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Journal articles on the topic 'Ethnographic museum collections'
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1
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.
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Gabriel, Mille. "New Futures for Old Collections - Contemporary Collecting and Community Involvement at the National Museum of Denmark." Museum and Society 14, no. 2 (June 9, 2017): 275–93. http://dx.doi.org/10.29311/mas.v14i2.643.
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In recognition of altered global relations since colonial times, the Ethnographic Collections at the National Museum of Denmark have identified a need to redefine their role in society. The Ethnographic Collections explore new ways of activating old collections – ways, which include contemporary collecting, co-curation and dialogue with the communities from where the collections derive. Through three recent projects, this paper revolves around questions such as: How can we make associations between the old collections and contemporary society? How do we prioritize, when collecting the contemporary? And how do we ensure that community involvement not only challenges the authority of museums, but also informs museological practices in new and constructive ways?Key words: Ethnography, representation, contextualization, partnerships, contemporary collecting, knowledge sharing, co-curation.
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Voirol, Beatrice. "Decolonization in the Field?" TSANTSA – Journal of the Swiss Anthropological Association 24 (May 1, 2019): 48–57. http://dx.doi.org/10.36950/tsantsa.2019.24.6903.
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With regard to decolonization, ethnographic museums are special targets for criticism. For a long time they pursued "salvage ethnography", taking advantage of colonial structures to assemble their collections. The little island of Milingimbi in East Arnhem Land/ Australia first attracted the attention of the Museum der Kulturen Basel (MKB) in the early 1930s. Three different individuals were involved in compiling the collection as it is constituted today, one of the largest collections from Milingimbi outside of Australia. Taking this collection as an example, my contribution takes a closer look at decolonizing practices in the museum field. It retraces the transition from collecting under colonial conditions to current attempts within the MKB to decolonize the Milingimbi collection. The article describes the practical e orts not only of MKB as an institution, but particularly also of Milingimbi as a community.
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Morphy, Howard, Jason M. Gibson, and Alison K. Brown. "Special Section." Museum Worlds 10, no. 1 (July 1, 2022): 218–29. http://dx.doi.org/10.3167/armw.2022.100119.
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Anthropology, Art, and Ethnographic Collections: A Conversation with Howard MorphyJason M. Gibson (JG): In your book Museums, Infinity and the Culture of Protocols: Ethnographic Collections and Source Communities (Morphy 2020), you begin with an anecdote of visiting the Pitt Rivers Museum as a young child. Did museums play a part in sparking an interest in humanity, and its diversity, or were you fascinated by the Other?Book Review: Museums, Societies and the Creation of Value, Howard Morphy and Robyn McKenzie, eds. (London: Routledge, 2022)What does value mean within and beyond museum contexts? What are the processes through which value is manifested? How might a deeper understanding of these processes contribute to the practice of museum anthropology? These questions are explored in Museums, Societies and the Creation of Value, which looks at collaborative work in museums using ethnographic collections as a focus. Most of the chapters involve collections from Australia and the Pacific—reflecting the origins of many of them in two conferences associated with the project “The Relational Museum and Its Objects,” funded by the Australian Research Council and the Australian National University and led by Howard Morphy. Bringing together early career researchers, as well as museum-based scholars who have many years of thinking through and learning with community-based research partners, makes evident how the processual shifts in museum anthropology toward a more collaboratively grounded practice have become normalized, but crucially also highlights the value of “slow museology,” as the editors note in their introduction (3), acknowledging Raymond Silverman’s (2015) term. While the editors caution that the core values of ethnographic collections and museums are not universal, the inclusion of chapters from beyond the Australia/Pacific region highlights that the foundational underpinning values and aspirations for cross-cultural work—“the desire for understanding” and “the desire to be understood” (22) are shaping much of the innovative museum-based work currently being carried out worldwide. Examples include Gwyneira Isaac’s chapter on 3D technologies of reproduction and their value for Tlingit of Alaska, and Henrietta Lidchi and Nicole Hartwell’s examination of how materiality and memory intersect in collections associated with nineteenth-century British military campaigns.
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Cury, Marilia Xavier. "Lições indígenas para a descolonização dos museus: processos comunicacionais em discussão / Indigenous people's lessons for decolonizing museums: communication processes under discussion." Cadernos CIMEAC 7, no. 1 (July 11, 2017): 184. http://dx.doi.org/10.18554/cimeac.v7i1.2199.
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Os museus passam por transformações, novas funções se reorganizam e novos desafios são levados a essa instituição. Após anos de crítica da sociedade e academia ao museu, pela forma fechada como operava e interpretava coleções, há um movimento de transformação. Os processos de descolonização do museu etnográfico vêm trazendo grandes avanços, também porque essa categoria de museu passa pelo processo de indigenização. A comunicação museológica tem papel preponderante tanto na descolonização quanto na indigenização, pois promove o diálogo entre profissionais de museus e indígenas. O artigo apresenta situações em que o museu, em fase de transição entre modelos, é analisado pela Comunicação, considerando o deslocamento dos meios para as mediações, ou seja, do museu para a cultura, no caso tratado as culturas Kaingang, Terena e Guarani Nhandeva, tendo como locus o oeste do estado de São Paulo. Os resultados da ação de comunicação museológica revelam dois aspectos a serem aprofundados pelo museu: a política de gestão de acervo e a ressacralização do museu.Palavras-chave: Indígenas no Oeste Paulista; Políticas museais; Descolonização dos museus. ABSTRACT: Museums are undergoing changes, new roles are created for, and new challenges are posed to those institutions. After years of criticism levelled by society and academia at museums for the closed manner in which they ran and interpreted collections, a transformation is now underway. The decolonization of ethnographic museums has made major advances, especially because this type of museum is currently being indigenized. Museal communication plays a key role both in decolonization and indigenization, because it fosters dialogue between museum professionals and indigenous people. The article describes situations where museums, which are undergoing a transition between different models, are analyzed by Communication, considering the move from the means to mediation, in other words, from museums to culture, specifically the cultures of the Kaingang, Terenaand and Guarani Nhandeva indigenous people who live in the west of the state of São Paulo. The results of the museal communication initiative show two aspects to be explored by museums: The collection management policy and the renewed sacralization of museums.Keywords: Indigenous people in the west of the state of São Paulo; Museum policies; Decolonizing Museums.
