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1
Murphy, Bernice. "Museums, globalisation and cultural diversity." International Journal of Heritage Studies 5, no. 1 (1999): 44–51. http://dx.doi.org/10.1080/13527259908722246.
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Sani, Margherita. "MUSEUMS, MIGRATION AND CULTURAL DIVERSITY – RECOMMENDATIONS FOR MUSEUM WORK." Muzealnictwo 58, no. 1 (2017): 84–92. http://dx.doi.org/10.5604/01.3001.0009.9718.
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The role of museums in society has expanded significantly in the last decades: from temples of knowledge to forums for debate and discussion, from repositories of objects to people-centred institutions with social responsibilities and functions. This shift reflects an ongoing trend to democratise museums and make them more accessible to wider audiences and responsive to the public’s changing needs, in particular the interests of local communities, whose composition has changed in recent years to include migrants and people of different ethnic backgrounds. With annual migration flows to the EU as a whole projected to increase from about 1 043 000 people in 2010 to 1 332 500 by 2020, the question of how cultural institutions can contribute to effective integration and dialogue has become more relevant than ever. Funders and society at large expect museums to play their part in facilitating the integration and peaceful coexistence of newcomers, with financial resources being made available, also at the EU level, to support them in this effort. Many questions can be raised as to whether it is right and appropriate to charge museums with these responsibilities and whether this would push the boundaries of their work too far and give the social function an exceedingly prominent role over the traditional conservation and educational tasks museums already fulfil. But this discussion seems to be already obsolete in the light of the growing body of evidence on good practices available at the European level. This essay aims to illustrate some of them, as well as to discuss some underpinning theoretical issues and methodological approaches.
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Lanz, Francesca. "Staging Migration (in) Museums: A Reflection on Exhibition Design Practices for the Representation of Migration in European Contemporary Museums." Museum and Society 14, no. 1 (2017): 178–92. http://dx.doi.org/10.29311/mas.v14i1.633.
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Migration, cultural diversity and the growing ethnic-cultural mix that characterize contemporary society are nowadays a key issue for European museums. Since the 1990s a rich theoretical debate on the subject has been developed by scholars and the museums community at large, several ‘migration museums’ have been opened across Europe, while, most recently, a number of museums have been reassessing their collections and galleries in relation to issues such as emigration, immigration, cultural diversity and intercultural dialogue. This article aims at contributing to the debate with a museographical reflection on the subject by exploring its design implications, to finally suggest that the challenge for representing migration in museums does not only concern the museum’s curatorial approaches but also requires the development of new exhibition settings and practices.Keywords: exhibition design; migration museums; museography
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Andermann, Jens, and Silke Arnold-de Simine. "Museums and the Educational Turn." Journal of Educational Media, Memory, and Society 4, no. 2 (2012): 1–7. http://dx.doi.org/10.3167/jemms.2012.040201.
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Responding to feminist, postcolonial, and memorialistic critiques, museums have over the past decades radically revised their protocols of collection and display, aiming to register in their own curatorial and pedagogical practice the open and contested nature of the historical and ethnographic narratives on which their object lessons had traditionally conferred the status of hard evidence. In this new emphasis on the “museum encounter” as a performative and intersubjective “event”—sometimes referred to as the “educational turn” in museum curatorship—a new type of “inclusive museum” has emerged in diverse geographical and political settings. The inclusive museum seeks to recover the museum’s social role as a purveyor of shared, collective meanings precisely in departing from its high-modern predecessor and in forging “open representations” that acknowledge the diversity of the interpretative community thus interpolated. Inclusive museums, in short, aim to offer a new, contemporary stage for negotiating and performing cultural citizenship.
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Charapan, Nadzeya. "Communication Matters: How Do Visitors Interact with Ethnographic Open-Air Museums?" Informacijos mokslai, no. 83 (December 20, 2018): 142–54. http://dx.doi.org/10.15388/im.2018.83.9.
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[full article, abstract in English; abstract in Lithuanian]
 Though the concept of an ethnographic open-air museum is not a new one, little is known about the interplay between a visitor and an amalgam museum setting. Ethnographic open-air museums are complex spaces with shared qualities of outdoor sites and indoor museums. Grounded in Gibson’s theory of affordances (1979), the article explores how visitors interact within and in relation to the hybrid space of ethnographic open-air museum and how communication shapes their interactions. The analysis is based on a qualitative study of visitors in the Belarusian State Museum of Folk Architecture and Rural Lifestyle (Aziartso, Belarus) and the Open-Air Museum of Lithuania (Rumšiškės, Lithuania). The data were collected using participatory observation and semistructured interviews with visitors. The article employs a constructivist approach and conceptualizes an ethnographic museum as a free-choice environment, where behavior patterns are linked to the institutional context and the visitors’ ability to perceive the information about the objects and environments that specified the possibilities and constraints for interacting with the museum’s space. The study reveals how cultural communication fosters the diversity of visiting scenarios and the perceptions of ethnographic open-air museums as cultural heritage sites, natural parks and stages for entertainment. The implications of this research could be relevant to cultural policymakers and communication specialists in designing the cultural, recreational and educational policies of museums.
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Castro, Luis Adrián Galindo. "Museums, Knowledge and Cultural Diversity in Venezuela1." Museum International 57, no. 3 (2005): 60–69. http://dx.doi.org/10.1111/j.1468-0033.2005.00530.x.
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Hoffman, Sheila K., Dominique Poulot, Bruno Brulon-Soares, and Joanna Cobley. "Aftermath of Cultural Heritage Disasters." Museum Worlds 7, no. 1 (2019): 200–231. http://dx.doi.org/10.3167/armw.2019.070113.
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There is no doubt that we live in fraught times. In the world of museums and cultural heritage protection, we feel it keenly. As symbols and microcosms of respective cultures, museums are thought to reflect society or, at the very least, sections of society or certain historical moments. But the extent to which museums should and do reflect the diversity of people in those societies is the question du jour. Sometimes, it seems as if this question is an internal one—the practical struggle of often underfunded institutions to square the injustices of a past that is encoded into collections with a newfound awareness of visitors, or the theoretical debate about just how multivocal, democratic, and oriented toward social justice a museum can be before it ceases to be a “museum.” The consequences of such struggles and debates can often seem far removed from the concerns of ordinary residents, who may only occasionally visit museums or heritage monuments. Our perception of this disregard perhaps calls into question the impact of our work. But in times of crisis, that doubt is removed and the relevance of cultural heritage becomes clear. Crisis often crystallizes what is most important. That is not surprising. In this special section, we explore the sometimes surprising nature of the aftermath.
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Filippoupoliti, Anastasia, and Stella Sylaiou. "Museum education today: creative synergies and pedagogic innovations in multicultural contexts." Museum and Society 13, no. 2 (2015): 119–22. http://dx.doi.org/10.29311/mas.v13i2.321.
