<p>&nbsp / <span style="font-size: 12pt / font-family: &quot / Times New Roman&quot / ,&quot / serif&quot / 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>

<p>&nbsp / <span style="font-size: 12pt / font-family: &quot / Times New Roman&quot / ,&quot / serif&quot / 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>

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.

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 ).

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-08-10T13:01:16Z No. of bitstreams: 1 arquvo total.pdf: 4537131 bytes, checksum: 08374be923c67afda4904504d7689b5e (MD5) / Made available in DSpace on 2016-08-10T13:01:16Z (GMT). No. of bitstreams: 1 arquvo total.pdf: 4537131 bytes, checksum: 08374be923c67afda4904504d7689b5e (MD5) 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.

[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.