Who am I? An identity crisis Identity in the new museologies and the role of the museum professional

Whilst the title of this essay suggests more than one “new museology”, it was rather a licence poétique to emphasize the two major theoretical movements that have evolved in the second half of the 20th Century[1]. As a result of the place(s)/contexts where they originated, and for clarity purposes, they have been labelled in this essay as the “Latin new museology” and the “Anglo-Saxon new museology”; however they both identify themselves by just the name of “New Museology”. Even though they both shared similar ideas on participation and inclusion, the language barriers were probably the cause for many ideas not to be fully shared by both groups. The “Latin New museology” was the outcome of a specific context that started in the 1960s (de Varine 1996); being a product of the “Second Museum Revolution”(1970s)[2], it provided new perceptions of heritage, such as “common heritage”. In 1972 ICOM organized the Santiago Round Table, which advocated for museums to engage with the communities they serve, assigning them a role of “problem solvers” within the community (Primo 1999:66). These ideas lead to the concept of the Integral Museum. The Quebec Declaration in 1984 declared that a museum’s aim should be community development and not only “the preservation of past civilisations’ material artefacts”, followed by the Oaxtepec Declaration that claimed for the relationship between territory-heritage-community to be indissoluble (Primo 1999: 69). Finally, in 1992, the Caracas Declaration argued for the museum to “take the responsibility as a social manager reflecting the community’s interests”(Primo 1999: 71). [1] There have been at least three different applications of the term ( Peter van Mensch cited in Mason: 23) [2] According to Santos Primo, this Second Museum Revolution was the result of the Santiago Round Table in Chile, 1972, and furthered by the 1st New Museology International Workshop (Quebec, 1984), Oaxtepec Meeting (Mexico, 1984) and the Caracas Meeting (Venezuela, 1992) (Santos Primo : 63-64)

Museu da Abolição, “The Museum That We Want”

Museu da Abolição [Abolition Museum] was inaugurated in 1983 in the city of Recife, one of the largest cities of north-eastern Brazil, located in the state of Pernambuco. This state has a special place in the history of the country: it dates back to the colonization efforts, to the first interactions between Europeans and native peoples and the exploration of sugar cane production. Today, the region embodies not only Brazilian cultural wealth and diversity, but also the great social challenges of contemporary Brazil. The name of the museum is a reference to the Abolition of black slavery in Brazil at the end of the 19th century. A museum addressing abolition means more than addressing a historic fact. It means dealing with ideas on slavery, freedom, resistance, injustice. There are no museums isolated from society, whatever their social function. For a museum such as this one, which was created with the responsibility for a theme that echoes so strongly in the lives of men and women, the challenge of finding its place in the world has always been present.

A imprensa e a farmácia : publicidade e medicamentos no século XIX

A influência da Publicidade na sociedade do século XIX foi notória. Utilizando a Imprensa como veículo de eleição, a Publicidade disseminou ideias, cultura, hábitos, elegância e bom gosto. Mas mais importante do que isso, a Publicidade gerou mercados, aumentou a demanda, intensificou a produção e reduziu preços. O desenvolvimento tecnológico adveio da Revolução Industrial permitiu tornar as técnicas publicitárias mais atractivas ao observador e futuro consumidor. A utilização de figuras, inicialmente a preto e branco e posteriormente a cores, foi um excelente exemplo disso. Os anúncios publicitários a medicamentos, alguns deles de fórmula secreta, foram uma prática comum no século XIX. E dessa forma, seduzidos pelo sucesso que esses anúncios tinham na população, os charlatães rapidamente tomaram consciência de que podiam lucrar bastante com as suas fórmulas “milagrosas”. O sector farmacêutico viu, de forma indirecta, a Publicidade transformar o sector, visto que foi através da industrialização da produção dos remédios secretos que se obteve as especialidades farmacêuticas.