and participation have to be transformed into all kinds of experiences in order to respond to changing needs and flexible structures of communities and societies. The transformative museum will have to acknowledge past traditions, current trends and future opportunities simultaneously in order to become a museum of both present and future relevance for all kinds of visitors and users.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-09T10:25:29Z No. of bitstreams: 1 Francisco Wanderlei Rohrer.pdf: 3604938 bytes, checksum: 1cd03f8ddfce4d2ac08712ae550bad2e (MD5) / Made available in DSpace on 2018-11-09T10:25:29Z (GMT). No. of bitstreams: 1 Francisco Wanderlei Rohrer.pdf: 3604938 bytes, checksum: 1cd03f8ddfce4d2ac08712ae550bad2e (MD5) Previous issue date: 2018-09-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This survey aims to identify, analyze and disseminate the knowledge about the black people based on Emanoel Araújo’s memory, life course and lifework, taking Africanism as plausible for the decrease of racism and discrimination. Besides standing out as a painter and sculpturer, this memory collector is also a notable curator, carver, designer, printmarker, set designer, museologist, collector, cultural enticer. As a sculpturer, he applies constructivist code and makes use of contemporary material and procedure along with archaic primitive features. Emanoel Araújo is a black man who has made a name in art and culture. His first experience in a museum was as the director of Museu de Arte da Bahia, moreover he has headed Pinacoteca do Estado de São Paulo for ten years, where he could promote the leading expositions in the international circuit. Administrator of various initiatives, he worked as Secretary of Culture in São Paulo city. After researches, publications and exhibitions about the historical, cultural and artistic heritage of the black people in Brazil, Emanuel Araújo granted 1100 pieces from his personal collection under a free-lease agreement and founded Museu Afro Brasil. About the methodology used, the study began with analyses of documents in public archives in Bahia and São Paulo, as well as private documents belonging to the artist, family members and friends. After compiling the documents, oral history techniques were used; hence the interview was the basis for data collection in order to rebuild Emanuel Araújo’s memory. Besides numerous meetings with the subject of this survey himself, 70 more interviews were made with representatives of all segments related to Emanuel Araújo as relatives, friends, gallerists, cultural enticers and administrators, editors, teachers, artists, religious people, politicians, people directly related to plastic and visual art, museum employees from Bahia and São Paulo, among others. The results were qualitatively analyzed and showed that, by elaborating Emanuel Araújo’s memory, his successful journey couldn’t protect him from racism for being black. Besides the direction of Museu Afro Brasil, aimed to research, conservation and exhibition of objects concerning the afro-Brazilian cultural universe, the sculpturer writes articles, produces books and goes on with the production of sculptures, undertaking the curatorship of expositions in Brazil and abroad. As a conclusion, the discussion has enabled the comprehension of the sculpturer’s role as a depositary of the Afro-Brazilian cultural legacy in order to decrease racism and try to break resistance towards the black culture / Este estudo tem por objetivo geral conhecer, analisar e difundir os conhecimentos do negro a partir da memória, vida e obra de Emanoel Araújo, tendo o africanismo como plausibilidade para a diminuição do racismo e da discriminação. Afora se destacar na pintura e na escultura, esse “garimpeiro de memórias”, notabiliza-se como curador, entalhador, desenhista, gravurista, cenógrafo, museólogo, colecionador, fomentador e agitador cultural. Como escultor, emprega em sua arte uma linguagem construtivista e usa materiais e procedimentos contemporâneos com características arcaicas e primitivas. A história de Emanoel Araújo é a história de um negro que, por seu talento e esforço pessoal, consagrou-se no mundo das artes e da cultura. Sua experiência museal se inicia como diretor do Museu de Arte da Bahia. Nos dez anos à frente da Pinacoteca do Estado de São Paulo, promoveu as exposições mais concorrentes do circuito internacional. Gestor de uma série de iniciativas foi secretário da cultura do município de São Paulo. Após realizar pesquisas, publicações e mostras sobre a herança histórica, cultural e artística do negro do Brasil, Emanoel Araújo cedeu, em regime de comodato, 1100 peças de seu acervo particular e criou, em São Paulo, o Museu Afro Brasil. Na metodologia, o estudo iniciou-se com uma análise documental em arquivos públicos da Bahia e de São Paulo, como também de arquivos particulares do artista, de parentes e de amigos. Após a condensação deste arcabouço documental, empregou-se técnicas da História Oral tendo a entrevista como matéria prima na coleta de dados para reconstruir a memória de Emanoel Araújo. Além dos múltiplos encontros com o sujeito da pesquisa, foram realizadas 70 entrevistas com informantes representativos de todos os segmentos como parentes, amigos, galeristas, fomentadores e gestores culturais, editores, professores, artistas, religiosos, pessoas ligadas diretamente à arte plástica e visual, políticos, funcionários de museus, da Bahia e de São Paulo dentre outros. Os resultados foram analisados de forma qualitativa e demonstraram que, ao elaborar as memórias de Emanoel Araújo, sua trajetória de sucessos não impediu que ele vivenciasse o racismo por ser negro. Percebe-se que além da direção do Museu Afro Brasil, voltado à pesquisa, conservação e exposição de objetos relacionados ao universo cultural afro-brasileiro, o escultor escreve artigos, produz livros e prossegue com sua produção escultórica empreendendo a curadoria de exposições no Brasil e no exterior. Por conclusão, a discussão possibilitou compreender a figura do escultor como depositário do legado cultural afro-brasileiro a fim de reduzir o racismo, para buscar romper a resistência diante da cultura negra

