Education for a new 'museology'

This article provides a critical reading of a curriculum initiative in tertiary education designed to address students who are traditionally marginalised in the Australian tertiary sector. An argument is made that this curriculum approach with its emphases on authenticity, identity, agency and embodied learning addresses issues of the disjunct between access to knowledge, museums and cultural capital. The political work of this curriculum is situated in the new museology. The author draws on Ellsworth's sensation of learning to elaborate the contributions made possible by the curriculum Learning and teaching in public spaces to museum education and tertiary education.

Colonial museology and the Buddhist chronicles of Sri Lanka: agency and negotiation in the development of the palm-leaf manuscript collection at the Colombo Museum

The roles of colonial museums in South Asia have been understood in terms of the dissemination of museology within the British Empire. This has often underplayed the participation of local intellectuals in the formation of museum collections, and thus has not recognized their agency in the creation of knowledge and of longstanding cultural assets. This article addresses this in part through an historical case study of the development of the palm-leaf manuscript collection at the Colombo Museum in nineteenth century Ceylon. The article focuses on the relationships between Government aims, local intellectuals and the Buddhist clergy. I argue that colonial museology and collecting activity in Ceylon ought to be understood as a negotiated process and a number of reasons for this are discussed. This article contributes to an area of museological research that is exploring the roles of indigenous actors in colonial collecting and museum practice in South Asia and broader geographical contexts.

UNESCO and cultural heritage practice in Australia in the 1950s: The international touring exhibition Australian Aboriginal Culture, 1948-55

This article investigates aspects of the production, dissemination and consumption of UNESCO’s first international touring exhibition, Australian Aboriginal Culture, in order to explore the relationship between UNESCO and Australia in the development of a key cultural heritage program. It argues that the exhibition indicates a national and international spirit of universalism that attempted to address crosscultural ignorance in a period of post-war optimism.

Pricing in the museum sector : the need to balance social responsibility and organisational viability

An essential component of marketing strategy is pricing. Pricing in museums, however, is problematic as issues beyond cost recovery or surplus, such as social responsibilities, need to be considered. This area of marketing is under researched. The aim of this study is to address the research gap by synthesising the literature on pricing strategy in the museum sector. The study found that there are a number of strategies being advocated with regard to pricing in the museum sector in the literature, each representing various perspectives of museology. A research agenda was proposed to assist marketers in the museum sector to meet their organisational needs, whilst balancing their social responsibilities.

An architecture of rewards: a new poetics to exhibition design?

This paper argues that the influence of multimedia on exhibition practices can be felt not only by the presence of multimedia interactives in the exhibition itself but more generally by the presence of similar structural principles. The argument is conducted by borrowing from Stephen Johnson’s (2005) thesis that contemporary forms of popular culture, particularly those found in video games, television and film, are based on an ‘architecture of rewards’. In taking this term across to exhibition practices, I use it to analyse an approach to the interpretation of a heritage site, which attempts neither to reconstruct its former uses nor to insert traditional forms of ‘contextual’ displays. Instead, I argue that the curatorial attempt to find ways in which the site could become the principal object of display resulted in the conscious production of narrative gaps which become the structural armature for the encouragement of game playing in a similar process to that discussed by Johnson in relation to video games.

Guest editorial

An examination of Australian media reports over the last twelve months on the subject of Indigenous arts suggests a number of significant contradictions. Indigenous affairs Minister Amanda Vanstone called Aboriginal arts ‘Australia’s greatest cultural gift to the world’ (Australian, 24 January 2006), while the always-controversial expatriate Germaine Greer argued that much Indigenous art was in fact poor quality and ‘a big con’ (West Australian, 13 December 2005). Curators at France’s Musee du Quai Branly dedicated a wing of the new gallery to Aboriginal art. Yet many Indigenous leaders – including David Ross from the Central Land Council and Hetti Perkins, curator of Indigenous Arts at the Art Gallery of NSW – continue to publicise the widespread exploitation of Aboriginal artists in Central Australia by unscrupulous art dealers (Northern Territory News, 22 December 2005). Former head of the Northern Land Council and former Australian of the Year, Galarrwuy Yunupingu, who twenty years ago presented Bob Hawke with the painting Barunga Statement in celebration of the government’s commitment to a treaty, recently threatened to take the painting back from Parliament House in protest against ‘successive governments’’ neglect of Indigenous policy (Sydney Morning Herald, 21 January 2006). And in the performing arts, Richard Walley drew attention to the lack of professional recognition of Indigenous performing artists (Australian, 24 January 2006).

Such contradictions within the management and marketing of Indigenous arts have persisted for several years, and it was in response that this special issue of the Asia Pacific Journal of Arts and Cultural Management was initiated. As guest editors, we sought to present research that examines, more deeply and constructively, the marketing of Indigenous arts in Australia both historically and in the present. What emerges from this collection of five papers is a familiar scholarly theme: a tension between the ‘periphery’ and the ‘centre’, between outback and city, between larger and smaller Australian states and between Australia and other nations.