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Dziuban, Roman. "Moving of the сollections of the Lubomirsky museum in 1940." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 13(29) (2021): 264–91. http://dx.doi.org/10.37222/2524-0315-2021-13(29)-16.
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Relevance and purpose. The purpose of the article is to include in the scientific circulation a collection of newly discovered acts and lists of individual collections of the Lubomirsky Museum, which since May 1940 have been submitted to the Lviv Museum Institutions. We believe that these documents deserve further scrutiny and will help identify individual exhibits in the collections of Lviv (and not only Lviv) museums, as well as help locate exhibits that are now considered lost. Research methodology. In order to achieve this, a descriptive method is generally employed. The historical source method and the comparative method were partly used. Historical principles are also especially emphasized. Keywords: Prince Lubomirsky Museum, Ossolineum, Lviv State Museum of History, Regional Art Gallery, Lviv State Art Gallery, Lviv Museum of Art Crafts, Lviv State Ethnographic Museum, collections, exhibits, archeological finds, archeological sites, paintings, carvings, orders, cameos, medallions, watches, furniture, collection weapons.
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Laszlo Klemar, Kosjenka, and Željka Miklošević. "Educational Museum Action – Characteristics and Possibilities of Development." Etnološka istraživanja, no. 25 (December 3, 2020): 51–68. http://dx.doi.org/10.32458/ei.25.10.
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On the occasion of observing International Museum Day, Croatian museums carry out the Educational Museum Action (EMA) by conducting educational activities - most often workshops, guided tours and didactic exhibitions - on a specific topic set by a museum-leader. Ethnographic museums in Croatia have participated in the Action from the very beginning; in 2000 and 2010, Ethnographic Museum in Zagreb was the leader of the Educational Museum Action. This paper presents a research of EMA features as an educational museum action conducted by analysis of printed booklets as the Action program publications and by responses of museum experts who took part in the organization and implementation of the Action, obtained as a result of a survey. The research points out the discrepancy between the name and features of the organized activity, upon which a state and potentials of the Action development, as well as the museum’s educational activities have been questioned. Curators of ethnographic collections and museum educators in Croatian ethnographic museums, having participated in the research, gave their contribution to determination of issues related to museum educational programs and to determination of their development potentials.
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Stasevich, Inga, Larisa Popova, and Rakhym Beknazarov. "Kazakh Female Rings in Ethnographic Collections of St. Petersburg: Classification, Local Complexes, and Ritual Functions." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 28, no. 1 (June 2022): 60–72. http://dx.doi.org/10.31250/1238-5018-2022-28-1-60-72.
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Kazakh jewellery has long attracted the attention of scholars; however, there are few research papers that consider such museum collections. The present paper provides a detailed analysis of the collections of Kazakh female rings from the Museum of Anthropology and Ethnography, RAS, and the RussianMuseum of Ethnography. The research focus is placed on the design features of local complexes, which allows to present the museum collections as an ethnographic source to a broad scientific audience. Based on their own field materials, the authors describe the distinctive features of the signifying functions of rings in modern culture.
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Kolbas, Irena. "The Library of the Ethnographic Museum in Zagreb." Etnološka istraživanja, no. 24 (December 5, 2019): 87–98. http://dx.doi.org/10.32458/ei.24.12.
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The Library of the Ethnographic Museum is a special museum library. It is of a semi-closed type, which is the case with most special and museum libraries. It is primarily intended for the museum staff: curators, conservators and preparators. It was founded not long after the museum had been established and it grew simultaneously with the museum collection. The paper provides an overview of its history, some of its more important collections and the processing of the publications. Nevertheless, it also presents some of the problems faced
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Gevorgyan, L. P. "Features of the exposition of culture and life of Armenians in some Russian museums and its influence on the activation of national identity." Heritage and Modern Times 4, no. 4 (March 4, 2022): 465–80. http://dx.doi.org/10.52883/2619-0214-2021-4-4-465-480.
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One of the most important categories of classification is the type of museum, based on the relationship of the museum with a specific science. Ethnographic expositions are directly related to ethnographic science: the concepts of development, replenishment of collections, creation of expositions and exhibitions are aimed at preserving, studying, recreating, presenting the culture and life of a long or recent past.National identity is formed from birth, from childhood. It can be assumed, that this is a stable and constant concept throughout a person's life. However, changing the country of residence for one reason or another sometimes leads to a change in perceptions, a revision of the system of values, interpersonal relations, and a mixing of cultures, which in turn can contribute to the creation of new options for national identity.In the process of preserving the national identity of Armenians, museums organized in those countries where there is a stable Armenian diaspora occupy a special place.According to the profile, none of the museums operating on the territory of non-Armenian states is ethnographic. However, an impressive part of their collections and expositions consists of objects characterizing the culture and life of the population of those areas of Armenia from which representatives of this diaspora or their ancestors emigrated.The article considers the corresponding collections and expositions of the Museum of Russian-Armenian Friendship in Rostov-on-Don, the Armenian Museum of Moscow and the Culture of Nations, the Museum of the Peoples of the East in Moscow and the Russian Ethnographic Museum in St. Petersburg.
