The Creation Process of a Local Museum

The present text holds as its main goal the advance of a number of reflections around the potentialities and problems of local museums taken as development instruments. Secondarily, it also intends to provide support to all those who, in one way or another, have faced the issue of creating a local museum. This support is intended not as a manual of the “the museum made easy” kind, but, instead, as the pointing to some pertinent issues and unavoidable options that, if not taken into account, will come to challenge the form and substance of the future organisation.

The inclusive process of training in social museology: alternative museology in action in Carapateira, Portugal

Pierre Mayrand is a long-time member of ICTOP and founder of MINOM. He did graduate studies in Montreal and overseas, studying art history with a specialization in architecture and urban planning. In 1970, when the Université du Québec was founded, Pierre entered the teaching profession, participating (as director, professor, and researcher) in the setting up of programs in national heritage, museology and cultural development. He is still active in teaching and project development now as a altermuseologist.

Museum training to develop the social awareness of cultural identity in a time of universalization

The main theme of the ICTOP'94 Lisbon meeting is museum personnel training for the universal museum. At the very beginning it is important to identify what the notion universal museum can cover. It is necessary to underline the ambiguity of the term. On the one hand, the word 'universal' can be taken to refer to the variety of collected museum materials or museum collections, on the other hand it could refer to the efforts of the museum to be active outside the museum walls in order to achieve the integration of the heritage of a certain territory into a museological system. 'Universal' could also refer to the "new dimensions of reality: the fantastic reality of the virtual images, only existing in the human brain" (Scheiner 1994:7), which is very close to M. McLuhan's view of the world as a 'global village'. Thus, what is universal could be taken as being common and available to all the people of the world. 'Universal' can imply also the radical broadening of the concept of object: "mountain, silex, frog, waterfonts, stars, the moon ... everything is an object, with due fluctuations" (Hainard in Scheiner 1994: 7), which will cause the total involvement of the human being into his/her physical and spiritual environment. In the process of universalization, links between cultural and natural heritage and their links with human beings become more solid, helping to create a strong mutual interdependence.

The community museum: a space for the exercise of communal power

This paper discusses two key elements in the field of museums: a summary of the concept of the community museum, on the one hand, and, on the other, a proposal as to how this concept is put into practice, especially in the early stages of the creation of the museum, when the social basis for the project is being established. We will discuss how the community museum combines and integrates complex processes aimed at strengthening the community as a collective subject, asserting its identity, improving its quality of life and building alliances between communities. In the second part, which has a methodological focus, we will discuss how the museum is born out of community aspirations to strengthen its identity and integrity, the initial process of consensus-building, the roles of different agents, both internal and external to the community, as well as some factors that foster or prevent community appropriation. To conclude we will emphasize the potential of community museum networks as a strategy to generate a broader field of action, in which communities can exercise greater autonomy, by collectively developing and appropriating projects of regional and even international scope.