Consultation unlocks interdisciplinary resources: A community museum evolving in the Kelabit Highlands, Malaysian Borneo

This article discusses the role of community consultation in the process of developing a community museum in the Kelabit Highlands in Sarawak. It reflects on the relationships between heritage conservation, cultural tourism and competing community aspirations.   

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.

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.

Encountering the ‘other’: interpreting student experiences of a multi-sensory museum exhibition

The Immigration Museum Melbourne, Australia, launched the Identity: Yours, Mine, Ours exhibition in 2011. Aimed primarily at secondary school students, this long-term installation seeks to foster reflection on identity and belonging, as well as dialogue about racism, through an interactive, immersive museum experience. This paper describes a multi-method research project, which included narrative interviews, focus groups and video diaries with 47 Year 11–12 students from three secondary schools in Victoria, Australia, and discusses each method's contribution to an overall empirical understanding of the installation's impact on students' experiences. Emerging findings suggest the ways in which the exhibition space supports students to encounter and engage with individual stories and experiences, thus moving beyond an abstract tolerance of cultural diversity by unsettling the self and destabilising stereotyped and prejudiced interpretations of the ‘other’. The paper concludes by discussing the potential for triangulated qualitative approaches to provide rich emic perspectives on multi-sensory exhibitions.

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.

Museum exhibition practice: recent developments in Europe, Canada and Australia

'Permanent' museum exhibitions or galleries are usually planned for a life of seven to ten years, but not infrequently survive for thirty years or more. When change finally occurs, it addresses new approaches in ideology, disciplines, technology and fashion. This chapter surveys such shifts in transnational history and Aboriginal cultures presented in museums.

Revision of Nathan Banks type specimens of Bdellidae Dugès (Acari: Trombidiformes) of the Museum of Comparative Zoology, Cambridge

In this article, seven Bdellidae Dugès (Acari: Trombidiformes) of the Museum of Comparative Zoology, originally described by Nathan Banks are studied: Cyta americana (Banks, 1902), Bdella tenella Banks, 1896, Bdella utilis Banks, 1914, Bdella californica Banks, 1904, Bdella cardinalis Banks, 1894, Bdella peregrina Banks, 1894 and Bdella brevitarsis Banks. Bdella tenella and Bdella californica are transferred to the genera Spinibdella and Bdellodes, respectively. Bdella brevitarsis, previously a nomen nudum, is herein described for the first time under the genus Hexabdella. http://zoobank.org/urn:lsid: zoobank.org:pub:A18C8C10-8C8A-4873-AF0B-D1A9164CD7E8 © 2013 Copyright 2013 Taylor & Francis.

“PROVINCIALISM, PICKING SIDES AND BIAS: EFFECTS OF GEOGRAPHY ON MEDIA COVERAGE OF CRYSTAL BRIDGES MUSEUM OF AMERICAN ART, 2005-10.”

The development of Crystal Bridges Museum of American Art in Bentonville, Arkansas, by Wal-Mart heiress Alice Walton has prompted diverse coverage from print and online media. This investigation looked at trends in news stories and commentary from 2005-10 to show how the location of a medium affected coverage. Through the author’s own observations and interviews with journalists and other interested parties, several trends emerged. Media outlets outside Arkansas portrayed the museum as trying to plunder the cultural heritage of local communities and relied partly on the museum’s association with Wal-Mart and stereotypes of Arkansas to frame coverage. Arkansas media, faced with limited cooperation from the museum’s public relations apparatus, typically played a cheerleader role, at times overemphasizing the importance of the collection in the art world and showcasing few critical voices in stories about acquisitions and other areas of the museum’s development.