London Wall

London Wall is a physical manifestation of the invisible city all around us; a poetic snapshot of social networking traffic from within a three-mile radius of the Museum of London. Over a ten-day period, publicly available status updates from popular websites like twitter and facebook will be selected then published as a vast array of A3 posters pasted onto a wall in the museum's foyer, revealing the idle mutterings of ourselves to ourselves as a form of concrete poetry. This commission is in the foyer and is part of relaunch the museums new galleries.

The Turtle Garden: Tan Kah Kee’s last spiritual world

This paper explores the role of diasporic subjects in China’s heritage-making through a case study of the Turtle Garden built by Tan Kah Kee in Xiamen, China. Tan is the first person with Overseas Chinese background who built museums in the P.R. China and has been regarded as a symbol of Overseas Chinese patriotism. This paper argues that the Turtle Garden, conceptualised as a postcolonial ‘carnivalesque’ space, is more than a civic museum for public education. It reflects the owner’s highly complex and sometimes conflicting museum outlook embedded in his life experience as a migrant, his encounter with (British) colonialism in Malaya, and integrated with his desire and despair about the Chinese Communist Party’s nation-building project in the 1950s. Rather than a sign of devotion to the socialist motherland as simplistically depicted in China’s discourse, the garden symbolises Tan’s last ‘spiritual world’ where he simultaneously engaged with soul-searching as a returned Overseas Chinese and alternative diasporic imagining of Chinese identities and nation. It brings to light the value of heritage-making outside centralised heritage discourses, and offers an invaluable analytical lens to disentangle the contested and ever shifting relationship between diasporic subjects, cultural heritage and nation-(re)building in the Chinese context and beyond.

O ensino de matemática em duas escolas profissionalizantes: Brasil e Portugal, no período de 1942 a 1978

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Programação em artes performativas para idosos nos serviços educativos das redes culturais

Dissertação apresentada à Escola Superior de Educação de Lisboa para obtenção de grau de mestre em Educação Artística, na especialização de Teatro na Educação

Popular music exhibitions in Portugal: practices of representation from 2007 to 2013

This thesis focuses on the representation of Popular Music in museums by mapping, analyzing, and characterizing its practices in Portugal at the beginning of the 21st century. Now that museums' ability to shape public discourse is acknowledged, the examination of popular music's discourses in museums is of the utmost importance for Ethnomusicology and Popular Music Studies as well as for Museum Studies. The concept of 'heritage' is at the heart of this processes. The study was designed with the aim of moving the exhibiting of popular music in museums forward through a qualitative inquiry of case studies. Data collection involved surveying pop-rock music exhibitions as a qualitative sampling of popular music exhibitions in Portugal from 2007 to 2013. Two of these exhibitions were selected as case studies: No Tempo do Gira-Discos: Um Percurso pela Produção Fonográfica Portuguesa at the Museu da Música in Lisbon in 2007 (also Faculdade de Letras, 2009), and A Magia do Vinil, a Música que Mudou a Sociedade at the Oficina da Cultura in Almada in 2008 (and several other venues, from 2009 to 2013). Two specific domains were observed: popular music exhibitions as instances of museum practice and museum professionals. The first domain encompasses analyzing the types of objects selected for exhibition; the interactive museum practices fostered by the exhibitions; the concepts and narratives used to address popular music discursively, as well as the interpretative practices they allow. The second domain, focuses museum professionals and curators of popular music exhibitions as members of a group, namely their goals, motivations and perspectives. The theoretical frameworks adopted were drawn from the fields of ethnomusicology, popular music studies, and museum studies. The written materials of the exhibitions were subjected of methods of discourse analysis methods. Semi-structured interviews with curators and museum professional were also conducted and analysed. From the museum studies perspective, the study research suggests that the practice adopted by popular music museums largely matches that of conventional museums. From the ethnomusicological and popular music studies stand point, the two case studies reveal two distinct conceptual worlds: the first exhibition, curated by an academic and an independent researcher, points to a mental configuration where popular music is explained through a framework of genres supported by different musical practices. Moreover, it is industry actors such as decision makers and gatekeepers that govern popular music, which implies that the visitors' romantic conception of the musician is to some extent dismantled; the second exhibition, curated by a record collector and specialist, is based on a more conventional process of the everyday historical speech that encodes a mismatch between “good” and “bad music”. Data generated by a survey shows that only one curator, in fact that of my first case study, has an academic background. The backgrounds of all the others are in some way similar to the curator of the second case study. Therefore, I conclude that the second case study best conveys the current practice of exhibiting Popular Music in Portugal.