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Toșa, Ioan, and Tudor Sălăgean. "Din istoria muzeografiei românești." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 166–238. http://dx.doi.org/10.47802/amet.2016.30.12.
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The authors present the less known activity held at the Transylvanian Museum of Ethnography from 1937 to 1957 towards: Research and Conservation of the Folk Cultural Heritage; Development of a network of ethnographic museums; Establishment of circles of ethnographic researches; Capitalisation through exhibitions and publications. For the research and preservation of the folk cultural heritage there were organised research and acquisition campaigns and there were made questionnaires for finding the buildings for the National park which unfortunately could not be completed because of the war, and after the war because of the political changes. The preservation and capitalisation of the folk heritage could be done successfully only by institutions and qualified individuals, so that the Museum intervened with the bodies of central and local authorities for the establishment of some museums or ethnographic sections in Iasi, Cernauti, Timisoara and Craiova and by ensuring qualified staff trained within the Department and Seminar of ethnography and folklore. An intense activity was made during 1939-1946 towards organizing Circles of ethnographic researches in the main cultural centres of the country, so that their union to re-establish the Romanian Ethnographic Society. The opening of the permanent exhibition in the building of Bărnuţiu Garden represented a very important moment for the Romanian museography by the implications it has had on the followings: the exhibition furniture, the theme and the exposure system, which represented a model for efforts of some institutions to present the collections of objects which they held between 1937-1940. The authors present then some aspects of Museum work during the refuge in Sibiu (1940-1945) and the difficulties for restoration of the building in the Park in order to organize the Exhibition following the model of the one in 1937. The change of political regime in 1947 coincided with the forced retirement of Professor R. Vuia. There are presented the attempts to continue in 1948-1950 the projects started after returning from refugee interrupted by the change of the director (May 1950) and of the staff (1951). In November 1951, by the Decision of the Committee for Higher Education, the Museum was passed to the Committee for Cultural Settlements, receiving the name "Historical-Ethnographic Museum of Cluj Region". In 1951, the Museum staff have drawn up a Directory for the organization of the new museum exhibition, which the authors, taking into account the fact that this is the only document on how a permanent exhibition theme is made, publishes in its entirety. The theme was sent to the Committee for Cultural Settlements that rejected and outlined the directions the exhibition named "The issue of living and evolution of the society beginning with human formation until nowadays " to be made. The intense discussions regarding the exhibition theme were held in 1953, after which it was established the thematic plan of the exhibition, which was opened on 24th of May 1955, for which it was made an illustrated guide that was to be printed in 1957.
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KAMALETDINOV, D. A. "WORK ON SCIENTIFIC COLLECTIONS IN THE ACADEMIC MUSEUM: A CASE OF THE MUSEUM OF ARCHAEOLOGY AND ETHNOGRAPHY, UFA FEDERAL RESEARCH CENTRE, RAS." Izvestia Ufimskogo Nauchnogo Tsentra RAN, no. 4 (December 11, 2020): 86–88. http://dx.doi.org/10.31040/2222-8349-2020-0-4-86-88.
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The article gives brief characteristics and description of the work on scientific collections organized at the Academic Museum of Archaeology and Ethnography, which represents the totality of archaeological and ethnographic collections of the R.G. Kuzeev Institute for Ethnological Studies, Ufa Federal Research Centre, RAS. The author highlights the main areas of scientific work reflecting the features of the functioning of the museum and the development of long-term scientific research studies in archaeology and ethnography.
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Glebova, E. V. "Review of the catalog «Ulchi» from the collection of the Khabarovsk Regional Museum n.a. N.I. Grodekov." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 2 (49) (June 5, 2020): 173–79. http://dx.doi.org/10.20874/2071-0437-2020-49-2-16.
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The article presents the analysis of the catalog «Ulchi» by the Khabarovsk Regional Museum n.a. N.I. Gro-dekov. The performance of the local museum is considered in the context of all-Russian experience of cataloging of the museum collections, which is of a particular importance for historical science. The author examines the program of scientific cataloging of the museum collections, featuring the traditional culture of almost all indigenous peoples of the Russian Far East. We conclude that the series of ethnographic catalogues of the museum has made a significant contribution to the Far East museum studies and ethnography. The new catalog «Ulchi» pre-sents the largest ethnographic collection of the museum, which characterizes the material and spiritual culture of one of the eight indigenous populations of the Lower Amur River Region — the Ulchi. The catalog includes 808 ethnographic artifacts — household items, clothes, fishing and hunting equipment, items of ritual culture, shaman-ism and family relations of the Ulchi (19th–21st c.). Specific sections include more than 300 photographs and nega-tives (19th–20th c.), as well as detailed background information. Some artifacts, such as ritual sculptures, shaman clothing and attributes, utensils for ritual rites, ancient devices for fishing etc., are published for the first time. The catalog was prepared by a large team of authors involving Ulchi craftsmen and linguists. The catalog «Ulchi» introduces new materials into scientific discourse, and it can serve as a source for comparative ethnographic, historical and museum studies analysis. It has been emphasized that the newly published catalog of the Kha-barovsk Regional Museum n.a. N.I. Grodekov allows representatives of this people to connect with their own cul-tural heritage; it contributes to the formation of their historical memory and identity.
