Academic literature on the topic 'Ethnographic museum collections'
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Journal articles on the topic "Ethnographic museum collections"
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Ivanov, D. V. "Archival data on Historical locations of the Asiatic Museum in the Kunstkamera building." Orientalistica 5, no. 3 (September 29, 2022): 632–42. http://dx.doi.org/10.31696/2618-7043-2022-5-3-632-642.
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The Asiatic Museum was the first specialized research centre for oriental studies in Imperial Russia. The successors of the Asiatic Museum are nowadays the Institute of Oriental Studies of the Russian Academy of Sciences (Moscow) and the Institute of Oriental Manuscripts of the Russian Academy of Sciences (St. Petersburg). The Asiatic Museum collection of coins was subsequently transferred to the State Hermitage and the collections of ethnographic artefacts were embedded into the collections of what is nowadays Peter the Great Museum of Anthropology and Ethnography (the Kunstkamera) of the Russian Academy of Sciences (St. Petersburg). Studying the history of the Asiatic Museum is therefore significant both for the history of oriental studies and the history of museums and special collections in Russia. The archival holdingds reveal that in the 1820s the Asiatic Museum collections were allocated in the west wing of the present Kunstkamera building and occupied only five rooms in the first floor. In the 1830s some of the Russian museums were reformed. The Asiatic Museum had to change its location: it occupied a hall in the first floor in the Kunstkamera. Later, in 1837, the items, which belonged to the ethnographic collection were transferred to the newly established Ethnographic Museum of the Academy of Sciences. Now they form an integral part of the collections of the Peter the Great Museum of Anthropology and Ethnography (the Kunstkamera).
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Woitschová, Klára. "Národopis pod jednou střechou. Příspěvek k osvětlení centralizačních snah a politických vlivů v prvorepublikovém muzejnictví na příkladu pražských národopisných sbírek." Časopis Národního muzea. Řada historická 189, no. 1-2 (2022): 3–20. http://dx.doi.org/10.37520/cnm.2020.01.
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In the interwar period of Czechoslovakia, there were in Prague four museums, that owned ethnographic collections: National Museum, Náprstek Museum, Czechoslovak Ethnographical Museum and Czechoslovak Museum of Agriculture. We can observe strong tendencies to unite these collections under one roof. Many factors played a role during the attempts at unification: unclear competencies and incompatible opinions of state offices, pressure from political parties, poor economic situation of private societies that owned mentioned museums as well as personal ambitions of some politicians and museum representatives. The attempt to unite all ethnographic collections in one museum did not succeeded, but many circumstances of the unification process are quite significant for the cultural environment of the first Czechoslovak republic.
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Flexner, James L. "Archaeology and Ethnographic Collections." Museum Worlds 4, no. 1 (July 1, 2016): 167–80. http://dx.doi.org/10.3167/armw.2016.040113.
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ABSTRACTThe archaeological value of museum collections is not limited to collections labelled “archaeology.” “Ethnology” or “ethnography” collections can provide useful information for evaluating broadly relevant theoretical and methodological discussions in the discipline. The concepts of provenience (where something was found), provenance (where the materials for an object originated), and context (the ways an object is and was interpreted and used within a cultural milieu) are central to much archaeo-logical interpretation. Archaeologists have often looked to living societies as analogues for better understanding these issues. Museum ethnographic collections from Vanuatu provide a case study offering a complementary approach, in which assemblages of ethnographic objects and associated information allow us to reconstruct complex networks of movement, exchange, and entanglement.
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Taylor, Paul Michael, and Cesare Marino. "Reassessing two nineteenth-century proto-ethnographic collections in Italian museums." Journal of the History of Collections 32, no. 1 (December 7, 2018): 49–62. http://dx.doi.org/10.1093/jhc/fhy056.
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Abstract Overshadowed by the immense cultural patrimony of Italy, within its extensive museum systems, many historically significant nineteenth-century Italian ethnographic collections from non-western peoples have remained ‘dormant’ and largely unknown to museum scholars until recently. The world’s first ‘museum of anthropology’ was founded in Florence, in 1869. By then Italian explorers and collectors had already assembled extensive collections that may be considered ‘proto-ethnographic’. This paper reassesses two exemplary proto-ethnographic collections by Giacomo Costantino Beltrami (1779–1855) from the Upper Mississippi region, and by Antonio Spagni (1809–1873) in the Upper Missouri River basin. In recent years, largely outside Italy, new uses for legacy museum collections have arisen. This has in turn had a strong effect on the organizational structures and approaches of Italian museums to their historic ethnographic collections.
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Balakhonova, Ekaterina Isaevna, and Mikhail Nikolaevitch Kandinov. "About the collections from the first Russian circumnavigation kept in the ethnographic department of the MSU Research Institute and Museum of Anthropology." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 2 (June 10, 2021): 121–38. http://dx.doi.org/10.32521/2074-8132.2021.2.121-138.
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The article analyzes the collections from the ethnographic fund of the Research Institute and Museum of Anthropology of Moscow State University, which characterize the material culture of the indigenous inhabitants of the Marquesas and Hawaiian Islands, as well as the Sitka Island. The archival documents of the Rumyantsev Museum, stored in the Department of Manuscripts of the Russian State Library, and the scientific archives of the Museum of Anthropology (transfer certificates, inventories, and labels) were used for reconstruction of the items’ origin. The collections were also analyzed according to the history of their collecting by Y.F. Lisyansky during his voyage on the Neva ship and compared with the textual and visual information in the published materials of the participants of the first Russian round-the-world expeditions. Results and discussion. The collections entered the Research Institute and Museum of Anthropology in the 30s and 40s of the XX century from the Museum of Peoples of the USSR - the heir of the Department of Foreign Ethnography of the Moscow Public and Rumyantsev Museum. We discovered and introduced into scientific circulation documents from the Rumyantsev Museum archive that allows to conclude that the collections belong to the first national round - the - world voyages and the oldest part of the ethnographic gathering. These documents significantly expand our knowledge on the volume and composition of Count N.P. Rumyantsev ethnographic collection transferred from St. Petersburg to Moscow. They show that this collection includes artefacts of indigenous inhabitants of the islands through which the route of the ship «Neva» under the leadership of Y.F. Lisyansky passed. A comprehensive analysis of the collections and documents confirmed the presence of artifacts received from Y.F. Lisyansky in the ethnographic storage of the Research Institute and Museum of Anthropology of Moscow State University. For the first time, the composition of the collections belonging to the oldest part of our ethnographic collection, originating from the participants of the first Russian circumnavigation, has been published.
