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)

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.

Roles and Responsibility of Digital Engagement Managers in Art Museums

Thesis (Master's)--University of Washington, 2016-06

A new concept for museum training in Germany

To talk about a new concept for museum training seems perhaps, to be a little bit exaggerated. For long time you have all been talking about concepts and contents for museum training and as I figured out the debate on the topic in Germany is as old as the appearance of national museums in the 19th century. Men like Theodor Mommsen, Rudolph Virchow, Alfred Lichtwark, all well known historians and supporters of the museum idea, spoke and wrote not only about the importance of museums as cultural and educational institutions but also supported the idea of professionalisation of museums work. Some of the ideas of our ancestors are still part of an ongoing discussion. The topic of my talk today will be what king of personnel a museum of our time needs to cope with the growing demand for internal and external organization. I shall present to you a new training program for museum workers in Germany which aims not to produce a new group of researchers but to prepare students for the practical work in the museum field.

Working in partnership with the Museum Training Institute providing in service training for museum personnel

The South Eastern Museums Service is one of ten Area Museums Councils in Great Britain. They are partnerships; membership organizations to which the 2 000 + museums belong. They provide advice, support, technical services, information and training for their members. They are the principal channel of government grant-in-aid to local government, university and independent museums. This funding comes from the Department of National Heritage via the Museums & Galleries Commission. At the South Eastern Museums Service I am responsible for the development and delivery of training for 600 museums in our region and the provision of information about museums and of interest to museums. This paper explains how we approach in-service training and the value of the definition of national standards for our work. It will pose some questions: What is training? What is a training need? and describe a new initiative, the development of training materials and their delivery.

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.

Museums and quality, from the concept of the museum that carries out functions to the museum that provides services

Quality management Self-evaluation of the organisation Citizens/customers satisfaction Impact on society evaluation Key performance evaluation Good practices comparison (Benchmarking) Continuous improvement In professional environments, when quality assessment of museums is discussed, one immediately thinks of the honourableness of the directors and curators, the erudition and specialisation of knowledge, the diversity of the gathered material and study of the collections, the collections conservation methods and environmental control, the regularity and notoriety of the exhibitions and artists, the building’s architecture and site, the recreation of environments, the museographic equipment design. We admit that the roles and attributes listed above can contribute to the definition of a specificity of museological good practice within a hierarchised functional perspective (the museum functions) and for the classification of museums according to a scale, validated between peers, based on “installed” appreciation criteria, enforced from above downwards, according to the “prestige” of the products and of those who conceive them, but that say nothing about the effective satisfaction of the citizen/customers and the real impact on society. There is a lack of evaluation instruments that would give us a return of all that the museum is and represents in contemporary society, focused on being and on the relation with the other, in detriment of the ostentatious possession and of the doing in order to meet one’s duties. But it is only possible to evaluate something by measurement and comparison, on the basis of well defined criteria, from a common grid, implicating all of the actors in the self-evaluation, in the definition of the aims to fulfil and in the obtaining of results.

The new professional: underdog or expert? New Museology in the 21th century

For a long time, museum’s form and function were impregnated with social exclusion, only accessible for a prosperous and educated minority. It held the monopoly on the past and therefore in a way on the present and the future. However times have changed and different perspectives on museum practices have been taken. In 1989 the British Peter Vergo mentioned as quoted below, a number of possible museologies, including a ‘new’, and therefore presumably an ‘old’ type of museology: “At the simplest level I would define it, as a state of widespread dissatisfaction with the ‘old’ museology, both within and outside the museum profession; and though the reader may object that such a definition is not merely negative, but circular, I would retort that what is wrong with the ‘old’ museology is that it is too much about museum methods, and too little about purposes of museums; that museology has in the past only frequently been seen, if it has been seen at all, as a theoretical and humanistic discipline.” (Vergo, 1989)

Training for museums and the National Charter for museum professions in Italy: a new prospective for development