O Museu Nacional de Arte Antiga, o edifício e a sua história: contributos para um projeto de comunicação

Este trabalho tem como objeto de estudo o Museu Nacional de Arte Antiga (MNAA) e o seu edifício, sob o ponto de vista da problemática da comunicação centrada na história do imóvel e da sua relação com a instituição museal. Surge da constatação de que o MNAA, como a maioria dos nossos museus, não comunica suficientemente ao público a história do seu imóvel, que é edifício histórico. Seguindo uma metodologia orientada para a programação museológica, após uma caraterização do Museu, uma análise e diagnóstico à comunicação centrada no edifício e na sua história e uma investigação acerca desta, defini as linhas orientadoras de um projeto de comunicação para o edifício e envolvente, baseado num percurso interpretativo com as respetivas propostas de divulgação e atividades complementares. O trabalho é completado por um texto-síntese e uma cronologia, com os resultados da investigação à história do edifício do MNAA, em relação com a história institucional.

A Cidade do Trabalho: usos do património industrial (S. João da Madeira)

S. João da Madeira é uma localidade que desde cedo construiu os seus discursos em torno da identidade local sob o epíteto de Cidade do Trabalho. Mais recentemente, desde a última década do século XX, a cidade começou a olhar para a sua dimensão industrial do ponto de vista do seu cunho patrimonial, dentro do quadro emergente das políticas culturais e de identidade, no qual as identidades particulares – como à escala local – se querem afirmar no plano global. Partindo de uma primeira análise dos processos contemporâneos de patrimonialização do industrial no contexto de S. João da Madeira, concretizados pela via dos museus e do turismo, num trabalho de projeto que se apresenta como fase de investigação preliminar de um futuro trabalho de doutoramento, questiona-se como a antropologia poderá pensar o conceito de cultura popular fora dos contextos normalmente a estes atribuídos e como, consequentemente, poderá problematizar as fronteiras daquilo que poderá ser considerado ou não Património Cultural Imaterial (PCI), categoria com a qual a disciplina está historicamente comprometida.

A Afiliação enquanto Vetor Estratégico para os Espaços Culturais. O caso dos Grupos dos Amigos dos Museus

A presente dissertação tem como objetivo analisar em que medida os grupos dos amigos dos museus podem ser um vetor estratégico para os museus. O espaço museológico encontra-se em profunda transformação e tem hoje novos desafios. Em muitos casos, os museus descobrem nas associações de afiliação cultural a possibilidade de revitalização. O presente trabalho dirige a sua atenção para os grupos dos amigos dos museus (GAM), pois torna-se essencial potenciar uma estrutura que deve ser considerada um vetor estratégico para o museu – um pivô indispensável para os museus conseguirem dar resposta às expectativas e necessidades do público e dos stakeholders. Os grupos de amigos têm hoje novos desafios: às tarefas tradicionais de angariação de novas peças para os acervos, do restauro de obras ou da angariação de fundos e mecenas, junta-se a difícil tarefa de atrair público, que é cada vez mais diversificado. A afiliação cultural pode assim ter um papel fundamental na democratização do acesso à cultura por vários grupos do tecido social. Para tal, desenvolvemos um enquadramento teórico sobre o papel do associativismo, a fim de perceber qual o seu impacto na vida cultural das pessoas, e a importância da comunicação estratégica podem ter no contexto museológico. Apesar de os museus utilizarem cada vez mais as ferramentas das relações públicas e do marketing, esta adoção revela-se complexa e morosa para a generalidade dos museus. No desenvolvimento da nossa dissertação, compreendemos que há uma nova área de atuação por parte dos grupos de amigos, quer ao nível do networking, quer ao nível da responsabilidade social uma vez que estes podem tornar o museu mais inclusivo, mais integrador e mais influente. Para tal, é fundamental que estes grupos sejam ativados de modo a que possam adaptar-se às mudanças já sentidas pelos museus. Fizemos uma correlação entre a necessidade de atualização e as oportunidades que delas podem surgir. Na última parte da dissertação elaborámos um estudo sobre o Grupo de Amigos do Museu de Arte Antiga, cuja história acompanha a evolução da museologia em Portugal. Este estudo pretende demonstrar a importância que o grupo tem na vida do museu e de que modo a adoção destas novas medidas podem permitir a sustentabilidade do museu e do grupo.

Um lugar para se estar. Estratégias de comunicação que estimulem a participação de jovens na vida dos museus