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Museums as mere repositories for cultural artefacts have long disappeared giving their place to museums as active institutions that prioritize engagement with a diverse range of communities. In today’s multicultural landscape1 that refers, reflects and at the same time adapts to diverse cultures, it is true that there is a growing international growing international recognition of the importance of ethnic diversity2 and a constant demand for museums to update their profileas social and learning settings (Ang 2005). Increasing emphasis has been put by museums, nowadays, on interacting with a variety of multicultural audiences, not only visitors and education programs’ participants, but also educators and teachers, via a wealth of education programmes (Acuff and Evans 2014). Also, several examples of museum exhibitions, mostly temporary, set out to narrate and share the stories of various social and ethnic groups. Museum educationoffers theoretical insights and practical means to engage visitors, trigger aesthetic and cultural sensitivities, exercise creativity and imagination, increase tolerance, reduce prejudices (Sleeter and Grant 1988, after Chin 2013), display historical empathy (Skolnick et al. 2004), as well as respect for all, promote equity and justice, in order to address challenges of cultural dialogue, social inclusion, and new models of cultural identity (Innocenti 2014, p. 2). Museums need to adapt to a diversifying and multicultural society and shall offer accessibility to inclusive, comprehensive and creative educational experiences that embrace and foster cultural diversity, and provide to everyone the ability to live and participate equally in a pluralistic society.
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Saleh, Fathi. "A Virtual Representation of the Egyptian Cultural Heritage." Virtual Archaeology Review 2, no. 4 (2011): 45. http://dx.doi.org/10.4995/var.2011.4549.
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<p>In Egypt, the Center for Documentation of Cultural and Natural Heritage (CULTNAT) is treating cultural heritage in a holistic approach whether regarding the diversity of themes of cultural heritage or in the case of museums, the presence of objects in the different museums both within the country or abroad (a sort of global virtual museum). The establishment of CULTNAT marks a unique experience in the application of the latest innovations in the world of telecommunications and information technology towards heritage issues. CULTNAT’s main mandate is to document the various aspects of Egypt's tangible and intangible cultural heritage as well as its natural heritage.</p>
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Parrino, Lucia. "“Words to receive. Words to be received”: reflections on the Intercultural City museum work." Alterstice 5, no. 2 (2016): 45–60. http://dx.doi.org/10.7202/1036690ar.
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Although diversity has always been a fundamental characteristic of human societies, now more than ever it has become central to the political and research agenda. The question of how we can live together while enjoying our differences is a fundamental issue of our time, and the city is viewed as the most promising site to negotiate identities. That being so, what is the role of museums? How can local museums develop interventions that address local cultural diversity issues? In the first part of the article, I introduce the idea of “Intercultural City museum work.” I present a metadesign framework that aims to help museums emphasize the impact of diversity work on their local contexts, proposing the Intercultural City approach as a reference point. In the second part of the article, I describe the “Intercultural City museum work” and on using the metadesign framework with reference to MUST-Museo del Territorio Vimercatese, a civic museum on local history and identity in Vimercate, a town in the metropolitan area of Milan. Immigration to the geographical area over the past few decades and the resulting cultural diversity are neither reflected in the museum collections nor the permanent exhibitions. As a result, the museum decided to address these topics through services, events and special projects. In particular, I describe the exhibition Words to Receive. Words to be Received, designed and created by COI-Centro Orientamento Immigrati—a local immigrants’ resource centre—with the museum.
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Suciu, Silvia. "De la muzeul-templlu la muzeul forum - evoluția muzeului în spațiul public." Anuarul Muzeului Etnograif al Transilvaniei 31 (December 20, 2017): 224–44. http://dx.doi.org/10.47802/amet.2017.31.12.
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A nu arăta o operă de artă înseamnă a nu-i permite să fiinţeze. (Boris Groys) Museums and their public haven’t always been as we know them today. In 17th century, curiosity cabinets (mirabilia) have been realized by nobles and aristocrats; the only public of these cabinets was the collector and his fellows, belonging to the same social class. The first museums as public institutions appear in 18th century, continuing to develop during 19th century, but their image and accessibility is very different from nowadays. The situation changes after the World War II, when appear a lot of theoretical studies about museums and their public. The Museum-Temple is transforming into Museum-Forum, where every member of the community must feel represented. In the second part of the article we realized a classification of the museums and a description of each specific class which form this cultural diversity: art museums, history museums, anthropology museum, natural history museums, technical museums, monetary museums. Historical and contemporary examples of museums can be found through this study.
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Jackson, Jason. "Ethnography and Ethnographers in Museum-Community Partnerships." Practicing Anthropology 22, no. 4 (2000): 29–32. http://dx.doi.org/10.17730/praa.22.4.30l3vn01482324x4.
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During the 1999 American Association of Museums (AAM) meetings, museum workers reflected on ways in which their institutions could become more relevant. Social structures that have supported museums are rapidly changing and in which cultural diversity is increasingly recognized as both a social value and as a pragmatic challenge for public institutions. Although the forms they take are almost as diverse as the American museum community itself, models of direct collaboration between museums and specific local communities (ethnic, religious, occupational, etc.) are becoming a standard part of museum-based exhibition and research. While this common pattern is emerging, there are wide gaps existing between the aspirations and rhetoric of museum advocates of collaboration and the real work done throughout the United States. What is often missing in collaborative exhibition projects exploring local artistic, cultural, or historical traditions are the values and perspectives that are the common background of professional cultural anthropology and folklore research. In this essay I present, as a case study, an account of a collaborative exhibition project at Tulsa's Gilcrease Museum where I, until recently, served as Curator of Anthropology.
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Iacob, Madalina. "Le musée de niche. Nouvel exploit dans la muséographie." Swedish Journal of Romanian Studies 4, no. 1 (2021): 160–72. http://dx.doi.org/10.35824/sjrs.v4i1.22109.
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In all the complexity of the museum study, there is a slight border that deserves all the attention of the researchers: the one of the niche museums. This work starts from the idea according to which the museum becomes a symbol of cultural practice in the contemporary era. In addition to the successful museums that are being built and built in the city, there is a new tendency to transform some spaces into small museums. These, in full process of heritage building, can highlight a series of features and characteristics of a society. The research of the niche museum starts from Ulf Hannerz, who says in his study that anthropology must renew its limits, it must take into account urban life. Researchers should not focus only on rural areas, in small, homogeneous communities, especially as they are outside Western societies Urban anthropology must be based on a range of social and cultural phenomena that will rarely be found in rural areas and which must be analyzed in the light of the diversity of human societies in general, says Ulf Hannerz, like the diversity of museums. From the chocolate museum, the lace museum, the cake museum, the cheese museum or the flower museum, all these culturally-rendered spaces are meant to anonymously remove some objects or crafts that are characteristic of a particular group and which subsequently become part of the immaterial cultural heritage. The Dictionary of Ethnology and Anthropology defines the study of anthropology regarding museography as a necessity inherent in the advancement of ethnography. Researchers such as Robert Park, Ulf Hannerz, Clifford Geertz, André Malraux or Chiara Bortolotto have studied the relationship of the museum with the city, thus implicitly with society. The conclusions they draw have the following aspect in common: the museum has the intrinsic ability to model and structure the immediate society.
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Mihelj, Sabina, Adrian Leguina, and John Downey. "Culture is digital: Cultural participation, diversity and the digital divide." New Media & Society 21, no. 7 (2019): 1465–85. http://dx.doi.org/10.1177/1461444818822816.