Traditionally Italian universities have trained researchers and professionals in conservation: archaeologists, art historians and architects. It is only with the reform of the universities, from 1999, that the teaching of museology and museography have also been expanded.Italian museums are for the most part public museums, depending on local bodies or the national ministry; they lack autonomy and do not possess specific professional figures. The task of conservation has predominated over the other roles of museums, but with the reform of the conservation law in 2004 the definition of „museum‟ has been introduced in Italy as well, and regulations regarding the development of heritage have been issued; in addition the Regions have also taken on a more active role for museums belonging to local bodies and for the development of their territory.Museum professions are not officially recognised, but the museum community, through the various associations and ICOM Italia, has put together a document to act as a general reference, the National Charter of Museum Professions, which has been followed by the Manual of Museum Professions in Europe. Now there is a need to plan the content and outlines ofvocational training courses for museum professionals, together withthe universities, the regions and the museums themselves, alongwith the associations and ICOM – ICTOP, utilising the mostinnovative Master‟s courses which offer an interdisciplinaryapproach, a methodology which combines theory and practice, andan element of hands-on experimentation in museums, or withmuseums.

Museum Studies Borderlands: negotiating curriculum and competencies

Given ICTOP‘s work on revising the curriculum guide using the competencies approach (2000-2008), the author asks whether it is possible to reflect some of the issues and conceptual underpinnings that are at play in the discourse of museology/museum studies as a field of study and pedagogy when designing curriculum when taking the competencies approach. Until we address this question, ICTOP‘s work will have little relevance for the design of syllabi/curriculum by post-secondary institutions. This presentation lays out some of the professional issues underlying and the role for critical reflexive professionalism which can bridge theory and practice, competencies and epistemological knowledge and s how a way forward. Then it moves to address some of the territories where critical discussion is at work that would extend the curriculum discussions of ICTOP, while pointing to some developments that offer a museology of possibilities.

The National Museum of Mongolia successful strategies and lessons learned

Enkhnaran will discuss issues for professional education raised by museums and tourism companies, which share similar objectives in the sense that each aim to provide their guests with quality information entertainment and a memorable experience. With limited budget capabilities, it is especially important for museums to co-operate with tourist companies in order to attract new and repeat visitors as well as generate important revenue.

The Baltic Museology School : its role in the professional education system

Due to various reasons museum employees from the Baltic States rarely use the chance to study museology abroad. Therefore the State Authority on Museums of Latvia in collaboration with ICOM-Latvia decided to ―deliver‖ this knowledge, by inviting internationally acknowledged lectors from different countries to widen the scope of takers of this opportunity. Estonian and Lithuanian colleagues are also joining in the project, which is included in the cooperation programme of the Ministries of Culture of the Baltic States.

Object-love at the Science Museum: cultural geographies of museum storerooms

The field of museum geography is taking on new significance as geographers and museum-studies scholars make sense of the spatial relations between the people, things, practices and buildings that make and remake museums. In order to strengthen this spatial interest in museums, this paper makes important connections between recent work in cultural geography and museum studies on love, materiality and the museum effect. This paper marks a departure from the preoccupation with the public spaces of museums to go behind the scenes of the Science Museum in London to explore its rarely visited, but nonetheless lively, small-to-medium-sized object storerooms at Blythe House. Incorporating field diary entries and interview extracts from two research projects based upon the museum storerooms at Blythe House, this paper brings to life the social interactions that take place between museum curators and conservators and the objects they care for. This focus on object-love enables scholars to consider anew what museums are and what they are for, the life of the museum object in the storeroom, and the emotional practices of professional curatorship and conservation. This journey into the storeroom at Blythe House makes explicit how object-love shapes museum space.

Recovering from Natural Disasters: Helping Museum Employees Return to Workplace Normalcy

Thesis (Master's)--University of Washington, 2016-06

Long-Term Impacts of a Museum School Experience on Science Identity

Thesis (Master's)--University of Washington, 2016-06