Em 2004 Gail Anderson afirmava haver uma clara necessidade de os museus conquistarem novas audiências, especialmente os jovens. Onze anos depois, os especialistas de estudos culturais identificam o mesmo problema. No entanto, com o desenvolvimento constante das tecnologias digitais móveis e, em particular, as redes sociais, as instituições museológicas devem adaptar os seus recursos e aproveitar esta oportunidade (Drotner e Schodner, 2003), de modo a criar uma relação mais próxima com os jovens, a faixa étaria mais ligada a estes novos media. A Fundação Calouste Gulbenkian, em particular o Museu Gulbenkian, para além da importância visível que tem no mundo cultural em Portugal, é uma das instituições culturais que mais aposta na divulgação digital, nomeadamente nas redes sociais onde está presente. Através de um questionário online realizado a 160 jovens entre os 13 e os 25 anos foi possível identificar que os inquiridos vão a museus com pouca frequência; que gostariam de ver os museus como espaços interativos que incentivem à participação e ao diálogo; que estão presentes nas redes sociais e que, através dos conteúdos certos, apesar de mais de metade afirmar visitar o Museu Gulbenkian menos de uma vez por ano, tivessem vontade de o fazer mais frequentemente. Através da opinião de um conservador do Museu Gulbenkian e da responsável pela comunicação digital da Fundação Calouste Gulbenkian, foi possível concluir que ambos acham que o Museu Gulbenkian não é um espaço desenhado para os jovens e que as redes sociais são um meio fundamental para alcançar esta faixa etária. Com os resultados dos inquéritos realizados aos jovens e as propostas de solução para este problema dadas pelos entrevistados, é possível sugerir quatro estratégias de comunicação que tornem os museus “um lugar para se estar”, do ponto de vista dos jovens: apostar e desenvolver a aplicação mobile; fazer um passe que combine uma entrada no museu e um menu numa das cafeterias; realizar através das redes sociais passatempos para ganhar bilhetes para as exposições; apostar em eventos noturnos inseridos no Museu.

The Welland Canals Foundation, Honourable William Hamilton Merritt and the St. Catharines Historical Society and Museum, 1971-1990, n.d.

‘The Father of Canadian Transportation’ is a term commonly associated with William Hamilton Merritt. Although he is most known for being one of the driving forces behind the building of the first Welland Canal, he was many things throughout his life; a soldier, merchant, promoter, entrepreneur and politician to name a few. Born on July 3, 1793 at Bedford, Westchester County, N.Y. to Thomas Merritt and Mary Hamilton, Merritt’s family relocated to Canada shortly after in 1796. The move came after Merritt’s father petitioned John Graves Simcoe for land in Upper Canada after serving under him in the Queen’s Rangers during the American Revolution. The family quickly settled into their life at Twelve Mile Creek in St. Catharines. Merritt’s father became sheriff of Lincoln County in 1803 while Merritt began his education in mathematics and surveying. After some brief travel and further education Merritt returned to Lincoln County, in 1809 to help farm his father’s land and open a general store. While a farmer and merchant, Merritt turned his attention to military endeavours. A short time after being commissioned as a Lieutenant in the Lincoln militia, the War of 1812 broke out. Fulfilling his duty, Merritt fought in the Battle of Queenston Heights in October of 1812, and numerous small battles until the Battle of Lundy’s Lane in July 1814. It was here that Merritt was captured and held in Cheshire, Massachusetts until the war ended. Arriving back in the St. Catharines area upon his release, Merritt returned to being a merchant, as well as becoming a surveyor and mill owner. Some historians hypothesize that the need to draw water to his mill was how the idea of the Welland Canals was born. Beginning with a plan to connect the Welland River with the Twelve mile creek quickly developed into a connection between the Lakes Erie and Ontario. Its main purpose was to improve the St. Lawrence transportation system and provide a convenient way to transport goods without having to go through the Niagara Falls portage. The plan was set in motion in 1818, but most living in Queenston and Niagara were not happy with it as it would drive business away from them. Along with the opposition came financial and political restraints. Despite these factors Merritt pushed on and the Welland Canal Company was chartered by the Upper Canadian Assembly on January 19, 1824. The first sod was turned on November 30, 1824 almost a year after the initial chartering. Many difficulties arose during the building of the canal including financial, physical, and geographic restrictions. Despite the difficulties two schooners passed through the canal on November 30, 1829. Throughout the next four years continual work was done on the canal as it expended and was modified to better accommodate large ships. After his canal was underway Merritt took a more active role in the political arena, where he served in various positions throughout Upper Canada. In 1851, Merritt withdrew from the Executive Council for numerous reasons, one of which being that pubic interest had diverted from the canals to railways. Merritt tried his hand at other public works outside transportation and trade. He looked into building a lunatic asylum, worked on behalf of War of 1812 veterans, aided in building Brock’s monument, established schools, aided refugee slaves from the U.S. and tried to establish a National Archives among many other feats. He was described by some as having “policy too liberal – conceptions too vast – views too comprehensive to be comprehensible by all”, but he still made a great difference in the society in which he lived. After his great contributions, Merritt died aboard a ship in the Cornwall canal on July 5, 1862. Dictionary of Canadian Biography Online http://www.biographi.ca/EN/ShowBio.asp?BioId=38719 retrieved October 2006 Today numerous groups carry on the legacy of Merritt and the canals both in the past and present. One such group is the Welland Canals Foundation. They describe themselves as: “. . . a volunteer organization which strives to promote the importance of the present and past Welland Canals, and to preserve their history and heritage. The Foundation began in 1980 and carries on events like William Hamilton Merritt Day. The group has strongly supported the Welland Canals Parkway initiative and numerous other activities”. The Welland Canals Foundation does not work alone. They have help from other local groups such as the St. Catharines Historical Society. The Society’s main objective is to increase knowledge and appreciation of the historical aspects of St. Catharines and vicinity, such as the Welland Canals. http://www.niagara.com/~dmdorey/hssc/dec2000.html - retrieved Oct. 2006 http://www.niagara.com/~dmdorey/hssc/feb2000.html - retrieved Oct. 2006