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BANAKH, Vasyl. "LVIV STATE ETHNOGRAPHIC MUSEUM DURING THE SOVIET OCCUPATION (1939–1941)." Contemporary era 10 (2022): 97–106. http://dx.doi.org/10.33402/nd.2022-10-97-106.
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Based on the analysis of previous research and archival sources, the position of key Ukrainian museum institutions in Lviv on the eve of the occupation of Western Ukraine by the Soviet Union in September 1939, is analyzed. In the region, there were many museum institutions, which preserved and popularized the historical and cultural heritage of the peoples who have inhabited the territory of Halychyna. It was investigated that among the Ukrainian museums the most powerful were the National Museum in Lviv which had been founded in 1905 by the initiative of Metropolitan Andrei Sheptytsky and the Museum of the Shevchenko Scientific Society in Lviv (NTSh Museum). For more than three decades, both institutions have replenished their repositories with respectable ethnographic collections and artifacts. A drastic change in the situation after September 17, 1939, is demonstrated. Soviet occupation authorities conducted a detailed audit of all museums in Lviv and carried out their large-scale reorganization, in particular, of the entire ethnographic collections of the NTSh Museum in Lviv, the Dzieduszycki Museum, the City Ethnographic and Arts and Crafts Museums, and the Lubomyrski Museum. The Lviv State Ethnographic Museum was established based on their ethnographic collections. From now on, all museum institutions in Halychyna had to serve the ideological needs of the totalitarian machine of Soviet propaganda. Due to the analysis of archival material from the State Archives of Lviv Region (DALO), the main directions of the Ethnographic Museum's activity and its gradual ideologizing, which manifested itself in the priority of Bolshevik propaganda, are analyzed. For instance, exhibitions, lectures, and exposition ensembles forming, organized by the Museum during the end of 1939 and the first half of 1941 strictly corresponded to the so-called «Marxist-Leninist» ideology and a «class» approach. All his public activities were controlled by the relevant party-ideological institutions and party officials. After the Nazi occupation of 1941–1944, the Lviv State Ethnographic Museum returned to the Soviet Bolshevik propaganda reality. Thus, it was stated that the events of the autumn of 1939, related to the occupation of Western Ukraine by the Soviet Union and the implementation of Bolshevism, radically changed the museum landscape of Lviv. Most of the museum collections were disbanded by the new Soviet government and new museums were created on their basis – the main task of which from now on was to promote the so-called «Marxist-Leninist» approach. Keywords museum, occupation, propaganda, Lviv State Ethnographic Museum
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Bogolepova, L. Z., and N. A. Belousova. "Collections of the Museum of Kemerovo State University as a Basis for Scientific Reconstruction of the Teleut Women’s Costume." Bulletin of Kemerovo State University 21, no. 1 (May 29, 2019): 1–9. http://dx.doi.org/10.21603/2078-8975-2019-21-1-1-9.
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The research features the historical and cultural heritage of the Teleuts, an indigenous people of Kuzbass, in particular their national costumes stored in the funds of the museum «Archeology, Ethnography, and Ecology of Siberia» (Kemerovo State University). The museum collections form a basis for scientific historical reconstruction of women’s Teleut costume. The paper describes authentic ethnographic items of the main collection and the archives: various collections, field notebooks, expedition diaries, and reports made by scientists of the university, as well as photographs, videos, slides, and sketches. It is the first time the documentary funds have been introduced into scientific use. The research involved the prosopographic database of the scientists who donated valuable collections on the material and spiritual culture of the Teleuts, as well as museum collections of the departments of ethnography and history. The authors also described historical and ethnographic heritage collected by the scientists who organized expeditions in 1960s – late 1990s and donated their collections to the museum. The authors evaluated the contribution the scientists made to the studies of the Teleut culture. In addition, the article introduces an acquisition technique that would guarantee the authenticity of the items related to the Teleut culture.
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Prakash Kumar, Om, and Amit Soni. "Relevance of Ethnomuseology for Ethnographical Museums and Tribal Cultural Heritage." Indian Journal of Research in Anthropology 7, no. 1 (June 15, 2021): 11–18. http://dx.doi.org/10.21088/ijra.2454.9118.7121.1.
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Ethnomuseology is an interdisciplinary concept that mainly incorporates the Museum Studies and Ethnography / Anthropology with varieties of ethnic arts / artifacts. Ethnographical Museums all over world are the result of specialized field of Ethnomuseography. Since the initial stage and even till today Socio-Cultural Anthropologists are playing significant role to enrich the field of Ethnomuseography and contributing to the development of ethnographical museums in India and abroad. The present paper discusses about ethnographic museums in relation to tribal heritage of India in the wave of modernization and globalization. Most of the Ethnographic collections or cultural heritages are still prevalent in the form of living traditions. But, many of them are gradually lost or vanishing with time in the changing scenario due to cultural change. It is high time to preserve it by ethnomuseographical means. An attempt has also been made to discuss the ways through which such ethnographic museums are growing in India and abroad. In case of ethnographic museums especially community museums and tribal museums; Action Museology deals with the various aspects of tribal cultural sustainability and act as a key explanation to preserve and propagate the tribal cultural heritage.