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Silva, Fabíola A., and Cesar Gordon. "Anthropology in the museum reflections on the curatorship of the Xikrin Collection." Vibrant: Virtual Brazilian Anthropology 10, no. 1 (June 2013): 425–68. http://dx.doi.org/10.1590/s1809-43412013000100018.
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This article reflects upon the curatorial management process of the Xikrin ethnographic collection and proposes the importance of anthropological interest in the deepening collaboration amongst anthropologists, indigenous peoples and museums, with particular attention to the anthropological study of ethnographic collections. This is true for the anthropological study of objects (and their various meanings and interpretations by the social actors who utilize and appropriate them) and for the understanding of the formation and conservation of ethnographic collections (with their diverse motivations and contexts). Since this type of shared curatorial management style is only now spreading throughout Brazil, the experience is a timely opportunity to develop nuanced perspectives on the anthropological significance of ethnographic collections.
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Henderson, Jane, and Kloe Rumsey. "Communicating pesticide contamination messages." Collection Forum 29, no. 1-2 (January 1, 2015): 49–60. http://dx.doi.org/10.14351/0831-4985-29.1.49.
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Abstract Over the last two decades, an increased understanding of the extent of pesticide contamination of organic collections in museums, particularly natural science and ethnographic collections, has developed. This paper explores the intellectual and emotional responses to messages about pesticide risks in museums and reports on the impact of wording on risk warnings. Six risk phrases using different terminology but intended to represent the same danger of pesticide contamination were evaluated by 103 museum staff. We found that how a message was delivered, the degree of science education of users, and phrases associated with hazards affected how a message was perceived. The delivery of risk warnings and the effective communication of collections-based hazards in museums are essential to responsible collections use, particularly those of scientific (Natural History) and cultural (Ethnographic) importance, where collections are most likely to be contaminated with hazardous substances. The results presented are a first step to understanding how the communication of pesticide risks in museums is understood by users of the collections. By understanding how a message is perceived, we provide advice to museum staff about language use for risk communication projects and management of behaviors.
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Franz, Marisa Karyl. "A Visitor's Guide to Shamans and Shamanism." Sibirica 19, no. 1 (March 1, 2020): 41–56. http://dx.doi.org/10.3167/sib.2020.190104.
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In the late imperial era, the Museum of Anthropology and Ethnography (the Kunstkamera) in St. Petersburg produced a series of guidebooks for visitors that provided an account of the changes in the gallery spaces and collections within the museum. Among the changes was a reorganization of the collection that brought about the removal of a gallery dedicated to Russian ethnography, which had housed Siberian, Central Asian, and a small number of European Russian objects. Siberian and Central Asian materials were then presented by the museum in an Asian ethnographic collection. In this new Asian collection, shamanism emerged as a category that operated to unify Russia in Asia as a culturally contiguous space located in an imperial elsewhere east of the Urals.
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Bernstein, Bruce. "Ethnographic Museum Collections and their Use by Anthropologists." Museum Anthropology 13, no. 1 (February 1989): 2–17. http://dx.doi.org/10.1525/mua.1989.13.1.2.
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Mikhaylova, A. A. "From the Serbian Fair to the Russian Museum: On the Ethnographic Relevance of the Gingerbread Collection from 1902." Archaeology, Ethnology & Anthropology of Eurasia 49, no. 3 (October 27, 2021): 101–11. http://dx.doi.org/10.17746/1563-0110.2021.49.3.101-111.
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Serbian fi gured gingerbreads owned by the Russian Museum of Ethnography are described, the history of the collection is provided, and its cultural meaning is evaluated. Ethnographic parallels are analyzed, and archaic examples are cited. The custom of baking gingerbread results from the commercialization of the agricultural tradition of baking ritual bread. In terms of cultural anthropology, the question may be raised whether the replacement of destroyed originals by plaster replicas preserves the information potential and ethnographic value of the collection. Its interpretation is relevant to national identity in new Balkan nations such as Slovenia, Croatia, and Serbia. Another problem is if and how a craft shared by several peoples can be an ethnic marker. In terms of ethnographic museology in the globalizing world, the prospects of acquiring recent collections are discussed. The role of such collections in constructing new national identities may be considerable.
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Kuzeeva, Zuhra Z., and Ritsa Sh Zelnitskaya (Shlarba). "K.A. INOSTRANTZEV СOLLECTION ON TRADITIONAL NOGAI CULTURE IN THE COLLECTIONS OF THE RUSSIAN ETHNOGRAPHIC MUSEUM." History, Archeology and Ethnography of the Caucasus 16, no. 1 (April 30, 2020): 185–209. http://dx.doi.org/10.32653/ch161185-209.
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The article discusses a small, but rather rich in content, collection of objects from the Department of Ethnography of the Peoples of the Caucasus, Central Asia and Kazakhstan of the Russian Ethnographic Museum for Nogai Culture of the North-East Caucasus (Karanogais), which was collected at the beginning of the last century by K.A. Inostrantzev. This collection under stock number 333 is the very first museum collection on traditional Nogai culture. The collection fully demonstrates the features of the traditional culture and art of the people. It contains unique materials that have long been lost in the environment of everyday life and do not have originals in the central and regional museums of the country and in private collections. These are the interior items of the yurt, items of male and female costume, wedding arba, wedding yurt and felt decorations of the wedding yurt of the late XIX - early XX centuries.