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Digital media are seen as important instruments of increasing participation and diversity in arts and culture. To examine whether this view is justified, this article draws on two bodies of research that have hitherto remained disconnected: research on cultural participation and research on the digital divide. Building on these insights, the article examines the Taking Part Survey data on digital media and cultural participation in the United Kingdom between 2005/2006 and 2015/2016, focusing on museums and galleries. While the results confirm that digital media provide an important means of engaging new audiences, they also show that the engagement with museums and galleries both online and offline remains deeply unequal. Most worryingly, the gaps between the haves and the have-nots are even wider online than in the case of physical visits. Rather than helping increase the diversity of audiences, online access seems to reproduce, if not enlarge, existing inequalities.
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Wood, W. Warner. "Only the Voice of the Other: Science, Power, and Diversity’s Revolt in the Museum—A Manifesto of Sorts." Museum Anthropology Review 8, no. 1 (2014): 45–54. http://dx.doi.org/10.14434/mar.v8i1.3255.
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While the importance of including diverse perspectives in museum programming has received considerable attention in the cultural realm, the same cannot be said for environmental science topics. In science and natural history museums, exhibitions on issues such as global climate change and loss of biodiversity are frequently narrowly defined in relation to an equally narrow perception of what constitutes environmental science. Because the facts of science in museums are still largely told by science curators, the voices of non-scientists are largely absent on such issues. As museum professionals, we must work to ensure that a diversity of perspectives is represented on environmental issues in our museums and on the capacity of our publics to participate in the presentation of environmental topics. We must support the public’s collective “power-to” (as John Holloway has termed it) have a voice in environmental programming.
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McShane, Ian. "Productive Nation? Museums, Cultural Policy and Australia’s Productivity Narrative." Museum and Society 14, no. 1 (2017): 131–45. http://dx.doi.org/10.29311/mas.v14i1.669.
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This article traces the emergence of productivity as a central theme in Australia’s national cultural policy, and discusses some implications of this development for the Australian museum sector. The analysis focuses on two texts – Australia’s two national cultural policies, Creative Nation (1994) and Creative Australia (2013) – to highlight changing policy rhetorics through which cultural heritage and cultural pluralism lose traction, and productivity, innovation and creativity find favour. The article argues that the government’s concern to boost sources of economic growth in twenty-first century Australia focus cultural policy on the arts and creative industries, seen as the locus of innovation and the wellspring of creative activity. The article argues against this narrow construction of productivity and its sources, showing why museums are important contributors to a productivity policy agenda in a culturally diverse and globalized society. Key words: cultural policy, Australia, creative industries, productivity, diversity
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Croke, Fionnuala. "Exploring cultural diversity and identity at the Chester Beatty Library." Art Libraries Journal 43, no. 3 (2018): 137–42. http://dx.doi.org/10.1017/alj.2018.18.
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Over the past 20 years, the Chester Beatty Library has undergone a transformation in how it presents its collections. Unique among Irish museums in its focus on global artistic heritage, it has consciously positioned itself as a centre for intercultural engagement and sought to address questions around diversity and national identity.
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Burgess, Chris. "The Development of Labor History in UK Museums and the People's History Museum." International Labor and Working-Class History 76, no. 1 (2009): 26–35. http://dx.doi.org/10.1017/s0147547909990044.
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Labor history in UK museums is constantly in a state of change. A hundred-year-old tradition of displaying and interpreting the history of the common people has seen a shift from the folk life museum to a much more all-encompassing model. The academic trend for and acceptance of working-class history began this process, and museums followed, albeit at a much slower pace. Young curators actively involved in the History Workshop, Oral History, and Women's History movements brought their new philosophies into the museum sphere. This internally driven change in museums has been matched with demand for change from above. Museums have been given a central role in the current Labour government's wide-ranging strategies to promote an understanding of diversity, citizenship, cultural identity, and lifelong learning as part of a broader social inclusion policy. The zenith of this plan would be a museum devoted to British national history, though whether this will take place is yet to be seen. The transformation of the People's History Museum makes an interesting case study. The museum, originally an institution on the fringes of academic labor history and actively outside the museum community, is now at the forefront of labor history display, interpretation, textile conservation, and working-class historical research.
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Jõesalu, Kirsti, and Ene Kõresaar. "Cultural Trauma and Diversity in Museums: A Report from São Paulo." Journal of Ethnology and Folkloristics 12, no. 1 (2018): 95–103. http://dx.doi.org/10.2478/jef-2018-0006.
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Kanari, Charikleia, and Anastasia Zoi Souliotou. "The Role of Museum Education in Raising Undergraduate Pre-service Teachers’ Disability Awareness: the Case of an Exhibition by Disabled Artists in Greece." Higher Education Studies 11, no. 2 (2021): 99. http://dx.doi.org/10.5539/hes.v11n2p99.
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In the frame of the worldwide policies towards inclusion there is a need of changes, systematic strategies and actions at different levels and settings of the society including education and cultural organizations. Museums, culture and arts have a constantly increasing role towards a more cohesive and inclusive society in terms of educational, social and cultural impact and for diverse social groups that face various barriers in their full participation in social life. Furthermore, museums as nonformal learning environments and art activities can complement different levels of formal education and courses towards a better understanding of diversity. The aforementioned are of particular importance for disabled people as well as for teachers who work with disabled children and for the enrichment of student teachers&rsquo; training in issues of disability. The aim of the present study was to investigate issues of cultural representations and the reflections of undergraduate Primary Education teachers regarding disabled artists, arts, museum and education after a visit in a temporary art exhibition of disabled artists. The participants were 33 student teachers of a University Department in Greece who attended a Museum Education course and the data were obtained via questionnaires. The results revealed the value and the need for further learning opportunities in museums and other cultural environments as well as their potential contribution in combating stereotypes, enriching and broadening undergraduate Primary Education teachers&rsquo; perceptions regarding disability with implications in the fields of Museum Studies and Museum Education, Arts, Higher Education, Special and Inclusive Education.
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de Prado, Jose Enrique Llamazares, and Ana Rosa Arias Gago. "Inclusion through technology and education: A commitment to the improvement of museographic cultural spaces." Technology and Disability 32, no. 3 (2020): 137–48. http://dx.doi.org/10.3233/tad-190246.
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In the following research, we intend to highlight the importance of inclusion in the museum spaces, being the key the educational value, with the use of the new tools (ICTs), as well as the interculturality showing the diversity of the current cities in its cultural aspect, and allowing the access to all type of public, with functional diversity. A systematic review has been carried out with a selection of 490 articles examined up to 56 articles from 2002 to October 2017. The search was conducted using ten databases: Esci, Circ, Miar, Eric, Isoc, Dialnet, Scopus, Google Scholar, Teacher Reference Center and Wos. The purpose is to provide elements to carry out good practices that facilitate inclusive education and avoid cultural exclusion. Within the conclusions obtained, the role of the museum space as a place of reflection and grouping of different intergenerational groups is evident. The incorporation of ICTs that improve interaction and learning should be encouraged, valuing cooperation between museums and schools.
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Szot-Radziszewska, Elżbieta. "The diversity of modern forms of preservation of rural and small towns’ wooden architecture in Poland." Budownictwo i Architektura 14, no. 3 (2015): 161–71. http://dx.doi.org/10.35784/bud-arch.1625.
