museology and community development in the XXI Century

Each time more, museology professionals are confronted with terms such as community, social inequality, social inclusion and development in their quotidian. Be it in conferences, publications or museum programmes, these are increasingly recurrent terms which, in great part, translate the dynamics of a relationship between museology and community development that has been constructed since the late 60’s. Although it is not new, such relationship has gone through a major bloom in the early 90’s and arrives today as an emerging priority within the world of museology. A first glance on the subject reveals that very different approaches and forms of action share the efforts in endowing museology with a role in community development today. In addition, despite of its growing popularity, it seems to be some misunderstandings on what the work with community development requires and truly signifies, as can be pointed out in a number of assertions originated from the field of museology. Accompanying such a plural environment, discussions and disagreements about to what extend museology is able to claim a role in social change also mark its affairs with community development. People are faced, indeed, with a rather polemic and intricate scenario. To a great extend, language barriers hinder the exchange of information on current initiatives and previous experiences, as well as on the development of concepts, approaches and proposals. Lack of better interactions among the groups of museology professionals and social actors who carry out different works with community development also contributes to making the potential of museology as a resource for development more difficult to be visualised.

The Maré Museum: an integrated project of community development

The Maré Museum, founded on 8 May 2006, arose from the desire of the inhabitants of the community to have a place of memory, a place that is immersed in the past and looks to the future, a place that reflects on this community, on their conditions and identities and on their territorial and cultural diversity. The intention of the Maré Museum is to break with the tradition that the experiences to be recollected and the places of memory to be remembered are those elected by the official version, the "winner" version of the story that restricts the representations of history and memory of large portions of the population. The Maré Museum, as a pioneer initiative in the city scene, proposed to expand the museological concept, so that it is not restricted to intellectual social groups and cultural spaces that are not accessible to the general population. The museum has established recognition that the slum is a place of memory and so has initiated a museographic reading of the Mare community. ..

Práticas de Animação do Livro e da Biblioteca numa Perspetiva de Cooperação entre Bibliotecas Escolares e Municipais

Tem sido difícil alcançar posições consensuais na definição da importância do papel da animação sociocultural e do seu contributo para o desenvolvimento de toda uma comunidade, através das suas práticas e metodologias específicas. A cooperação, entre bibliotecas escolares e municipais, tem sido pouco explorada, estudada e até valorizada. Os problemas de desenvolvimento de práticas de animação dentro destas bibliotecas é uma questão que merece toda a atenção em proveito do aumento da coadjuvação ativa entre estas instituições documentais, onde urge cada vez mais não só o trabalho de tratamento documental, mas também o trabalho para os utilizadores numa ótica de desenvolvimento de atividades e projetos de diversos tipos de animação, em contextos específicos onde estes espaços se inserem. Este trabalho de investigação sobre práticas de animação do livro e da biblioteca numa perspetiva de cooperação entre bibliotecas escolares e municipais incide no estudo de caso de três bibliotecas escolares e uma biblioteca municipal, no Município de Câmara de Lobos, ilha da Madeira, local onde a mestranda desempenhou, no passado, funções de animadora sociocultural como licenciada na área, tendo desenvolvido, através de metodologias e práticas de animação, competências sociais, culturais e educativas, nos espaços bibliotecários e seus respetivos utilizadores. Assim, com esta investigação, pretende-se apurar se existem práticas de cooperação desenvolvidas nas bibliotecas em estudo e qualificá-las; recolher informação pertinente relativa à investigação levada a cabo e obter opiniões sobre o papel dos profissionais de animação de bibliotecas; conhecer o impacto do trabalho desenvolvido pela investigadora no passado, nestes espaços de biblioteca. A metodologia de investigação consistiu na realização de entrevistas orais semiestruturadas e na análise dos planos de atividades e relatórios anuais das bibliotecas de objeto de estudo. As principais conclusões/resultados verificam-se no sentido amplo da cooperação entre bibliotecas municipais e escolares, baseadas basicamente, na existência das práticas de animação, deixando estas muito ainda por desenvolver e explorar nos espaços em estudo.

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)

Lost in the supermarket – The Traditional Museums Challenges

“I’m all lost in the supermarket. I can no longer shop happily. I came in here for the special offer. A guaranteed personality”. The song by The Clash, released in 1979, “Lost in the Supermarket” describes the protagonist struggle to deal with an increasingly commercialized society and the depersonalization of the world around him. The song speaks about alienation and the feelings of disillusionment and lack of identity that come through modern society. There are different ways which one can decrease those feelings and promote knowledge, self-awareness and understanding. The museum, when used with all its potential, is one of the ways. But how to do that? That is the question museum professionals ask themselves. This paper analyses how the traditional museum can use the new museology concepts, and the challenges of this approach, to become a vehicle for community development and empowerment, diminishing the feelings sang by The Clash.

Give or take: thoughts on museum collections as working tools and their connection with human beings

This paper proposes a look at museums from the perspective of sociomuseology, an area of research and practice under development in countries such as Portugal, Brazil and Spain. Sociomuseology was born from the Latin new museology tradition and is closely connected with the International Movement for a New Museology (MINOM/ICOM). The Lusofona University in Lisbon offers MA and PhD programmes in Sociomuseology. The University supports a research centre in Sociomuseology and publishes the journals Cadernos de Sociomuseologia, in Portuguese, and Sociomuseology, in English (for more information see http://tercud.ulusofona.pt.). Sociomuseology concerns the study of the social role of museums and of the continuous changes in society that frame their trajectories. The practice of sociomuseologists is based on their work with the different dimensions of social and community development from ecomuseums to networking and other ways of organizing social action in the 21st century in which heritage plays a strategic role.