The main objective of the study is to consider museum objects of the collection 333 as objects of historical and cultural heritage, to identify and study them as an independent scientific source. This formulation of the problem was primarily due to modern trends, when in the era of digital computer technology in the humanities, interest in the latest research practices is growing. The study of objects of traditional culture using modern techniques would allow to reveal already seemingly sufficiently studied material from a new point of view. In this sense, museum collections play a significant role and sometimes are the only source for studying objects of traditional material culture and art of some peoples. And therefore, the allocation of the specifics of the information resource of museum material for its further analysis is one of the urgent tasks today, both in historical disciplines and in the field of related sciences.
As part of this study, a detailed analysis of museum objects was carried out, the attribution of things was compiled, a classification was created.
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Rafael, Ulisses N., and Yvonne Maggie. "Sorcery objects under institutional tutelage: magic and power in ethnographic collections." Vibrant: Virtual Brazilian Anthropology 10, no. 1 (June 2013): 276–342. http://dx.doi.org/10.1590/s1809-43412013000100014.
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This essay returns to a discussion of two collections of objects taken from two terreiros (places of worship) for Afro-Brazilian cults, namely the Magia Negra (Black Magic) collection at the Museu da Polícia do Rio de Janeiro (Rio de Janeiro Police Museum) and the Perseverança collection at the Instituto Histórico e Geográfico de Alagoas - IHGAL (Alagoas Historical and Geographical Institute), in Maceió. In both cases we looked at how members of Brazil's elite are involved in sorcery and how members of this elite circulate in candomblé, xangô, umbanda and other terreiros. In this essay, in particular, we examine the subject of the collections in the context of recent changes arising from heritage-listing policies in Brazil that have decisively affected relations between these objects and institutions charged with protecting and preserving cultural heritage.
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Zagrebin, Aleksei Egorovich, and Valerii Engelsovich Sharapov. "MUSEUM ETHNOGRAPHY IN THE CONTEXT OF ETHNOGRAPHIC FINNO-UGRIC STUDIES IN THE USSR (1920s-1930s)." Yearbook of Finno-Ugric Studies 15, no. 4 (December 24, 2021): 715–21. http://dx.doi.org/10.35634/2224-9443-2021-15-4-715-721.
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This paper offers a discussion of the role of ethnographic Finno-Ugric studies in Soviet nation building. In particular, it is concerned with the issue of representation of ethnicity/ethnic identity in various fields of museum studies: expeditions, local history, educational work, and exhibition activities. Special attention is paid to the field studies of Moscow and Leningrad ethnographers who participated in the formation of collections of regional museums of local lore and the construction of “authentic” visual images of Finno-Ugric peoples in the Soviet ethnographic portrait of the “family of peoples of the USSR”. One of the key questions is how the ethnographic reality and the transformative perspective of Soviet nation building correlated in the expedition practice. The role of the institute of museums in national movements is emphasized in recent studies of the history of Russian ethnography and the implementation of various ethnographic projects. In the authors’ opinion, ethnographers who conducted expert and scientific research, acted as intermediaries in the dialogue/conflict between local communities and authorities in building a regional national discourse.
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Gushchina, Elena Gennadievna. "Library and Museum of the Cabinet of Geography of the Imperial Kazan University." Russian Digital Libraries Journal 23, no. 5 (August 23, 2020): 905–13. http://dx.doi.org/10.26907/1562-5419-2020-23-5-905-913.
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The article discusses the process of creating and developing a library and museum as part of the educational and scientific material base of the Cabinet of Geography at the Department of Geography and Ethnography of Imperial Kazan University. From the annual reports on the activities of the Department it can be seen that the acquisition of the Library with new editions, and the Ethnographic Museum with collections, was systematic. These processes were interconnected and aimed at creating a high-quality integrated material base for the development of the educational and scientific process. The article emphasizes that the leading role in the processes of forming the library and museum belonged to the head of the Department of Geography and Ethnography, Petr Ivanovich Krotov and Bruno Friedrichovich Adler. Peter Krotov created the Cabinet of Geography. Bruno Adler improved and developed not only the Cabinet of Geography itself, but also ethnographic science in the Volga Region and Russia as a whole. For example, having academic ties with Russian and foreign scientists, Bruno Adler received many publications and subjects for the Cabinet of Geography as a gift. This allowed for the year to increase several times, both the library and the museum under the Cabinet of Geography. The scientifically organized cabinet, which has comprehensive collections and professional literature, has become a quality source base for the development of ethnographic science at Kazan University.
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Jääts, Liisi. "ERMi esemekogud ja -analüüs." Eesti Rahva Muuseumi aastaraamat 62, no. 1 (December 20, 2019): 123–43. http://dx.doi.org/10.33302/ermar-2019-005.
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Human artifacts are part of a culture. Whatever aspect we consider—their material, manufacture, ritual use or meaning—the world of human-made objects is closely intertwined with technological, social, economic, religious and other fields. An artifact can be a valuable source of study for a scholar delving into either the past or contemporary culture. Insofar as objects from past cultures are concentrated in museum collections, several questions arise in the mind of a researcher regarding the object as a source material: both at the level of describing and analysing an individual item and more broadly, at the level of the museum collection. A museum’s collection of artifacts is not a neutral and objective representation of real life. Nor is any other ethnographic source preserved in our museum’s collections a neutral and objective representation of life. Field diaries, reports, photographs, descriptions of objects and collections reflect the theoretical views of the times, or the understanding of the mission of ethnography/ethnology and the Estonian National Museum. Source criticism must always take into account the background, which in the case of object research will also involve the museum context.
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Bernier, Hélène, and Mathieu Viau-Courville. "Curating Action: Rethinking Ethnographic Collections and the Role/Place of Performing Arts in the Museum." Museum and Society 14, no. 2 (June 9, 2017): 237–52. http://dx.doi.org/10.29311/mas.v14i2.641.