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In this paper I discuss the modern forms of preservation of wooden historical monuments, included in the legal framework, such as protection via an entry in the records or monuments’ list, protection in open-air museum, being declared historical monument, protection via creation of a cultural park. I am pointing out the tragic state of the protection and conservation of the resources of this part of heritage. I discuss in wider scope the idea of open-air museum in Poland and the specificity of preservation of wooden monuments in the open-air museums as being the most rational and effective so far. I show positive protection examples via making use of and adaptation of the monument to the new function- cultural, educational or museum. I also emphasize the role of education and society participation in the protection of rural architecture. The wooden architecture is only 11% of all monuments registered in monuments’ list. In this situation, according to Polish law, the vast majority of monuments, not mentioned in the registry, cannot be protected. It is necessary to quickly create comprehensive regulatory framework and take action in the field of identification and inventory of wooden architecture as well as creating effective preservation programs. There is a chance to preserve the significant part of heritage by further diversification of forms of protection and adaptation in cooperation and substantive assistance of conservation department and museums as well as financial support of the governments. I present specific proposals of solutions to this problem.
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Vikmane, Elina, and Anda Laķe. "Critical Review of Sustainability Priorities in the Heritage Sector: Evidence from Latvia’s Most Visited Museums." European Integration Studies 1, no. 15 (2021): 95–110. http://dx.doi.org/10.5755/j01.eis.1.15.28886.
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A vibrant debate about the role and participation of museums in urbanisation, industrialisation, human rights protection, technological progress, climate change and other global challenges has persisted in the field of museums ever since the boom of theoretical museology, which coincided with the development of the sustainable development concept. However, often culture is considered a part of social sustainability pillar, covering manifestations such as equity, participation, social justice etc. (Murphy, 2012; Vallace et al., 2011; Cuthill, 2010) or ignoring cultural aspects altogether (Chiu, 2004). Many voices have called to promote culture as the fourth pillar of sustainable development as a necessary foundation, condition or groundwork through which understandings of social, economic, and environmental sustainability may appear (Soini & Birkeland, 2014; Hawkes, 2001). Although the potential of cultural heritage institutions such as museums towards sustainable development is outlined in relevant literature, there has been no radical shift in museum practice (Ross, 2004; Simon, 2010; Nomikou, 2015). The paper aims to propose the first-ever critical review of sustainable development priorities in Latvia’s most popular museums with a view to finding out their strategic priorities and using these findings to identify today’s specific thematic development lines relevant to the museum sector within the sustainable development framework and to apply this bottom-up principle to propose potential ways to improve the general goal of Latvia’s museum accreditation system – that of promoting sustainable museum practices – with specific pointers and thematic building blocks for the broad umbrella concept of sustainable development. Research objectives include (1) conducting a critical review of relevant literature to identify the role of cultural heritage within the evolution of the sustainable development concept (2) identifying the themes of sustainable development that have been communicated as strategic priorities to stakeholders by the country’s nine most visited museums and (3) using research findings to illuminate and pinpoint a specific array of themes pursuant to the general goal of Latvia’s museum accreditation system – that of promoting sustainable museum practices – for the system to serve as a more comprehensive and targeted tool for fostering sustainabledevelopment in the heritage sector and beyond. Qualitative content analysis has been chosen to analyse museum development strategies and their collection, research, and communication policies, that is, the museum strategic documents to be submitted by the museums seeking to receive state recognition. The study covers Latvia’s nine most popular museums, whose joint annual share of visits amounts to 50% of the country’s total rate (Latvian Academy of Culture, 2018). The study reveals substantial diversity in how Latvia’s most popular museums approach sustainable development goals while also exposing a few significant downsides. According to the findings, museum priorities include (1) heritage preservation, efforts to strengthen national identity, and information and communication technology sustainability in the context of cultural sustainability, (2) financial sustainability as well as tourism- multiplication and image-building in the context of economic sustainability, (3) eco-cultural resilience and improvements in the infrastructure for better energy efficiency as well as a degree of progress towards more sustainable transportation solutions in the context of environmental sustainability and (4) physical, intellectual, socio-economic and emotional accessibility and a focus on boosting social capital in the context of social sustainability. Adjustment of accreditation requirements to meet the sustainable development priorities, at least identified within the study, should, in the long run, raise awareness within the field, enable museums to target their efforts at addressing their downsides and finding possibilities for growth in the context of sustainable development as well as foster sustainable development in the larger field of cultural heritage sites and institutions, which, unlike its kindred sector of museums, exists outside the scope of restrictions associated with accreditation. Such adjustments will help achieve a broader input from the heritage sector towards sustainable development goals.
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Levitt, Peggy. "Using the Local to Tell a Global Story: How the Peabody Essex Museum Became a World Class Museum." Museum and Society 14, no. 1 (2017): 146–60. http://dx.doi.org/10.29311/mas.v14i1.631.
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According to the World Bank, one out of every seven people in the world today is an internal or international, voluntary or involuntary migrant. Learning to live with diversity next door or across the globe is the challenge of the day. What role are contemporary museums playing in imparting cosmopolitan values and skills to their visitors? What helps explain how they present the nation in relation to the world? In this article, we use the case of the Peabody Essex Museum, in Salem, Massachusetts to explore these questions. In 1993, the Peabody Museum and the Essex Institute were poised to close. Despite their long histories and important collections, they were operating at the far frontier of the regional cultural map. In the ensuing years, the new PEM rewrote that cartography. By telling new global stories about very local objects, and by showcasing its global institutional roots, the museum dramatically transformed visitors’ experiences. It broadened and diversified the possible messages they might take away from their visits and sought to connect them to other times and places. Excavating pieces of Salem’s cultural armature enabled the PEM to display cosmopolitan ideas and to cultivate cosmopolitan skills while rescaling itself and its city in the process.Key words: museums, cosmopolitanism, global, culture, scale
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Jung, Yuha. "Harlem on My Mind: A Step toward Promoting Cultural Diversity in Art Museums." International Journal of the Inclusive Museum 7, no. 2 (2015): 1–13. http://dx.doi.org/10.18848/1835-2014/cgp/v07i02/44483.
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Herold, Irene M. H. "Responsible collaborations: Scholarship and cultural heritage assets." College & Research Libraries News 80, no. 2 (2019): 109. http://dx.doi.org/10.5860/crln.80.2.109.
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I recently served as a national consultant on collaborations between libraries and museums. There are not that many articles published about collaborations and cultural heritage collections, although I suspect many unreported activities are being done in the field. From the 2009 program my College Libraries Section (CLS) committee developed when I was CLS chair on town/gown relationships (Our Town, Common Ground) with public and academic librarian panelists to a 2016 article, cultural heritage institutions and collaboration has been a focus of mine. My life and work experiences gave me a broad exposure to a wide variety of cultures, cultural norms, and an appreciation and valuing of diversity, equity, and inclusion.
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Dziurzynski, Mikolaj, Karol Ciuchcinski, Magdalena Dyda, et al. "Assessment of Bacterial Contamination of Air at the Museum of King John III’s Palace at Wilanow (Warsaw, Poland): Selection of an Optimal Growth Medium for Analyzing Airborne Bacteria Diversity." Applied Sciences 10, no. 20 (2020): 7128. http://dx.doi.org/10.3390/app10207128.