Jonathan Sweet’s ‘UNESCO and cultural heritage practice in Australia in the 1950s’ looks at the evolving relationship between Australia and the United Nations through an analysis of a significant touring exhibition: Australian Aboriginal Culture. Sweet pinpoints the 1950s as a period in which Australian museology’s approach to Indigenous cultures gradually changed, and in which Australian participation in UNESCO through the exhibition helped shape the ideological position UNESCO advocated. His article provides a useful historical contrast against which the following four articles may be read.

Chapman, Cardamone, Manahan and Rentschler look at local and contemporary issues in Indigenous arts marketing. Katrina Chapman’s ‘Positioning urban Aboriginal art in the Australian Indigenous art market’ investigates perceptions about contemporary urban Aboriginal art, concluding that the estrangement – and indeed stereotyping – of urban and traditional art creates a false set of values that urban artists are challenging. Similarly, Megan Cardamone, Esmai Manahan and Ruth Rentschler contrast perceptions of Aboriginal arts from the northern and south-eastern states, identifying crucial misconceptions that contribute to the value system applied to these arts. As Ruth Rentschler is a joint editor of this issue, the review process for this article has been managed by Katya Johanson as co-editor.

Two case studies of marketing the arts – which look at different artforms and in opposite sides of the country – then follow. Jennifer Radbourne, Janet Campbell and Vera Ding’s ‘Building audiences for Indigenous theatre’ analyses research on audiences and potential audiences for Kooemba Jdarra – Brisbane’s Indigenous performing arts company – to identify the ways in which audience attendance may be encouraged.

Finally, Jacqui Healy’s ‘Balgo 4-04’ provides a close examination of a unique art exhibition: a major commercial exhibition of the kind usually seen in Sydney and Melbourne, held in an arts centre in the middle of the Tanami Desert and retailing directly to collectors.

The editors are grateful to Warlayirti Artists Art Centre for permission to use the photographs that accompany Jacqui Healy’s article. We would also like to thank the contributors, Jo Caust for the opportunity to present this special issue, and Pearl Field for her assistance in putting it all together.

Is there a museum in the house? Historic houses as a species of museum

The historic house museum exemplifies the enormous power of the museum idea to make specimens out of the material world. In fact, houses are an old museum form, very numerous and globally spread. This paper surveys the diverse inspirations of the species, its peculiar expressions, and its formative/deformative relationship to the English country house, via case studies in the UK, the US, and Australia. The paper identifies a characteristic museology that has developed to manage the conditions of house museums and suggests that the contemporary practice of heritage management derives an important strand of its direction from the traditions of house museology. Lastly, it considers the challenge, 'who wants house museums?'

The colonial museum and UNESCO in the Asia-Pacific region

This thesis is an account of the role of UNESCO in promoting museology in the Asia-Pacific region after World War II. It shows how the strategy to advance cross-cultural mutual understanding through museum programmes built upon the British colonial museum system and facilitated new professional networks.

The unique inter-disciplinary requirements of a museum development : a case study of the Kelabit Highland community museum development project.

Each museum development presents complex and unique challenges. In particular, the Kelabit Highland Community Museum Development Project (KHCMDP) is a museum development that requires both discipline-specific and interdisciplinary collaboration to reach the common goal of the preservation and conservation of the fragile Kelabit heritage. Still in its infancy, however rich with potential, the engagement required to realize the development of this community-based museum, in the remote region of Bario in the Highlands of Borneo, offers a stimulating environment in which both discipline specific and creative interdisciplinary thinking are utilized to create a suitable and sustainable development. This paper will describe the process of extensive community consultation required by the interdisciplinary team of academics to address the areas of curatorial policies, preservation and conservation, the design of the built environment and the creation of the communication strategies for the project. It demonstrates the unique opportunity for diverse tertiary disciplines at Deakin University to further develop their knowledge of museology, preservation, identity creation and issues of representation and communication from an interdisciplinary perspective. Within each of the areas of concern, the interconnecting nature of the project has resulted in a strong intersection of each of the normally separate professional departments. Furthermore, adding to the complexity, this case study is a multi-disciplined research opportunity situated in a cross-cultural context.

Cultural pedagogies in the museum: walking, listening and feeling

Pedagogy is often glossed as the ‘art and science of teaching’ but this focus typically ties it to the instructional practices of formalised schooling. Like the emerging work on ‘public pedagogies’, the notion of cultural pedagogies signals the importance of the pedagogic in realms other than institutionalised education, but goes beyond the notion of public pedagogies in two ways: it includes spaces which are not so public, and it includes an emphasis on material and non-human actors. This collection foregrounds this broader understanding of pedagogy by framing enquiry through a series of questions and across a range of settings. How, for example, are the processes of ‘teaching’ and ‘learning’ realised within and across the pedagogic processes specific to various social sites? What ensembles of people, things and practices are brought together in specific institutional and everyday settings to accomplish these processes? This collection brings together researchers whose work across the interdisciplinary nexus of cultural studies, sociology, media studies, education and museology offers significant insights into these ‘cultural pedagogies’ – the practices and relations through which cumulative changes in how we act, feel and think occur. Cultural Pedagogies and Human Conduct opens up debate across disciplines, theoretical perspectives and empirical foci to explore both what is pedagogical about culture and what is cultural about pedagogy.