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Dance involves a set of movements that embody social memory. Such forms of intangible heritage have presented emerging challenges for curatorship. This paper draws from the experience of the Musées de la civilisation (Quebec City, Canada) to address ideas of collecting and curating in the performing arts. By presenting the travelling exhibition Rebel Bodies, an international collaborative project that highlights contemporary dance and movement as universal modes of creativity and expression, the paper reflects on the social role of the museum in sustaining creativity within the community as well as on the use of ethnographic material to collectively (through museums and artists) curate the intangible. In treating notions of natural, virtuoso, urban, multi, political, and atypical bodies, this exhibition brings together performers and creative artists as well as industries in the museum setting. Such interplays, it is argued, encourage the sustainable participation of artistic communities/industries and further highlight museums as dynamic loci for the promotion of social change.Keywords: performing arts, intangible cultural heritage, museum, dance, performance, participation, reenactment, artists
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Zych, Magdalena. "THE SIBERIAN COLLECTION OF THE ETHNOGRAPHIC MUSEUM IN CRACOW IN THE LIGHT OF FIELDWORK AND ANTHROPOLOGICAL REINTERPRETATIONS." Muzealnictwo 61 (August 10, 2020): 172–80. http://dx.doi.org/10.5604/01.3001.0014.3470.
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The paper presents the results of the academic museum Project called Anthropological reinterpretation of the Siberian collections from the Ethnographic Museum in Cracow that came from Polish 19th-century explorers of Siberia financed by the National Programme for the Development of Humanities (2016–2019). Four major topics of investigation among the collections’ source communities have been presented: Benedykt Dybowski’s collection from Kamchatka, Konstanty Podhorski’s collection from Chukotka, Nenets’ clothing donated by Izydor Sobański, and two cult figurines which reached the Cracow Museum from Jan Żurakowski. The presentation reveals the assumptions of the in-field museology: the method combining the anthropological perspective with museology elements. Furthermore, the digital repository www.etnomuzeum.eu/syberia is discussed; it is the one that makes the collections and research results available online. The paper may prove of interest to professionals curating collections, culture researchers, historians, cultural anthropologists, art historian, conservation services, museology theoreticians.
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Serheyeva, Iryna. "History of the Museum and Archives of the Jewish Historical and Ethnographic Society after October 1917." Judaic-Slavic Journal, no. 1 (2) (2019): 13–43. http://dx.doi.org/10.31168/2658-3364.2019.1.1.1.
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The article is devoted to the history of the collection of the Museum and Archive of the Jewish Historical and Ethnographic Society (St. Petersburg, 1908–1930) in the period after October 1917 until the early 1990s.On the basis of a significant number of archival documents stored in different countries of Europe and the United States, published sources and scientific research,the author reveals historical events related to the collections, reconstructs the composition and content of the collections, and the future of the museum and archival collections, if possible.
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Gushchina, E. G., and A. Kh Mingaliev. "JEWISH COLLECTIONS IN THE ETHNOGRAPHIC MUSEUM OF KAZAN UNIVERSITY." Kunstkamera 9, no. 3 (2020): 115–20. http://dx.doi.org/10.31250/2618-8619-2020-3(9)-115-120.
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Costa Oliveira, Thiago Lopes da. "Lost Objects, Hidden Stories: On the Ethnographic Collections Burned in the National Museum of Rio de Janeiro." Latin American Antiquity 31, no. 2 (May 19, 2020): 256–72. http://dx.doi.org/10.1017/laq.2020.16.
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In this article, I take a close look at the objects collected over the last 200 years from the indigenous people of the Upper Rio Negro, northwest of the Brazilian Amazon, that were part of the ethnographic collection of the National Museum of Rio de Janeiro. Examination of these objects allows us to explore the main characteristics of the ethnographic archive of the museum, as the Upper Rio Negro collections were connected to different topics associated with indigenous societies and histories in Brazil, including enslavement, forced displacement, religious conversion, and indigenous territorial, artifactual, and cultural knowledge. This article also highlights the professional commitment of Brazilian anthropology to amplifying indigenous voices over the course of the history of the discipline, and by doing so, it pays homage to the women and men whose work built the National Museum collections.
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Kupriianova, Irina. "AN ETHNOGRAPHIC MONUMENT AS AN INTANGIBLE HERITAGE BRINGER." Proceedings of Altai State Academy of Culture and Arts, no. 3 (2021): 14–19. http://dx.doi.org/10.32340/2414-9101-2021-3-14-19.
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The article takes an attempt to argue primariness of intangible heritage toward tangible one exhibited in ethnographic collections of museums using the example of semantic analysis of key (on the author's view) monuments of East-Slavic ethnic culture. The researcher shows hierarchic relation between both components of culture in which museum monuments are materialized ideas that reflected traditional views on world structure, ethic and aesthetic notions and preferences. The possibilities of revealing the features of the ethnic worldview through a thing are considered.
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Mangione, Gemma. "Making Sense of Things: Constructing Aesthetic Experience in Museum Gardens and Galleries." Museum and Society 14, no. 1 (June 9, 2017): 33–51. http://dx.doi.org/10.29311/mas.v14i1.624.