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There is no standardized protocol for the assessment of microbial air contamination in museums and other cultural heritage sites. Therefore, most museums conduct such assessments based on their own guidelines or good practices. Usually, microbial air contamination is assessed using only classical microbiology methods with the application of a single growth medium. Therefore, this medium should be carefully selected to limit any selective cultivation bias. Metabarcoding, i.e., a next-generation sequencing (NGS)-based method, combined with classical microbiological culturing was used to assess the effectiveness of various media applications in microbiological screening at the Museum of King John III’s Palace at Wilanow (Warsaw, Poland). The obtained results indicated that when using a classical microbiology approach to assess the microbial air contamination at the museum, the selection of a proper growth medium was critical. It was shown that the use of rich media (commonly applied by museum conservators) introduced significant bias by severely underreporting putative human pathogens and the bacterial species involved in biodeterioration. Therefore, we recommend the use of other media, such as Frazier or Reasoner’s 2A (R2A) medium, as they could yield more diverse communities and recovered the highest number of genera containing human pathogens, which may be suitable for public health assessments.
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Gonsales, Flavia I. "Social marketing for museums: an introduction to social marketing for the arts and culture sector." RAUSP Management Journal 56, no. 3 (2021): 314–33. http://dx.doi.org/10.1108/rausp-08-2020-0194.
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Purpose The paper aims to introduce social marketing (SM) as a tool to overcome the low cultural participation, a problem of the arts and culture sector that has worsened in the post-pandemic scenario. Design/methodology/approach The study uses a multidisciplinary literature review (SM, museum marketing, museology and cultural policy) to address the problem of museums and other cultural heritage institutions, at both the macro-level (prevailing cultural policies and antecedents, barriers and consequences to cultural participation) and micro-level (challenges faced by museums in the 21st century and marketing as a management instrument). Findings The downstream, midstream and upstream approaches can be used to design and implement SM interventions intended to address the problem of low cultural participation in museums. The three approaches should be considered holistically, with their synergetic and recursive effects. Research limitations/implications Due to its introductory and conceptual nature, the study provides a comprehensive intervention framework to be used as a platform for future theoretical and empirical research. Further investigations may expand on the specificities of each approach (down, mid and upstream) and extend the framework to other nonprofit cultural institutions beyond museums, such as libraries and archives, cultural heritage sites and theater, music and dance companies. Practical implications The paper proposes a comprehensive SM intervention framework that integrates three interdependent approaches (downstream, midstream and upstream). Originality/value The paper provides a starting point for the holistic application of SM in the arts and culture sector. It also encourages researchers, cultural policymakers and cultural heritage professionals to investigate, design and implement SM programs that better understand, expand and diversify the audience and strengthen the legitimacy and relevance of cultural actors and activities to transform them into inclusive, accessible and sustainable institutions.
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Haj Yahya, Athar. "Multiculturalism as Reflected in the Linguistic and Semiotic Landscape of Arab Museums in Israel." Israel Studies Review 36, no. 1 (2021): 68–91. http://dx.doi.org/10.3167/isr.2021.360106.
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Multiculturalism is respectful of diversity among individuals and communities in a society, allowing them to retain and express their particular identities and engage in egalitarian dialogue. This article examines how the multiculturalist approach is reflected in the linguistic and semiotic landscape of Arab museums in Israel. It focuses on a case study of the Umm al-Fahm Art Gallery as a window onto the sociocultural realities of Israel. The article’s findings are based on an analysis of the linguistic and semiotic landscape elements of the museum space and a semi-structured in-depth interview with its founder. They attest to deficiencies in the process of retaining and designing the particular cultural elements for the Palestinian-Arab population in Israel, affecting the realization of multiculturalism and compromising egalitarian dialogue between the various communities.
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Purkis, Harriet. "Making Contact in an exhibition zone: Displaying contemporary cultural diversity in Donegal, Ireland, through an installation of visual and material portraits." Museum and Society 11, no. 1 (2015): 50–67. http://dx.doi.org/10.29311/mas.v11i1.222.
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The ‘museum as contact zone’ (Clifford 1997: 192) has been a concept that has theoretically framed the inclusion of different cultures in museums. The contact zone concept has been revisited, for example by Boast 2011. Further, the idea of the ‘dialogic contact zone’ (Witcomb 2003; Bennett 2006) is used in relation to exhibition communication techniques that aim to establish a dialogue on cultural diversity between visitors, exhibitions and curators. This paper sets out to reframe the contact zone concept, by considering both the nature and form of contact in an exhibition. The method used is the practical curation of one exhibition by the author in Ireland called Destination Donegal. The main argument is that a curatorial production focused on individual people can create an empathetic contact zone between individual subjects and visitors, achieved through the non-verbal display language of art installation using multimedia portraits.
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Kulikova, E. B. "The history of transport education in the exhibits of the Museum of the Russian University of Transport." Transport Technician: Education and Practice 2, no. 3 (2021): 347–52. http://dx.doi.org/10.46684/2687-1033.2021.3.347-352.
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One of the oldest transport universities in the country — the Russian University of Transport (RUT (MIIT)) — is 125 years old. The history of the university and transport education in general is reflected in the expositions of the university museum.The main historical periods of the development of the museum, starting from 1896, are noted: tsarist Russia, the soviet period until the Great Patriotic war of 1941-1945, the war and post-war years, the post-soviet period.The RUT Museum (MIIT), being the same age as the university, today is one of the oldest museums in Moscow. The collections of items collected in its funds are striking in their diversity and uniqueness. The museum has over 12,000 items, 7,000 of which are on permanent display for visitors. All cultural heritage sites are inextricably linked with the rich history of the university and the history of Russia. Most of the museum's collection is traditionally collected thanks to the help and support of the university staff, as well as its graduates from different years, who honor the traditions of the Alma mater and carefully preserve the history of the university for posterity.Taking into account the specifics of the museum, it is obvious that the number and themes of its expositions will only expand over time, which means that it will not lose its relevance for a very long time and will be of interest to guests of all ages and professions.
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Dysthe, Olga. "Opportunities and challenges of dialogic pedagogy in art museum education." Dialogic Pedagogy: An International Online Journal 9 (May 4, 2021): A1—A36. http://dx.doi.org/10.5195/dpj.2021.317.
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The aim of this interpretative, qualitative research study is to investigate affordances and constraints of dialogic pedagogy in the museums, as well as its broader contribution to society today. The background is my involvement in a Danish development project called ‘Museums and Cultural Institutions as Spaces for Citizenship,’ initiated by seven art museum educators in Copenhagen and supported by the Ministry of Culture. Denmark has a strong dialogic tradition dating back to Grundtvig’s belief in the power of ´the oral word’ to foster democratic ‘Bildung.’ Museum education, on the other hand, has a long tradition of monologic transmission. Still, a more participatory pedagogy has been gaining ground over many years.
 This study is based on the observations of three-hour-long teaching sessions in seven museums and has a Bakhtinian framework. While the overall analysis builds on the whole project, two cases are discussed in more detail. The overarching research question is how central aspects of dialogic pedagogy played out in an art museum context and its opportunities and challenges. The subquestions focus on three central Bakhtinian concepts: How did the educators facilitate multivoicedness during the short museum visits? What role did difference and disagreement play? What opportunities emerged for students to develop internally persuasive discourse? I have chosen these concepts because they are central in dialogism and combined them because they are closely connected in Bakhtin’s work. The final reflections open a wider perspective of how dialogic museum education may contribute to overarching functions of education: qualification, socialization, and subjectification.