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Baranov, Dmitry. "DEPERSONALIZED OBJECTS: PARADOXES OF ETHNOGRAPHIC COLLECTIONS." Antropologicheskij forum 16, no. 47 (December 2020): 113–36. http://dx.doi.org/10.31250/1815-8870-2020-16-47-113-136.
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In ethnographic studies of material culture, things are described primarily as signs of social phenomena; but things themselves remain in the shadows. Even when it comes to museum research, a material object is considered either as an element of the classification series, or as an example of the manufacturing and living techniques in the local tradition, or as a representative of the cultural contexts from which it was removed. The very collection format of museum storage hides the uniqueness of a thing, because the collection is not able to accommodate its singular nature, since each thing is really a “universe of individuality”. The article examines possible ways for museum ethnography to go beyond its inherent anonymous and depersonalizing discourse. As an alternative to the latter, a “biographical” focus is proposed, which allows one to see subjectivity and individuality in things. The uniqueness of a thing is manifested not only in its biography, but also in its very materiality: material, shape, design, texture, color, weight, smell, etc. The close attention of the ethnographic museum to specific objects and the people to whom they belonged makes it possible to highlight those details and particulars, without which it is impossible to understand culture as a whole.
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Prischepova, Valeria. "The MAE RAS Khiwan Collections of A. N. Samoilovich." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 26, no. 2 (December 2020): 64–68. http://dx.doi.org/10.31250/1238-5018-2020-26-2-64-68.
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The expedition of academician Alexander Nikolaevich Samoylovich (1880—1938) to the Khanate of Khiwa in 1908 have been one of the most significant trips of Peter the Great's Museum of Anthropology and Ethnography (Kunstkamera). A. N. Samoylovich's activity on gathering ethnographic material has enriched the MAE item and photo collections related to the life of Khiwan population, the Uzbeks and the Turkmen. Unfortunately, little is known about the expedition itself, its organisation, its route, and the circumstances under which the field materials were collected. The Museum collections, together with the published works of the academician, helped reveal another facet of his talent — as ethnographer and collector. A. N. Samoylovich's Museum collections represent original material, which will allow to reconstruct the cultural situation in the Khanate of Khiwa of the beginning of the 20th century.
Dissertations / Theses on the topic "Ethnographic museum collections"
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Allen, Erin Evangeline. "Hidden meanings: a search for the historical worldview in the Oberlin College Ethnographic Collection organizational systems." Oberlin College Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1323803885.
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Cummings, Catherine. "Collecting en route : an exploration of the ethnographic collection of Gertrude Emily Benham." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/3138.
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In the second half of the nineteenth century and the first decades of the twentieth century the collecting of objects from colonized countries and their subsequent display in western museums was widespread throughout Western Europe. How and why these collections were made, the processes of collection, and by whom, has only recently begun to be addressed. This thesis is an exploration of the ethnographic collection of Gertrude Emily Benham (1867-1938) who made eight voyages independently around the world from 1904 until 1938, during which time she amassed a collection of approximately eight hundred objects, which she donated to Plymouth City Museum and Art Gallery in 1935. It considers how and why she formed her collection and how, as a an amateur and marginalised collector, she can be located within discourses on ethnographic collecting. The thesis is organised by geographical regions in order to address the different contact zones of colonialism as well as to contextualise Benham within the cultural milieu in which she collected and the global collection of objects that she collected. An interdisciplinary perspective was employed to create a dialogue between anthropology, geography, museology, postcolonial and feminist theory to address the complex issues of colonial collecting. Benham is located within a range of intersecting histories: colonialism, travel, collecting, and gender. This study is the first in-depth examination of Benham as a collector and adds to the knowledge and understanding of Benham and her collection in Plymouth City Museum and Art Gallery. It contributes to the discourse on ethnographic collectors and collecting and in doing so it acknowledges the agency and contribution of marginal collectors to resituate them as a central and intrinsic component in the formation of the ethnographic museum. In addition, and central to this, is the agency and role of indigenous people in forming ethnographic collections. The thesis offers a foundation for further research into women ethnographic collectors and a more nuanced and inclusive account of ethnographic collecting.
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Lawson, Barbara. "Collected ethnographic objects as cultural representations Rev. Robertson's collection from the New Hebrides (Vanuatu) /." Thesis, McGill University, 1990. http://catalog.hathitrust.org/api/volumes/oclc/29415579.html.
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Thesis (M.A.)--McGill University, 1909.Summary in French. "This study compares a collection of decontextualized objects in McGill's Redpath Museum." Includes bliographical references (leaves 203-227).
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Ayres, Sara Craig. "Hidden histories and multiple meanings : the Richard Dennett collection at the Royal Albert Memorial Museum, Exeter." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/1039.
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Ethnographic collections in western museums such as the Royal Albert Memorial Museum (RAMM) carry many meanings, but by definition, they represent an intercultural encounter. This history of this encounter is often lost, overlooked, or obscured, and yet it has bearing on how the objects in the collection have been interpreted and understood. This thesis uncovers the hidden history of one particular collection in the RAMM and examines the multiple meanings that have been attributed to the objects in the collection over time. The Richard Dennett Collection was made in Africa in the years when European powers began to colonise the Congo basin. Richard Edward Dennett (1857-1921) worked as a trader in the Lower Congo between 1879 and 1902. The collection was accessioned by the RAMM in 1889. The research contextualises the collection by making a close analysis of primary source material which was produced by the collector and by his contemporaries, and includes publications, correspondence, photographs and illustrations which have been studied in museums and archives in Europe and North America. Dennett was personally involved with key events in the colonial history of this part of Africa but he also studied the indigenous BaKongo community, recording his observations about their political and material culture. As a result he became involved in the institutions of anthropology and folklore in Britain which were attempting to explain, classify and interpret such cultures. Through examining Dennett’s history this research has been able to explore the Congo context, the indigenous society, and those European institutions which collected and interpreted BaKongo collections. The research has added considerably to the museum’s knowledge about this collection and its collector, and the study responds to the practical imperative implicit in a Collaborative Doctoral Project, by proposing a small temporary exhibition in the RAMM to explore these histories and meanings. In making this proposal the research considers the current curatorial debate concerning responsible approaches to colonial collections, and assesses some of the strategies that are being employed in museums today.