Esta tesis es una investigación narrativa sobre la construcción de mis saberes y aprendizajes como educadora en Es Baluard Museu d’Art Modern i Contemporani de Palma. Después de una necesaria introducción al marco general dentro del cual se desarrolla este estudio, en la que analizo tanto el museo como la función del departamento educativo dentro del mismo, paso a abordar el escenario concreto donde se centra este trabajo: “Cartografiem-nos”. Éste es un proyecto educativo para trabajar a largo plazo con escuelas, que iniciamos el curso 2006-07, y que ha tenido continuidad hasta el presente, con diversas variaciones. Las experiencias a las que este programa ha dado lugar me han permitido estudiar mi posición como educadora desde lo conflictivo y lo paradójico, dando lugar a una narrativa de la educación en museos que trasciende los discursos fundacionales y hegemónicos al uso, y que se centra en las dificultades de llevar a cabo pedagogías radicales en contextos situados. El objetivo de la presente investigación no es ofrecer recetas pedagógicas, sino reflexionar y compartir la labor que desarrollo junto con mis compañeros en el departamento educativo, con la esperanza de activar resonancias en el lector, que le ayuden a pensar sobre su propia práctica educativa. / This thesis is a narrative research that deals with the building of my knowledge(s) and learning(s) as a gallery educator at Es Baluard Museu d’Art Modern i Contemporani de Palma. After an introduction to the general context that frames this study, in which I analyse both the museum as a whole and the education department’s function within it, I describe the setting in which this work focuses: “Cartografiem-nos”. This is a long term educational project designed to work with schools. The program was initiated in 2006-07 and continues to the present with some variations. The experiences that “Cartografiem-nos” has generated have allowed me to study my own position as a gallery educator from its complexities and paradoxes, creating a narrative about gallery education that transcends foundational and hegemonic discourses, and that focuses on the difficulties of undertaking radical pedagogies on situated contexts. The aim of this research is not to offer educational prescriptions, but to share and reflect on the work I undertake with my colleagues within the education department. I hope that this thesis will activate resonances in the reader, which might help him or her to think about their own educational practice.

Thesis (Ph.D.) -- University of Canberra, 2002. / Typescript (photocopy). "February 2002". Includes bibliographical references: (leaves 225-256).

The destructive nature of conventional analytical techniques, coupled with the finite nature of ancient/historical artefacts, has long restricted technical examinations of museum collections, mainly due to ethical constraints. However, over the past few decades, the application of Non-Destructive Evaluation (NDE) techniques has become increasingly popular within the fields of archaeology and cultural heritage diagnostics. The application of such techniques has facilitated the examination of objects that have long remained uninvestigated. However, this positive development also held a slight drawback, in that researchers tend to now focus on technical analyses alone, while excluding more traditional means of analyses, such as comparative stylistic analysis and surface investigation. By employing a combination of stylistic analysis, visual surface investigation (by means of SLR photography and digital microscopy) and nuclear imaging (by means of Microfocus X-Ray Computed Tomography), the thesis sets out to justify the application of mixed methodologies as part of a more holistic integrated authentication approach. Thus stated, the thesis presents a mixed-methodological approach towards the analysis of selected metal objects from the Ditsong National Museum of Cultural History in Pretoria, South Africa. The objects under investigation include a small collection of ancient Egyptian bronze statuettes, a Samurai helmet (kabuto) and mask (menpó), a European gauntlet, and an Arabian dagger (jambiya/khanjar). While all the objects are curated as part of the museum’s archaeology and military history collections, the exact production dates, manufacturing techniques and areas of origin remain a mystery. By using a combination of techniques, the thesis aims to identify diagnostic features that can be used to shed light on their relative age, culturo-chronological framework and, by extension, their authenticity. / Old Testament and Ancient Near Eastern Studies

In order to illustrate why museums are frequently sites of conflict and mediation, this dissertation examines the complex conditions under which knowledge is produced and disseminated at three Canadian museums. Approaching museums as social arenas or contact zones, the dissertation exposes power struggles in museums and dislodges a whole set of assumptions about what museums are and how they function. For the study I selected the following museums with anthropological mandates: MacBride Museum (Whitehorse), Prince of Wales Northern Heritage Centre (Yellowknife), and Vancouver Museum (Vancouver). The three museums were chosen because their geographical proximity to large communities of Aboriginal Peoples enabled an exploration of the changing relationships between them. Historically, museums have held the power to classify and define Aboriginal Peoples. Relatively recently, however Aboriginal Peoples have in various ways (by imposing constraints on how they and their cultures are exhibited, and through land claims and repatriation requests) been challenging their historic relationships with museums. In chapter one I discuss my objectives, methodology, and the work of those scholars who shaped this dissertation. Chapter two explores the invention of museums in the western world and begins linking the three Canadian museums with knowledge and power. In chapters three, four, and five I portray the mobility and productivity of three museums (MacBride Museum, PWNHC, and Vancouver Museum) in three distinct regions of Canada. I illustrate their ability to articulate identity, power, and tradition as well as the role they perform in the social organization of power relations. Each chapter begins with a description of the historical roots of power relations at each institution. This leads into a discussion of each museum's present system of authority: the state, governing bodies, professional staff and, increasingly, Aboriginal representatives. In the process I reveal some of the political pressures, institutional hierarchies, and personal conflicts that shape knowledge within these institutions. Chapter six is a review and critical analysis of systems of authority of the three museums and the challenges presented by Aboriginal Peoples. I conclude with the issues raised at the outset, which continue to confront the Canadian museum community, issues of inclusion and the limitations of cross-cultural translation, repatriation, and representation.