 Key findings were that the museum educators’ transition from traditional to dialogic pedagogy was enhanced by their genuine interest in hearing students’ voices. They succeeded in engaging students in multivoiced dialogues but with a tendency towards harmonization rather than the exploration of diversity and difference. The practical aesthetic workshops offered unique opportunities for students to develop their internally persuasive word, i.e., by replacing authoritative interpretations of artworks with their own. Challenges experienced by the educators were, e.g., the dilemmas between preplanning and student choice and between disseminating their professional art knowledge and facilitating students’ meaning making and creativity. In contrast, students found the lack of workshop follow-up problematic.
 The article provides deeper insight into museums as an alternative pedagogical arena. Museum educators and non-museum classroom teachers may find it useful for cultivating greater dialogic interactions in respective learning contexts.
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Honorato, Cayo. "The Predicament of Representation in the Politics of Diversity: A Discussion Through Tate Encounters." Museum and Society 18, no. 4 (2020): 409–24. http://dx.doi.org/10.29311/mas.v18i4.3363.
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Considering the recognition by Arts Council England that cultural diversity within national museums and cultural organizations is ‘treading water’, the article proposes a typology of the criticisms available before putting forward the hypothesis that, no matter how legitimate those criticisms are, most of them are underpinned by an essentialist concept of representation. In order to test this hypothesis, it discusses Tate Encounters, a research project carried out at Tate Britain from 2007 to 2010, as a case study at the intersections of cultural policy and museology, visitor studies and audience engagement. The project provides a situated and multitextured account of the limitations restricting cultural diversity policy. However, it also demonstrates the difficulties in attempting to overcome those limitations – what I call ‘the predicament of representation’. Building upon a post-structuralist perspective, the article understands that, since we cannot escape from representing and being represented, a non-essentialist conception of representation has to be put into practice.
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Pantalony, David. "What Remains: The Enduring Value of Museum Collections in the Digital Age." HoST - Journal of History of Science and Technology 14, no. 1 (2020): 160–82. http://dx.doi.org/10.2478/host-2020-0007.
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AbstractWhy do collections continually surprise? The simple answer for students and researchers is that collections of historic objects contain abundant information not well represented in texts or on the internet. Collections in museums, libraries, campuses and private hands offer a unique source of diversity for research, teaching and broader cultural offerings. In this paper, I look at the wealth of findings resulting from the careful study of objects, collections and provenance. I provide examples from our national science museums in Ottawa, as well as collecting activities throughout Canada. I will also describe recent research in German science collections. The close study of objects has a capacity to reveal multiple narratives and unexpected human dimensions of the past, while also connecting us to complex human relations with what remains in the present. I reflect on how collection keepers and museums can better harness the possibilities stemming from these kinds of approaches.
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Kofi Preko, Alexander, and Theophilus Francis Gyepi-Garbrah. "Museum experience and satisfaction: moderating role of visiting frequency in national museum of ghana." PASOS. Revista de Turismo y Patrimonio Cultural 19, no. 2 (2021): 239–53. http://dx.doi.org/10.25145/j.pasos.2021.19.016.
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This research aims to investigate how tourist experience elicits satisfaction and contributes to loyalty and willingness to pay more for a museum destination. More specifically, this study also investigates the significant moderating role of visiting frequency on the relationship between satisfaction and willingness to pay more. Museums offer unique collections for tourists’ education and recreation while providing a better understanding of the cross‑cultural diversity of societies. The research was conducted with 285 tourists visiting the National Museum in Ghana, with questions relating to experience, satisfaction, loyalty and willingness to pay more. Structural equation modelling was used to test the effects of the museum experience, satisfaction and loyalty on willingness to pay more. Responses emanating from the questionnaire on the National Museum of Ghana was analysed and the study findings suggest the significant effects of tourist experience on satisfaction as well as the significant effects of satisfaction on loyalty and willingness to pay more. In addition, the significant moderating effect of visiting frequency was reported on the relationship between satisfaction and tourist willingness to pay more. In this regard managers should develop marketing strategies that promote museum tourism in the travelling experience and that guarantee greater satisgfaction on site
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KRAMER, LINDA KONHEIM. "Cultural Elitism vs. Cultural Diversity in the Art Museum of the Nineties." Curator: The Museum Journal 37, no. 3 (1994): 155–60. http://dx.doi.org/10.1111/j.2151-6952.1994.tb01705.x.
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Antomarchi, C., A. Brokerhof, S. Michalski, I. Verger, and R. R. Waller. "Teaching Risk Management of Collections Internationally." Collections: A Journal for Museum and Archives Professionals 2, no. 2 (2005): 117–40. http://dx.doi.org/10.1177/155019060500200205.
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Risk assessment and the purpose it serves, risk management, are widely adopted by business, institutions, and governments, seeking to minimize future losses of all kinds. If the preservation goal of museums is stated as the delivery of the collection to some future point in time with as little loss in value as possible, then risk assessment and risk management provide the only rational means to reach this goal. Difficulties arise due to uncertainty and complexity. A three-week course on this method has been designed, and recently offered, by ICCROM (the International Center for the Study of the Preservation and Restoration of Cultural Property) and the Canadian Conservation Institute (CCI), with the collaboration of leading experts from the Canadian Museum of Nature (CMN) and the Netherlands Institute for Cultural Heritage (ICN). Demand for the knowledge was strong, as shown by the number and diversity of applicants worldwide. Great care and effort was taken with the design of the learning process and the supporting resources, in order to overcome the known, and profound, challenges of the subject. The result has been successful.
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Meeus, Wil, Paul Janssenswillen, Marc Jacobs, Indra Wolfaert, and Lore Suls. "Antwerp’s museums response to super diversity. A study of multiperspective cultural education for secondary school students: learning revisited." International Journal of Heritage Studies 27, no. 9 (2021): 884–903. http://dx.doi.org/10.1080/13527258.2020.1869580.
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Rodrigues, Paloma Rodrigues. "ACESSIBILIDADE CULTURAL: ARTICULAÇÕES E REFLEXÕES NA FORMAÇÃO DE PROFESSORES EM UMA AÇÃO DE EXTENSÃO." REVISTA BRASILEIRA DE EXTENSÃO UNIVERSITÁRIA 9, no. 1 (2018): 39. http://dx.doi.org/10.24317/2358-0399.2018v9i1.6802.