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Berry, Jessica, and n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
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Ashmore, Nicola L. "Art and identity : interpretation and ethnographic collections in regional museums, Britain, 1997-2010." Thesis, University of Brighton, 2011. https://research.brighton.ac.uk/en/studentTheses/cd9be436-9f81-4f8b-a1ce-3c7125a3d21e.
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This doctorate examines the redevelopment of ethnographic collections between 1997 and 2010. The collection and interpretation of ethnographic objects has been the subject of much debate between, anthropologists, museum studies scholars and curators who have sought, on the one hand, to reveal and, on the other, to resist colonial representations in contemporary museums. These debates, as well as the longstanding concern about the purpose of the museum itself, informs this research, which focuses upon the period of the New Labour administration (1997- 2010) and the impact of its cultural diversity agendas upon regional museums. It investigates how regional museums have responded to the shifting demands of cultural policies and, in particular, how specific ethnographic collections have been redisplayed and reinterpreted, and the use of art commissions and artists to do so.
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Angel, G. "In the skin : an ethnographic-historical approach to a museum collection of preserved tattoos." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1416295/.
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This thesis deals with a collection of 300 preserved tattooed human skin fragments held in storage at the Science Museum, London. Historically part of the Wellcome medical collections, these skins are of European origin and date from c.1850-1920. The collection was purchased in 1929 on behalf of Sir Henry Wellcome from a Parisian physician, and is exemplary with respect to its size and coherence. The thesis argues for the significance of such collections for the understanding of the material culture of medicine. As little archival material relating to this particular collection survives, it is contextualised both in relation to the contemporary museum setting, and within nineteenth-century medical and criminological discourses surrounding the tattoo. Through the adoption of a combined auto-ethnographic and historiographical approach, this thesis sets out to explore all aspects of the collection. The structure of the thesis demonstrates this method and reflects my working process: The project is first situated within the contemporary museum context, and framed within an ethical and political field in which human remains have been problematised. This context underpins a theoretical approach that redefines these remains as hybrid entities, and informs a multi-sensory, auto-ethnographic working method within the museum environment. A close visio-material analysis of the tattooed skins then explores both their substance and iconography in some detail. The collection of skins is then situated within the broader historical contexts of flaying; nineteenth-century collecting practices and medical and criminological discourses on the tattoo; an analysis of historical procedures and contexts of skin preservation and display; and a visual analysis of the iconography of the tattoos and critical discussion of their reading. Through this approach, I demonstrate that the tattoo was a highly ambiguous and frequently stigmatised sign in the late nineteenth century, whose polysemic and fugitive meaning eluded criminologists who sought to assimilate them into taxonomies of deviance. Similarly, as contemporary museum artefacts, they resist simple categorisation and interpretation, necessitating an interdisciplinary, ethnographical-historical approach, which enables a multi-faceted understanding of their substance, significance and origins.
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Silva, Aramís Luis. "Mapa de viagem de uma coleção etnográfica- a aldeia bororo nos museus salesianos e o museu salesiano na aldeia bororo." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-13042012-141111/.
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Convidamos os leitores a nos seguir numa viagem pelo tempo e pelo espaço para observarmos o percurso realizado por um conjunto de artefatos bororo colocados em trânsito pelos padres salesianos há mais de 80 anos. Levados para Itália para serem exibidos em exposições missionárias, esses objetos foram repatriados em 2001 para serem expostos no então recém-inaugurado centro de cultura da aldeia indígena de Meruri, Estado do Mato Grosso, Brasil. Ao colocarmos essa coleção em foco, observaremos, em um só tempo, os processos sociais que a constituíram, assim como as transformações nas trajetórias de pessoas, coletividades e instituições que gravitam em seu entorno. Antes de tomá-los de partida como elementos de uma determinada coleção etnográfica bororo sob guarda da missão salesiana, interessa-nos compreender sua produção enquanto tal. Distante de uma perspectiva que os referenciam a uma escala cultural fixa, nossa viagem transforma tal coleção em um fio condutor para adentrarmos em um emaranhado de relações sociais e simbólicas, das quais essas peças emergem como signos moventes entre variados sistemas de significaçãoWe invite readers to follow us on a journey through time and space, in order to observe the path taken by a number of bororo artefacts set in motion by Salesian priests more than 80 years ago. Taken to Italy to be displayed in missionary exhibitions, these objects were repatriated in 2001 to be shown at the just then inaugurated cultural center of the Meruri indian village, in Brazils Mato Grosso State. By highlighting this collection, we will observe, at once, the social processes that have constituted it, as well as the transformations of peoples trajectories, of collectivities and institutions that gravitate around it. Before assuming these artefacts as elements of a specific bororo ethnographic collection under control of a Salesian mission, our interest is to understand its production as such. Far from a perspective that makes reference to a fixed cultural scale, our journey transforms such collection into a thread that penetrates in a tangle of social and symbolic relations, from which these pieces emerge as moving signs among variable systems of meanings.