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Studies of museum behaviour in sociology often examine how external environments shape organizational practice. Through an ethnographic study, this article considers programmes for visitors with disabilities at a major metropolitan art museum and botanical garden to ask how ‘sensory conventions’ vary across museums, and with what effects. I trace how museum staff construct the aesthetic experience of art and nature differently to shape how visitors use their senses, and which senses they use, when interacting with museum collections. Examining aesthetic meanings across different kinds of museums reveals these institutions’ differing local cultures and how such cultures affect visitor experience. In particular, aesthetic practices across museums facilitate varying opportunities for perception, and interactions that may privilege particular embodied capacities.Key words: art museums; botanical gardens; aesthetics; senses; disability
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Viljetić, Gordana. "The Ethnographic Museum and the (new) user." Etnološka istraživanja, no. 24 (December 5, 2019): 129–50. http://dx.doi.org/10.32458/ei.24.15.
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The text provides an overview of recent theoretical approaches to audience develop- ment, interpretation of museum objects and presentation of museum collections, as well as the accompanying marketing strategies and public relations in cultural institu- tions. The previously mentioned was prompted by the workshop entitled Promoting your Museum: Make it Relevant and Attractive, organised by ICOM International Training Centre for Museum Studies, held from the 13th to the 22nd November 2018 in Fuzhou, the People’s Republic of China. The presentation of the topic was enhanced with practical observations from the position of activity of the Ethnographic Museum in Zagreb performed over the last decade, with an emphasis on co-creation of content with the community and/or individual museum user in order to achieve the ultimate common goal – the use of the museum as a platform, for optimum (shared) personal experiences.
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Staples, Amy J. "Visualism and the Authentification of the Object: Reflections on the Eliot Elisofon Collection at the National Museum of African Art." Collections: A Journal for Museum and Archives Professionals 3, no. 2 (June 2007): 183–90. http://dx.doi.org/10.1177/155019060700300209.
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Photographic resources are well known within museum contexts. However, these images are rarely considered in terms of how they enhance the historical value of museum objects, construct aesthetic and ethnographic meanings, and interpret museum collection practices. This paper examines the multi-media collections of Eliot Elisofon, an internationally known photographer and filmmaker who traveled in Africa from 1943-1972. The Elisofon collection at the National Museum of African Art contains both photographic materials and three-dimensional objects created and collected in the course of Elisofon's professional career. I explore the ways in which Elisofon's images have been used to illustrate objects in situ, represent cultural contexts of use and meaning, and create multiple layers of authentication for the objects (i.e., artistic, documentary, ethnographic). Attention is also given to the importance of photography as a collection practice in and of itself.
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Toșa, Ioan, and Gabriela Rădoiu Leș. "Colecțiile Muzeului Etnografic al Transilvaniei, mesagere ale artei populare românești peste hotare (1924-1954)." Anuarul Muzeului Etnograif al Transilvaniei 32 (December 20, 2018): 266–300. http://dx.doi.org/10.47802/amet.2018.32.16.
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The authors aim to present to the interested public some moments of the valorification activity of the folk heritage by organising some exhibitions abroad in the period 1924-1956. From Brussels to Prague, from London to Vienna, Frankfurt or Geneva, from Paris to Sweden, the collections and artefacts of the Romanian folk culture have crossed and impressed the world. In addition, the article contains brief presentations of the events to which the Transylvanian Museum of Ethnography contributed with artefacts of its collections, and also part of the papers, correspondence, briefly minutes, the way of work in the mentioned period. The organisation, the way of cooperation between institutions and the responsibility of the ones involved in the transport of the artefacts are presented in this article. Not least, the paper presents information about the collections and artefacts lost, disappeared or damaged during the period they were abroad. We think that the topic can be an example of good practice nowadays through the interest, concern and seriousness with which the ethnographic collections were treated by the specialists and also the paper is a proof of the fact that the collections and artefacts of the Transylvanian Museum of Ethnography have been recognised abroad.
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Lloyd, Timothy. "The Greater Cleveland Ethnographic Museum." Museum Anthropology Review 14, no. 1-2 (October 28, 2020): 6–17. http://dx.doi.org/10.14434/mar.v14i1-2.29070.
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Nothing lasts forever. Every organization has a lifespan, and at some point every organization’s lifespan reaches its end. Nevertheless, even extinct organizations can achieve useful afterlives and continue to serve as resources, so long as records of their work are maintained in analog or digital archival collections, and so long as the communities they served are still coherent and culturally vibrant. This essay tells the story of an extinct US public folklore non-profit organization, The Greater Cleveland Ethnographic Museum (GCEM), a small but important organization that was active for just six years—from 1975 to 1981—in the multiethnic midwestern US city of Cleveland, Ohio. During its brief life, the CGEM was typical of US public folklore organizations of the period: small and underfunded, but with an extremely dedicated staff, many strong partnerships with ethnic communities and their leaders throughout the city, and supported by what was at the time a significant investment by government in folklore and traditional culture. Even though the GCEM has been gone for almost 40 years, the archival documentary records of its activities have been preserved through the continued dedication of its leaders and staff and the support of other cultural and educational organizations in the Cleveland area, and are still available as a community and a scholarly resource.
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Priečko, Martin. "The forgotten Karol Andel (1897–1977) and his contribution to the development of Ethnography, Archaeology and Museology in Slovakia." Muzeológia a kultúrne dedičstvo 10, no. 4 (2022): 115–31. http://dx.doi.org/10.46284/mkd.2021.10.4.7.