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A Lei Brasileira de Inclusão (LBI) afirma que as pessoas com deficiência possuem direito aos meios culturais acessíveis e que é preciso assegurar a participação delas nas atividades culturais. A acessibilidade cultural pressupõe que os documentários, as peças de teatro, as exposições nos museus, entre outros, estejam ao alcance de qualquer pessoa. No entanto, observa-se que há uma precarização no que concerne aos elementos de acessibilidade em espaços culturais. Diante disso, o grupo de pesquisa Nefti da Unifei, refletindo sobre a importância da acessibilidade em atividades científicas de cunho cultural realizadas nas instituições escolares e em espaços de Educação não formal, desenvolveu um projeto de extensão que visou ofertar, aos professores da cidade de Itajubá-MG e região, o curso “Acessibilidade Cultural: Articulações e Reflexões na Formação de Professores”, na modalidade semipresencial. Portanto, o objetivo deste trabalho consiste em apresentar o delineamento metodológico do curso, assim como os resultados relativos à contribuição dessa formação de extensão para a atuação inclusiva desses professores no contexto escolar. A análise dos dados apontou que a realização do curso de extensão possibilitou a construção de conhecimentos, pelos professores, sobre a importância da cultura para a formação dos alunos com ou sem deficiência, assim como instigou a reflexão no tocante à necessidade de as ações culturais contemplarem a acessibilidade.
 Palavras-chave: Diversidade, Acesso, Conhecimento, Igualdade
 
 Cultural accessibility: links and reflections about teacher training in an extension action
 Abstract: The Brazilian Inclusion Law states that people with disabilities have the right to access cultural means and guaranteed participation in cultural activities. Cultural accessibility presupposes that documentaries, plays, exhibitions in museums, among others, are within the reach of anyone. However, there is a precariousness regarding accessibility in cultural spaces. This way, the research group Nefti of Unifei has developed an extension project to offer to the teachers of Itajubá-MG and surroundings, the semi-distance course “Cultural Accessibility: Links and Reflections about Teacher Training”. It showed the importance of accessibility in cultural scientific activities in school institutions and in non-formal education spaces. Therefore, this work aims to present the methodological outline of the course, as well as the results related to the contribution of this extension activity to the inclusion of these teachers in the school context. The data analysis reveals that the completion of the extension course made it possible for teachers to construct knowledge about the importance of culture for the training of students with or without disabilities, as well as instigating reflection on the need for cultural actions to contemplate accessibility.
 Keywords: Diversity, Access, Knowledge, Equality
 
 Accesibilidad cultural: articulaciones y reflexiones en la formación de profesores en una acción de extensión
 Resumen: La Ley Brasileña de Inclusión (LBI) afirma que las personas con discapacidad tienen derecho a los medios culturales accesibles y que es necesario asegurar la participación de ellas en las actividades culturales. La accesibilidad cultural presupone que los documentales, las obras de teatro, las exposiciones en los museos, entre otros, estén al alcance de cualquier persona. Sin embargo, se observa que hay una precarización en lo que concierne a los elementos de accesibilidad en espacios culturales. Frente a ello, el grupo de investigación Nefti de la Unifei, reflejando sobre la importancia de la accesibilidad en actividades científicas de carácter cultural realizadas en las instituciones escolares y en espacios de Educación no formal, desarrolló un proyecto de extensión que pretendía ofrecer, a los profesores de la ciudad de Itajubá-MG y región, el curso "Accesibilidad Cultural: Articulaciones y Reflexiones en la Formación de Profesores", en la modalidad semipresencial. Por lo tanto, el objetivo de este trabajo consiste en presentar el delineamiento metodológico del curso, así como los resultados relativos a la contribución de esa formación de extensión para la actuación inclusiva de esos profesores en el contexto escolar. El análisis de los datos apuntó que la realización del curso de extensión posibilitó la construcción de conocimientos por los profesores, sobre la importancia de la cultura para la formación de los alumnos con o sin discapacidad, así como instigó la reflexión en cuanto a la necesidad de las acciones culturales contemplaren la accesibilidad.
 Palabras-clave: Diversidad, Acceso, Conocimiento, Igualdad
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Jung, Soo-Jin. "The Exhibition of Intangible Cultural Heritage in Museum: Between Cultural Diversity and Universality." ASIAN COMPARATIVE FOLKLORE 67 (December 31, 2018): 115–44. http://dx.doi.org/10.38078/acf.2018.12.67.115.
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Lamparska, Marzena. "Post-industrial Cultural Heritage Sites in the Katowice conurbation, Poland." Environmental & Socio-economic Studies 1, no. 2 (2013): 36–42. http://dx.doi.org/10.1515/environ-2015-0011.
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Abstract The Katowice conurbation comprises of towns which have developed because of the mining of metal ores, coal and raw rock materials. The development of mining and industry which have lasted for centuries has resulted in the specific character of the landscape of the area with its typical indicators such as housing estates built for the working class, winding towers, chimneys of steelworks, coking plants, power stations, drifts, quarries, etc. The residents of mining communities, and local governments within the conurbation, which have developed owing to mining, are aware of the impending economic slowdown after liquidation of coal mines. Therefore, development of the service sector, including tourism, based on postindustrial facilities can become an important factor in restructuring the economy. This article presents a classification of post-industrial cultural heritage sites prepared for the purpose of geotourism. Several categories of such sites have been distinguished: 1) historic mining landscapes, 2) places adapted for recreation, 3) places documenting changes in the groundwater environment, 4) characteristic Silesian landscapes, places commemorating stages of development of the mining industry, 5) post-mining sites adapted for service, commercial or residential purposes, 6) mining museums and open-air museums. The described post-mining sites occur in different parts of the Katowice conurbation; therefore, linking them by a system of tourist trails and surrounding them by zones of protected landscape will be an important task for the future. Material remains of the industrial culture preserved within the Katowice conurbation, despite their diversity, form complexes of monuments complementary to those that can be found in the entire industrialized Europe. Therefore, the industrial heritage in the area of the Katowice conurbation is an important part of the European, supranational heritage.
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Oleaga, Marisa González De, and Ernesto Bohoslavsky. "Ethnic mirrors: self-representations in the Welsh and Mennonite museums in Argentina and Paraguay." Anais do Museu Paulista: História e Cultura Material 19, no. 2 (2011): 159–77. http://dx.doi.org/10.1590/s0101-47142011000200007.
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According to some scholars and philosophers, ethnic identities are the best political, social, economic, ethic (and even aesthetic) alternative to State centralism, which is incapable of dealing with cultural diversity. Ethnic communitarism is then defined as a more authentic, humane, democratic and inclusive form of organization. The Welsh colonies of Chubut (Argentine) and the established Mennonite colonies of the Chaco Region (Paraguay) are two ethnic groups with forms of community life that have been thoroughly studied from different perspectives. However, neither has been analyzed their point of view of alterity or their relation with those who do not belong to the community. In their museums the history of the community is represented, self-images and other people's images are constructed and spread. The interesting part of these stories is not what they say but what they do, the form in which contents are expressed. These communitarian historical museums tell about the past but they mainly have an impact on the present. Like national or even imperial museums, Welsh and Mennonite museums tend to naturalize a particular self-centered, prejudicial and evolutionist point of view that often excludes other perspectives, especially those elaborated by the neighboring indigenous communities. In contrast, we believe it is necessary to take a stance for democratic, horizontal relations between communities and more polyphonic and responsible historical representations.
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Shelton, Anthony Alan. "Re-totalizing Culture." Ethnologies 36, no. 1-2 (2016): 207–34. http://dx.doi.org/10.7202/1037607ar.