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Galani, Areti. "Far away is close at hand : an ethnographic investigation of social conduct in mixed reality museum visits." Thesis, University of Glasgow, 2005. http://theses.gla.ac.uk/3918/.
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This thesis investigates how museum companions organise their conduct regarding their engagement with the exhibition and their social interaction with each other in the course of a visit. The main objectives of the thesis are the empirical investigation of social conduct in casual group museum visits and the exploration and understanding of social conduct in real-time distributed museum visits through mobile mixed reality technology. A third area of interest is the application of qualitative methodology, based on ethnomethodology and ethnographic methods, for the fulfilment of the above objectives. In particular this thesis presents and discusses fieldwork of collocated casual group visits alongside video recording and interviews collected in distributed museum visits during trial sessions in the Mack Room mixed reality museum environment. Drawing on vignettes of activity among collocated and distributed participants, the thesis develops discussion around three themes: the collaborative exploration of museum artefacts, aspects of the collaborative management of shared museum visits and the constitution of the visiting ‘order’ in and through social conduct. Among others, issues of collaborative alignment, awareness, indication of engagement and disengagement and conflicting accountabilities are discussed. The contribution of this thesis in current research in museum studies, CSCW and social science is explored. Findings reported in this thesis extend current visitor studies research to include the study of social conduct in the management of collocated visits and the constitution of visiting order. They also suggest that studies of sociality among distributed visitors may open opportunities for museums to support mutually complementing local and distributed experiences. With regard to understanding asymmetries in mobile mixed reality environments, the thesis points out that asymmetries could be better understood with reference to the activity in context rather than the technological features themselves. This thesis also makes a contribution to social studies research with regard to exploring the changing character of talk in distributed collaborative settings. Future research with respect to mixed reality applications for museum visits is also outlined.
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Rio, Gaëlle. "Le musée national de la Marine : histoire d'une institution et de ses collections (1748-1998)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL178.
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Figurant parmi les grands musées nationaux, le musée de la Marine est le plus ancien musée d’histoire maritime en France, dont les origines remontent au milieu du XVIIIe siècle. Fondé à partir de la collection de modèles de bateaux donnée au roi Louis XV par l’académicien Henri Louis Duhamel du Monceau en 1748, le musée Dauphin ouvre au Louvre en 1827 sous Charles X, à destination avant tout des élèves de l’école d’ingénieurs constructeurs de la Marine dans une finalité d’instruction. L’approche monographique et institutionnelle permet de mettre en évidence trois grands moments de l’histoire de ce musée : la lente genèse du musée naval (1748-1827) dans le contexte des Lumières et d’une culture scientifique et technique ; la longue période du musée naval au palais du Louvre (1827-1939) au cours de laquelle se forge l’identité de l’institution autour de collections techniques et ethnographiques à vocation pédagogique ; le transfert du musée au palais de Chaillot et son expansion au XXe siècle avec la modernisation du site parisien, l’extension de ses collections aux cinq marines et la constitution d’un réseau des musées des ports (1939-1971). Devenu établissement public administratif en 1971, le musée national de la Marine se transforme à la fin du XXe siècle pour devenir le grand musée maritime du XXIe siècle. Cette étude s’attache à cerner les enjeux sociaux, culturels et idéologiques qui ont présidé à la création et au développement de ce musée, à interroger le statut de ses collections, entre technique, art et instrument de propagande ou de communication, et enfin à analyser la question plus large du rôle du musée dans la société française, d’un lieu de représentation du pouvoir à un espace au service du publicOne of the major national museums, The Marine Museum is the oldest museum of maritime history in France, whose origins date back to the mid-eighteenth century. Founded from the collection of boat models given to king Louis XV by the Academician Henri Louis Duhamel du Monceau in 1748, the Dauphin Museum (as it was called) opened in the Louvre in 1827 under the reign of Charles X ; primarily intended for teaching purposes to the construction engineers of the Navy. The monographic and institutioal approach highlights three major moments in the history of this museum : the slow genesis of the naval museum (1748-1827) in the context of the Enlightenment and of the development of scientific and technical culture ; the long period of the naval museum at the Louvre Palace (1827-1939), during which the identity of the institution is based on technical and ethnographic collections for educational purposes ; the transfer of the museum to the Palais de Chaillot and its expansion in the 20th century with the modernization of the Paris site, the extension of its collections to the five Navies and the creation of a network of port museums (1939-1971). Having become a public administrative institution in 1971, the National Marine Museum was transformed at the end of the 20th century into the great maritime museum of the 21st century, as it is now. This study seeks to identify the social, cultural and ideological issues that led to the creation and the development of this museum, to question the status of its collections, between technique, art and propaganda or communication instrument, and finally, to analyze the broader question of the museum's role in French society, from a place of representation of power to a space in the service of the public
Books on the topic "Ethnographic museum collections"
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Museum für Völkerkunde (Berlin, Germany). The Rickmers collection: Turkoman rugs in the Ethnographic Museum Berlin. [Berlin]: Museum für Volkerkunde, Staatliche Museen zu Berlin, Preussischer Kulturbesitz, 1993.
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British Museum/MEG Ethnographic Conservation Colloquium (1989 Museum of Mankind, London, England). Where to start, where to stop?: Papers from the British Museum/MEG Ethnographic Conservation Colloquium : in memory of Harold Gowers. Hull: Museum Ethnographers' Group, 1995.
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An ethnographic collection from northern Sakhalin Island. Chicago, Ill: Field Museum of Natural History, 1985.
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VanStone, James W. An ethnographic collection from northern Sakhalin Island. Chicago, Ill: Field Museum of Natural History, 1985.
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VanStone, James W. An ethnographic collection from the Northern Ute in the Field Museum of Natural History. Chicago, Ill: Field Museum of Natural History, 1997.