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The paper is an evaluation study of the biographical work of Karol Andel, who, as a civil servant in the interwar and post-war periods, devoted himself to the amateur collection of ethnographic material and the search for archaeological sites. His work refuted opinions of the prehistoric sterility of many regions, and also laid the foundations of many ethnographic and archaeological collections in Slovakia – in Kysuce Záhorie, Levoča and Bojnice, and at the Slovak National Museum in Bratislava. In his fieldwork he collaborated with respected authorities of archaeology and ethnography in Slovakia, including J. Eisner, V. Budinský-Krička, Š. Janšák, B. Szöke, R. Bednárik and M. Markuš. Thanks to his lifelong professional work and passion, he eventually became a researcher at the Ethnographic Institute, and later the Archaeological Institute of the Slovak Academy of Sciences.
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Clavir, Miriam. "Heritage Preservation : Museum Conservation and First Nations Perspectives." Ethnologies 24, no. 2 (June 13, 2003): 33–45. http://dx.doi.org/10.7202/006638ar.
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This article focuses on the differing definitions museum conservators and First Nations have of “heritage preservation”. It explores differences at the level of the meta-narrative and in the details, focusing on several conservation concerns such as “what constitutes damage” and “should all objects be preserved”. In addition, the First Nations people quoted in this paper saw conservation as embedded in the museum context, and their opinions on museums and museum practice are also presented. The appropriateness of continuing to use the word “ethnographic” for collections from indigenous peoples as well as for the conservation subfield that conserves these collections is also explored. A considerable portion of this paper is devoted to First Nations viewpoints voiced in their own words.
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Tótszegi, Tekla. "Contribuții la cercetarea Muzeului Tehnologic–Industrial din Cluj." Anuarul Muzeului Etnograif al Transilvaniei 34 (December 20, 2020): 299–314. http://dx.doi.org/10.47802/amet.2020.34.16.
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"Contributions to the research of the Technological-Industrial Museum of Cluj The Technological-Industrial Museum of Cluj opened its doors in 1888, with the name “Franz Iosif I Museum of Industry”, in memory of the Emperor's visit to Cluj, made in 1887. Frequent changes of premises, of exhibition spaces and finally the institution closing; transfers of artefacts between different institutions, which often resulted in the loss of essential documents needed for artefacts identification; all these considerably complicate both the research work and the attempts for exhibitional and educational valorisation. This paper aims to synthesise the information published, mostly in Hungarian, about the Technological-Industrial Museum from Cluj and to add the results of our own research on artefacts that nowadays belong to the Transylvanian Ethnographic Museum’s collections, wishing to provide a starting point for possible future publications on the subject. Keywords: Technological-Industrial Museum, collection, craft, applied art, ethnography "
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McChesney, Lea S. "Museums and Antiquarian Anthropology: Past, Present, and Future." Practicing Anthropology 37, no. 3 (July 1, 2015): 66–67. http://dx.doi.org/10.17730/0888-4552-37.3.66.
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This article traces the divergent reception of a museum catalog I co-authored at the outset of my career as a case study to explore shifting paradigms of museum practice in the 20th and 21st centuries. Reconsidering its initial condemnation as “antiquarian” on its publication becomes a means to rethink collections as heritage resources in relation to Native communities and consider how museum publications are repurposed in other arenas through ethnographic research. This new perspective draws on decades of collaboration with members of the community whose heritage the collection represents, assessing the role of mutually engaged, critical perspectives on “old” museum collections for contemporary museum practice. Using a reflexive lens, I argue that collaborative anthropology recovering historical entanglements and Native voice and agency enables museum resources to engender a post-colonial, post-antiquarian anthropology.
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Amali, Lanto Ningrayati, Wirahman Salsabil Husain, Moh Ramdhan Arif Kaluku, and Sitti Suhada. "Implementation of Augmented Reality as an Information Media for the Collection of the Popa-Eyato Museum." Jambura Journal of Informatics 4, no. 1 (April 30, 2022): 01–12. http://dx.doi.org/10.37905/jji.v4i1.13954.
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Museums are facilities that display historical objects and provide information to the public and visitors. However, the presentation of information in the museum to the visitors is far from proper due to the lack of details. The guides provided in the museum are not quite engaging. More than that, the information provided is only in the form of a sheet of paper stuck in the collection. This present study aims to develop information media using augmented reality technology. The method used in this research was the Multimedia Development Life Cycle (MDLC), which had six stages, viz. concept, design, material collecting, manufacture, testing, and distribution. This research develops an application that works as a medium of information related to museum collections using augmented reality, which is more interactive and visitors can use to obtain information from the collection. In addition, this application can visualize 3D and in real-time ethnographic objects in the museum.
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Kupriyanova, I. V., and A. M. Zelenkova. "The place of the ethnographic collections at the Church Museum." Field studies in the Upper Ob, Irtysh and Altai (archeology, ethnography, oral history and museology) 15 (2020): 194–98. http://dx.doi.org/10.37386/2687-0584-2020-15-194-198.
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Rittig Šiško, Tea. "Musealisation of folk art - on the occasion of the 100th anniversary of the Ethnographic Museum." Etnološka istraživanja, no. 24 (December 5, 2019): 17–42. http://dx.doi.org/10.32458/ei.24.9.
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Starting from the concept of folk art as a historical phenomenon that refers to par- ticular civic processes of valorisation, selection and representation of peasant painting traditions, its role can be considered against the backdrop of specific economic, social and political circumstances of congenial cultural activities, which, from the end of the 19th century to the World War II, included the practices of gathering of ethnographic collections, the formation of the first museum collections and museum activities, the development of artistic crafts, encouragement of home-based handicraft businesses, as well as education in visual arts through professional education. This paper provides a historical overview of the process of affirmation of folk art, with an emphasis on musealisation and it is intended as a contribution to the interpretation of the initial collections of the Ethnographic Museum