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With the growth of concern over diminishing cultural diversity, homogenization, and the preservation of tangible patrimony, UNESCO has increasingly assumed a lead position in devising new legislative instruments – programs, proclamations, conventions, and treaties – for the safeguard and regulation of cultural heritage. This cultural policy has been re-directed in the last two decades by a newly emergent and confident cosmopolitan political bloc that has attempted to reverse the organization’s Occidental bias by extending the protection it gives to tangible heritage to include intangible cultural expressions. This new political interest coincides with wider demands for the re-totalization of both aspects of culture aimed at encouraging the institutional use of vernacular interpretations in place of typological and externally imposed classifications. While these movements share a common interest in the decolonization of institutional culture, there is no overarching consensus on the means by which authority over interpretation can be returned to and exercised by originating communities and practitioners. To support its relatively new cultural mandate, UNESCO has revised its definitions of culture. These re-articulations – largely appropriated from specific anthropological discourses – expand the concept of culture to include its tangible and intangible manifestations, and provide a legitimating moral and intellectual authority to promote its wider acceptability. This essay represents a modest attempt to define and trace the influence of part of the rhetoric generated by globalized institutional cultures on museum practice and to raise questions on the current choices museums have been called to make.
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Ahtoneharjo-Growingthunder, Tahnee M. "Closing the Gap: Ethics and the Law in the Exhibition of Contemporary Native Art." American Indian Culture and Research Journal 43, no. 4 (2019): 115–22. http://dx.doi.org/10.17953/aicrj.43.4.growingthunder.
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The general lack of funding for arts and humanities has prompted museums to search for additional resources, especially geared to diversity. This financial need has resulted in many cultural institutions directing their efforts to an increased inclusion of American Indian communities and their cultural heritage. These efforts toward inclusion, however, often are often misguided in that the selection of artists, experts and consultants do not accurately reflect the constitution of our communities. In fact, the arts are particularly susceptible to individuals who have falsified their cultural credentials in an effort to be selected for coveted opportunities to perform, exhibit or guide American Indian arts. The incorporation of American Indian art into non-Native institutions, in particular those that do not have experience working with Native communities, must be grounded in ethical practices that are defined by source communities.
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Colson, A. "DIGITAL DOCUMENTATION OF SHIPS IN CULTURAL HERITAGE: A EUROPEAN REVIEW." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 18, 2017): 129–34. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-129-2017.
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Ships of different shapes and times are lying in harbours, on land or in museums, all over the world. Our aim with this paper was to review work done on digital documentation of ships in Cultural Heritage based on different initiatives in Europe using Coordinate Measuring Machine (Newport Ship and Doel 1); Total Station Theodolite (Vasa and Mary-Rose) and Laser scanning (LaScanMar and Traditional boats of Ireland). Our results showed that some discrepancy exist between the projects, in terms of techniques and expertise at hand. Furthermore, few guidelines have been in practice but only for Archaeology and Ethnology. However, no standards are existing. Three focuses have emerged: documentation of single ship elements, monitoring of the long-term deformation processes and the documentation of collections of ships. We discussed the diversity of expert’s background and the complexity of comparability between projects.<br><br> In conclusion, guidelines are necessary to enable a common ground for all professions to work together, e.g. in Architecture. This path must be taken now for digital documentation of ships, if not information and knowledge will be lost on the way.
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Dahlgren, Anna, and Karin Hansson. "The Diversity Paradox." Digital Culture & Society 6, no. 2 (2020): 239–56. http://dx.doi.org/10.14361/dcs-2020-0212.
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Abstract At the core of museum practice is the notion of diversity. However, as this analysis of different types of metadata production shows, contradictory ideas and ideals pervade both metadata production among information specialists (i.e. archivists, metadata managers, curators working in the heritage institutions), and the systems for, and practices of, participatory metadata production. While the discourse on metadata standards is permeated by ideas of objectivity and interoperability the field is, in practice, far from coherent, being marked by a great variety as regards templates, formats and vocabularies. Conversely, the discourse on digital participation in the cultural heritage is permeated with notions of diversity, as means to increase democracy and support variety. In practice, however, the available crowdsourcing platforms are often formulaic offering few possibilities for the crowd to add individual interpretations and their own agenda. This analysis of the practice of producing descriptive metadata reveals the complex, multifaceted implications of notions of diversity for the cultural heritage. Diversity, meaning great variety, is then not solely a positive end in itself but can in fact hinder the distribution and linkability of information and thereby the creation and building of new knowledge. Likewise, participatory activities where heritage institutions reach out to the crowd do not automatically generate diversity as there is no direct correlation between the magnitude of the group and variability. To understand this complexity and acknowledge the, sometimes, contradictory demands and effects related to the notion and norms of diversity is at the core of the making and preservation of our cultural heritage.
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Moreno, Isidoro. "Globalization and cultural diversity (conference at the Museum of Dominican Man)." Perifèria. Revista d'investigació i formació en Antropologia 25, no. 3 (2020): 142. http://dx.doi.org/10.5565/rev/periferia.820.
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Thakuri, Indra Bahadur Malla, and Govind Nepal. "Community Oriented-Rural Tourism Development Model." American Economic & Social Review 2, no. 1 (2018): 1–5. http://dx.doi.org/10.46281/aesr.v2i1.149.
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Nepal is endowed with the majestic Himalayan ranges, including Mt. Everest, which is 8848 m, is the world’s highest mountain peak. Nepal is renowned world-wide as a prime tourist destination due to its unparalleled natural beauty; diverse bio-diversity; ethnic, lingual and social diversity; and historical and cultural wealth. There are many lakes, rivers, mountainous areas, museums, national parks, historical places, greenery forests, cultural heritages which become attractions to the tourists in Nepal. Rural setting is one of the most potential areas to promote the rural tourism where tourists can have opportunity to observe the rural setting, culture, life-style, social relationship, hospitality etc of rural people in Nepal. So, the study has developed the community oriented rural tourism development model covering the stages of development. The study was conducted in Lamjung, Tanahu and Nawalparasi districts among the home-stay operators, tourist experts and other tourism related stakeholders. In-depth interview was done with the respondents to collect their opinion about the best model of rural tourism. The study has developed the Community Oriented Rural Tourism Development Model (CO-RTDM) which has explained the seven stages of development.
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Couchman, Sophie. "Reflections on Cultural and Linguistic Diversity in a Chinese Australian Community Museum." Journal of the Australian Library and Information Association 70, no. 1 (2021): 84–89. http://dx.doi.org/10.1080/24750158.2021.1875551.
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Blair, Scott. "Study Abroad and the City: Mapping Urban Histories." Frontiers: The Interdisciplinary Journal of Study Abroad 20, no. 1 (2011): 37–54. http://dx.doi.org/10.36366/frontiers.v20i1.289.
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The accumulation by study abroad students of course-related onsite study excursions to museums, historical sites and celebrated buildings no doubt results in meaningful learning experiences. However, to make study abroad cities truly effective as sites for learning, educators must employ a well-conceived and theoretically-grounded approach that emphasizes the geographical, historical, and cultural formation of community identities linked to related urban spaces. Using a case study designed to analyze urban landscapes of LGBT communities in Paris, this article shows how mapping can be employed to use the city as a laboratory for intercultural learning, identity formation, and tolerance of diversity. This approach is based on best practices in experiential learning set forth by the National Society for Experiential Education (NSEE). Examples of exercises and templates for onsite study are included.