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Bouquet, Mary. Sans og samling-- hos Universitetes etnografiske museum =: Bringing it all back home-- to the Oslo University Ethnographic Museum. Oslo: Universitetsforlaget, 1996.
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Brownstone, Arni. An overview of the origin, documentation, and preservation of the Royal Ontario Museum's ethnographic collection. [Toronto: The author], 1985.
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VanStone, James W. Ethnographic collections from the Assiniboine and Yanktonai Sioux in the Field Museum of Natural History. [Chicago, Ill.]: Field Museum of Natural History, 1996.
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VanStone, James W. Ethnographic collections from the Assiniboine and Yanktonai Sioux in the Field Museum of Natural History. Chicago, Ill: Field Museum of Natural History, 1996.
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Fowler, Williams Lucy, ed. Guide to the North American ethnographic collections at the University of Pennsylvania Museum of Archaeology and Anthropology. Philadelphia: University of Pennsylvania Museum of Archaeology and Anthropology, 2003.
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Levinho, José Carlos, Thiago da Costa Oliveira, and Ione Helena Pereira Couto. "Virtual Ethnographic Collections." In Edition Museum, 77–96. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839457900-005.
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This article deals with the process of implementing tools for the digital management of the ethnographic, audiovisual, and archival collections of the Museum of the Indian/FUNAI/Brazil. Focusing on a journey that began in 1996, the article discusses the various strategies used by this museum to offer adequate services to the Brazilian indigenous peoples, including them in the process of production, exhibition, description, and management of their heritage, and using this same heritage to enforce the protection of their fundamental rights inside the Brazilian state. The main argument defended is that the sustainability of documentation and management actions for ethnographic collections is more effective when digital management resources dialog with the social universe from which the cultural assets originated.
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Turnbull, Paul. "Indigenous Remains in British Anatomical and Ethnographic Discourse, 1810–1850." In Science, Museums and Collecting the Indigenous Dead in Colonial Australia, 97–119. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51874-9_4.
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Barrkman, Joanna. "Digital return of an ethnographic museum collection and value creation by an originating community in Baguia, Timor-Leste." In Museums, Societies and the Creation of Value, 190–206. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003139324-14.
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Flexner, James L. "Ethnographic collections and archaeological research." In The Oxford Handbook of Museum Archaeology, 374—C18.P91. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780198847526.013.19.
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Abstract Archaeologists increasingly turn to collections labelled ‘ethnography’, ‘ethnology’, or ‘anthropology’ depending on the institution to expand the scope of their research. The reasons for this are varied, from the presence of materials or objects that are unlikely to be discovered on archaeological sites because of rarity or taphonomic conditions, to community-driven interests in objects beyond the typical bounds of what is classified as ‘archaeology’. The pace of this research has increased in recent decades. Archaeologists have emphasized the active, dynamic nature of collections, often using interpretive frameworks derived from actor–network theory or assemblage theory. Looking ahead to the future, archaeologists working with these types of collections will in many cases need to confront the colonial legacies of ethnographic collections by working closely with source communities and becoming involved in different forms of repatriation or restitution activities.
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Förster, Larissa, and Friedrich von Bose. "Concerning curatorial practice in ethnological museums: an epistemology of postcolonial debates." In Curatopia, 44–55. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526118196.003.0004.
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Based on our experience as editors of a debate on ethnographic museums in a German journal, we analyse the conditions and limits of the current debate on the ‘decolonisation’ of ethnographic museums in the German-speaking context. Strictly speaking, the German debate lags behind a bit in relation to the Anglophone debate, but in the face of the re-organisation of the Berlin ethnographic museum as ‘Humboldt-Forum’ it provides crucial insights into the epistemology of unfolding postcolonial debates. We diagnose certain pitfalls of this discussion, e.g. a tendency towards antagonisms and dichotomisation, an overemphasis on the topic of representation and on deconstructionist approaches, an underestimation of anthropology’s critical and self-reflexive potential and too narrow a focus on ethnographic collections. From our point of view, decolonisation must be a joint effort of all kinds of museum types - ethnographic museums, art museums and (natural) history museums as well as city museums, a museum genre being discussed with increased intensity these days. As a consequence, we suggest a more thorough reflection upon the positionality of speakers, but also upon the format, genre and media that facilitate or impede mutual understanding. Secondly, a multi-disciplinary effort to decolonise museum modes of collecting, ordering, interpreting and displaying is needed, i.e. an effort, which cross-cuts different museum types and genres. Thirdly, curators working towards this direction will inevitably have to deal with the problems of disciplinary boundary work and the underlying institutional and cultural-political logics. They eventually will have to work in cross-disciplinary and cross-institutional ways, in order to reassemble disparate collections and critically interrogate notions of ‘communities’ as entities with clear-cut boundaries. After all, in an environment of debate, an exhibition cannot any longer be understood as a means of conveying and popularising knowledge, but rather as a way of making an argument in 3D.
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Golding, Viv, and Wayne Modest. "Thinking and working through difference: remaking the ethnographic museum in the global contemporary." In Curatopia, 90–106. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526118196.003.0007.
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This ambitious chapter draws on a range of voices to examine what the ethnographic museum is and what it can be for the benefit of diverse audiences around the world. Taking their 2013 publication, Museum and Communities: Curators, Collections: Collaborations as a starting point, the authors critically consider their own work internationally, for example with ICOM (The International Council of Museums) and ICOM Namibia, as well as at everyday level with local communities, such as youth groups in Europe. Against increasing fear of difference, and movements to the right in world politics, they foreground the values of human rights, artist collaborations and the development of feminist pedagogy in museum work. Theoretically, the chapter unpacks the notions of the ‘human’, the ‘cosmopolitan’ and the inextricable relation between theory and practice that can underpin collaborative activities in museums of ethnography/world culture today.