The New-York Weekly Museum Newspaper, Vol. II, No.24- October 16, 1813

A weekly paper that was published from 1805 to 1814. War related news includes: Page 95 - Weekly Retrospect: relief effort in London, England for those affected by the war in British North America; naval battles on Lake Ontario by Commodore Chauncey in late September; movements of Major Grant, De Rottenburgh's regiment, General Wilkinson, Commodore Yoe's fleet, General Hampton; the capture of Fort Malden by William Harrison. The rest of the newspaper contains literary works (poems and translations), marriages, deaths and other anecdotes. The motto on the front page states: "Visiting Every Flower with Labour Meet, and Gathering all its Treasures, Sweet by Sweet."

The New York Weekly Museum Newspaper, Vol. II, No.25- October 23, 1813

A weekly paper that was published from 1805 to 1814. War related news includes: Page 99 - Weekly Retrospect: American report on British naval movements near Louisiana; General William Harrison reports on: a victory at Moravian Town (Moraviantown) on October 5; Ottawas, Chippewas, Wyandots Miamies and Delaware First Nations (Indians) leaving the British side; Tecumseh remaining with the British; American army and navy attempt for a reduction of Mackinac and St. Joseph's; Colonel Chapin attacking a British picket guard near Fort George on October 6; Report that the British have abandoned the Fort George area for Kingston and is being pursued by General McClure; Forces in Sackett's Harbour ready for an attach on Canada; General Provost believed to have left Kingston for Montreal with 1000 men; Report from Burlington (Lake Champlain) of an attack on St. Armands against Colonel Clark on October 15; Report of the American's taking of the Packet Morgiana by the Schooner Saratoga under Captain Adderton by Newport; Announcement by the New York City Common Council for a celebration of Perry and Harrison's victories on the evening of October 23. The rest of the newspaper contains literary works (poems and translations), marriages, deaths and other anecdotes. The motto on the front page states: "Visiting Every Flower with Labour Meet, and Gathering all its Treasures, Sweet by Sweet."

The New York Weekly Museum Newspaper, Vol. I, No.25- October 24, 1812

A weekly paper that was published from 1805 to 1814. The motto on the front page states: "Visiting Every Flower with Labour Meet, and Gathering all its Treasures, Sweet by Sweet."

The New York Weekly Museum Newspaper, Vol. II, No.26- October 30, 1813

A weekly paper that was published from 1805 to 1814. War related news includes: Page 103 - Weekly Retrospect: Reports on the Napoleanic Wars in Europe; Possible French and English troop movements from Europe to America and Canada; Mention of British vessels captured by American privateers Scourge, Rattlesnake and Lion; Report on New York celebration of Commodore Perry and General Harrison's victories on Lake Erie and in Canada respectively; Creek Indians attack on a supply convoy near Savannah, the provisions were recovered by General Floyd; General Harrison's account on Moravian Town (Moraviantown) and Munsey; Movements of General Wilkinson's army. Page 104 - an editorial about the madness of the times and its reflection on humanity. The rest of the newspaper contains literary works (poems and translations), marriages, deaths and other anecdotes. The motto on the front page states: "Visiting Every Flower with Labour Meet, and Gathering all its Treasures, Sweet by Sweet."

The New York Weekly Museum Newspaper, Vol. I, No.26- October 31, 1812

A weekly paper that was published from 1805 to 1814. War related news includes: Page 103 - Weekly Retrospect: Troop movements of Captain Morgan and a company of light dragoons from Niagara to Greenbush; report on the Battle of Queenston Heights including a casualty listing and a mention of the death of Major General Isaac Brock and Colonel McDonald and the American's respect for Brock; British attach of Fort Erie and the Village of Black Rock; the privateer Globe under Captain Murphy returning to Baltimore after capturing a British letter of marque; First Nation / Indian attacks near St. Louis; movements of General W. Harrison and army from Fort Defiance to the rapids of Miama (Miami). The rest of the newspaper contains literary works (poems and translations), essays (including on celibacy), marriages, deaths and other anecdotes. The motto on the front page states: "Visiting Every Flower with Labour Meet, and Gathering all its Treasures, Sweet by Sweet."