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Chitima, Simbarashe Shadreck, and Ishmael Ndlovu. "Incorporating Indigenous Knowledge in the Preservation of Collections at the Batonga Community Museum in Zimbabwe." In Handbook of Research on Heritage Management and Preservation, 396–407. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-3137-1.ch019.
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Museums in Zimbabwe often face several conservation challenges caused by different agents of deterioration. The Batonga Community Museum find it challenging to maintain and properly take care of the collections on display. This chapter examines the effectiveness of the conservation strategies being employed at the BCM. The study made use of qualitative and ethnographic research approaches. The majority of collections at the BCM are deteriorating at an unprecedented level. The study gathered that bats have posed serious and extreme conservation challenges as well as affected the presentation of exhibitions. The chapter concludes that bats are the main problem bedeviling the museum and needs immediate control.
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Sandahl, Jette. "Curating across the colonial divides." In Curatopia, 72–89. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526118196.003.0006.
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Rooted in specific cases and in the author’s background of working across the colonial divides of museums in Europe and in Aotearoa New Zealand, this chapter explores the continued colonial and supremacist default position of ethnographic museum collections in Europe. Whereas in, for instance, Aotearoa New Zealand and the United States, a focused pressure by indigenous and other un- and underrepresented communities have ensured legislative frameworks that recognize the expertise, authority and rights to self-representation of the people with an original cultural connection to the given objects, museums holding global collections in Europe are still working in an ethical void which permits a continued denial and disavowal of the implication of colonialism. Whiteness is, in James Baldwin’s term, a moral choice – and a choice still practiced by museums, when they prefer token projects of diversity and the de-legitimization and marginalization of alternative epistemologies and museological principles to a systematic process of self-reflection and de-colonization, which actively embraces present accountability for historic wrongs, and thereby enables the museum to address urgent, current global issues and conflicts.
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Tinius, Jonas. "“Animated Words, Will Accompany My Gestures” Seismographic Choreographies of Difficult Heritage in Museums." In Moving Spaces Enacting Dance, Performance, and the Digital in the Museum. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-534-6/008.
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This chapter offers an ethnographic analysis of two choreographic projects – The Sysmograph (2019) by Pélagie Gbaguidi, which addressed the Venetian “Museo del Manicomio. La follia reclusa” in the context of the Ultrasanity symposium in Venice and the planned contribution of Dorothée Munyaneza on the Marseille ethnographic collections in the framework of a symposium during Manifesta 13 (2021). Both choreographies are analysed as performances that sense and mediate traumatic pasts, object agency, and the continuation of modern legacies in museums. The objective of this contribution is to open a discussion on the possibilities of choreographies and dance not as illustrative practices, but as mediating, embodied, translated investigations of active matter, difficult heritage, and the traumatic pasts inscribed in museological narratives, objects, and spaces.
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Penny, H. Glenn. "The Yup’ik Flying Swan Mask." In In Humboldt's Shadow, 149–88. Princeton University Press, 2021. http://dx.doi.org/10.23943/princeton/9780691211145.003.0006.
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This chapter details the return of the Yup'ik Flying Swan mask to Berlin in the early 1990s after a half-century-long postwar odyssey. The mask held a distinguished place in Berlin's Museum für Völkerkunde. For almost two decades, it hung top and center within a prominent glass cabinet in the Eskimo exhibit among the museum's celebrated new Schausammlung. The chapter then discusses the destruction of war, in which collections were devastated and many scattered across vast distances. It reports that some 33,000 objects from the African collections, mostly items from West Africa, were lost in “safer” locations, and on the East Asian collections, only 40 percent survived. Over time, it became clear that Soviet trophy brigades had seized some 75,000 or more archaeological and ethnographic objects from the bunkers, the Royal Mint, and the mines and the castle in Silesia. Amid this postwar devastation, the chapter highlights how Germany's surviving ethnologists quickly returned to their science and began trying to reconstitute their museums. It looks at the creation of the Prussian Cultural Heritage Foundation in 1957, founded by the federal government to obtain and preserve Prussian cultural heritage.
Conference papers on the topic "Ethnographic museum collections"
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Yuryevna, Gulyaeva Evgenia. "KUBACHIN COLLECTIONS OF THE RUSSIAN ETHNOGRAPHIC MUSEUM." In Folk arts and crafts of the Russian Federation. ALEF, 2019. http://dx.doi.org/10.33580/978-5-00128-340-9-2019-63-76.
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Plosnita, Elena. "Contributions to ethnographic museography: the scholar Petre Ștefănucă." In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.01.
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One of the main figures of the Romanian ethnographic museography of the interwar period was Petre Ștefănucă, the first Bessarabian who developed the concept of an ethnographic museum and for the first time expressed the idea of organizing a Bessarabian ethnographic museum in Chișinău. The author makes an analysis of the concept elaborated by P. Ștefănucă, concluding that the scientist defined an ethnographic museum as: – a means of saving and researching the ethnographic heritage and as a real living school of knowledge of the Romanian people between the Prut and the Dniester; – a scientific institution discussing a broad issue, that of integrating ethnology into history and, in its light, the relationship between a historical museum and an ethnographic museum; – a general museum, whose collections are based on a large typological diversity of cultural values, but with an emphasis on folk architecture and traditional techniques; – a repository of intangible heritage, suggesting that elements of this heritage be collected from peasants who are keepers of old beliefs and customs. P. Ștefănucă believed that the developed concept can be implemented only when the necessity and usefulness of the ethnographic museum for Bessarabia is realized by the whole society.
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Горбачёва, Валентина Владимировна. "COLLECTIONS OF THE RUSSIAN ETHNOGRAPHIC MUSEUM ON SIBERIAN SHAMANISM: METHODS OF COMPLETING AND FEATURES OF EXPOSURE." In Всероссийская научно-практической конференция с международным участием, посвященной 100-летию со дня рождения выдающегося ученого-североведа И.С. Гурвича (1919-1992). Электронное издательство Национальной библиотеки РС (Я), 2019. http://dx.doi.org/10.25693/gurvich.2019gorbachevavv.
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Терюков, Александр. "Судьба немецких трофейных коллекций в Музее антропологии и этнографии АН СССР." In Россия — Германия в образовательном, научном и культурном диалоге. Конкорд, 2021. http://dx.doi.org/10.37490/de2021/023.
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The problem of trophy collections and mutual restitution still overshadows Russian-German relations. Despite the fact that considerable literature is devoted to this problem, quite a lot of white spots remain in it to this day. Only the State Hermitage Museum, which was and continues to be the largest keeper of the displaced collections, began to reveal this secret. It is less well known that the Museum of Anthropology and Ethnography of the USSR Academy of Sciences was also the keeper of such collections. The Museum of Anthropology and Ethnography of the USSR Academy of Sciences is the only scientific and cultural institution that has completely parted with the relocated collections.
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Tamulevich, S. V. "SPECIFICITY OF DESIGNING THE CATALOG OF THE ETHNOGRAPHIC COLLECTION OF THE MUSEUM AS AN OBJECT OF GRAPHIC DESIGN." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.19.
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The article discusses the design features of the ethnographic catalog on the example of the project of the multi-page publication «Nanai» Khabarovsk Museum of Local Lore named after N.I. Grodekova. The author defines the purpose and target audience of the museum catalog, describes the relationship between design and content - the interaction of elements of end-to-end design and spread, color, illustrations and typography with text, ways to solve the information and logistics catalog by visual means, traditions and current trends in the implementation of navigation through the publication.
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Alves da Silva, Cristiane, and Mirtes Marins de Oliveira. "The exhibition design of a House Museum: the Dining Room as a case study." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.104.
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The exhibition space of a Collector's House Museum, the specific case of the Ema Klabin House Museum (HMEK), offers the field of exhibition design a unique place for research due to its nature, which moves from the private to the public and presents artifacts that allow entering the biography of objects and understanding them from a material culture perspective. The present research, still in progress, has as a case study, the environment of the Dining Room at HMEK, which evokes, more than any other room, domesticity and the memory of home while at the same time convoking the experience of the museum space. The research proposes the centrality of the Dining Room both in the practices of the former residence and in the discursive elaboration of the current museum. In this context and in the proposal of this research, the study of the Dining Room, its materialities, uses and spatial organization in both historical moments is an exemplary case for the implementation of research in a house museum, serving its study, based on the indicated variables, to highlight possibilities in this type of institution based on its physicality. The former residence of collector, businesswoman and patron Ema Gordon Klabin houses a multicultural collection that encompasses visual arts, ethnographic objects, books, furniture and decorative arts, exhibited in preserved environments from a house register with exhibition design that highlights the practices of the house, collector and building of modernized classical architecture. It is considered that artifacts are memory supports, vectors capable of preserving or reviving them, provoking relationships between what has been experienced and the situations of the present time. The Dining Room, used for diplomatic and social purposes, is a space measuring 4.80m X 5.30m and connects to the social rooms of the house with a large glass door accessing the external patio, environment with tropical plants and an Italian fountain. It is accessed through a gallery - a must-see for visitors to the house and now, to the museum - and the living room. On the opposite wall, a camouflaged door accesses the kitchen and service areas – currently the museum's reception area – where the French service was carried out. Currently, the Dining Room is organized in accordance with photographs and other historical records that attest to its use before its change to museum status. It exhibits documents and objects that attest to the memory of the uses and customs of this space, for example, the Reception Book, in which the hostess described each event, her guests and the planning of the reception. The research proposes an understanding of the cultural trajectory of objects and the implication of design in the activation of private memories of a domestic environment that, by becoming a museological space, provokes collective memories through its exhibition design, investigating the application of design to address the feedback between experience and history.
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Прокопьева, Александра Николаевна. "HEADPIECE JEWELRY OF THE 18TH CENTURY FROM THE COLLECTION OF THE NEFU MUSEUM OF ARCHEOLOGY, ETHNOGRAPHY AND HISTORY." In Всероссийская научно-практической конференция с международным участием, посвященной 100-летию со дня рождения выдающегося ученого-североведа И.С. Гурвича (1919-1992). Электронное издательство Национальной библиотеки РС (Я), 2019. http://dx.doi.org/10.25693/gurvich.2019prokopievaan.
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Norogrando, Rafaela. "Second Skin’s Sensitivity: Memories and Consciousness." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001367.
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In order to explore the relationship between people and clothing products, this study addresses material culture and consumption in recent years in the face of the construction of heritage narratives related to the history of fashion design. According to the social circle of values consecration, connections between subjects and objects are fluid and the approach to the material culture and memories can be created and conduct. The history of fashion can be restricting to the materiality of objects or including the intangible elements related to this. The study is based on theoretical approaches and bibliographic review; a case study and ethnographic research on fashion exhibitions and correlated subjects; and comparative analysis including five hundred institutional exhibitions promoted in the last 50 years. This research also comprehends an exploratory study on the project Tati-Viana, which resulted in a fashion design output included in the heritage collection at the National Costume Museum (Portugal). Results showed that emotion and the relationship between people-objects through memories can be an alternative and deliberate tool for sensitizing actions to conscious consumption.
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Temirton, Galiya. "ABILKHAN KASTEEV�S WATERCOLORS AS A HISTORICAL AND ETHNOGRAPHIC SOURCE (CENTRAL STATE MUSEUM OF THE REPUBLIC OF KAZAKHSTAN COLLECTION AS A CASE STUDY)." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s22.001.
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