In 1997, Mark Jacobs Jr., the leader of the Tlingit Angoon Dakl’aweidí clan, stood in a hall at the Denver Museum of Nature and Science (DNMS), proudly wearing the Killer Whale Clan Hat, which was being repatriated to his clan. 1 In proper Tlingit
Ceremonies of Sovereignty
This article is concerned with some of the implications of the fact that Europe is so widely seen as a place replete with heritage, museums and memory, and also with the continuing expansion in numbers and types of heritage, museums and memory. It seeks to explore some of the ways in which heritage, in particular, is understood (including what it calls 'sticky heritage'), and especially the cultural and social work that it is often seen as able to do. To this end, the article reviews a number of trends in heritage developments, especially the diversification of what it calls 'Museum Europe' (e.g. in the establishment of museums or exhibitions about migration) and the kinds of citizenship that this mobilises. Some of the dilemmas as well as capacities of these developments are discussed. At the same time, the article reviews some of the directions in heritage research and the implications of this, and of 'Museum Europe' itself, for anthropology, ethnology and related disciplines.
When visiting the Severobaikal'skii Museum of Local History in Nizhneangarsk in 2012 and later in 2016, I had a sense of the unquestionable reality of the community through the representation of its place in the history of Russia. A visitor can read
This article reflects on the project of creating multicultural inclusive museums. By definition, an inclusive museum honors the cultural constituencies it is paid to serve. Yet in reality, cultural sensitivity is one thing and education another. Blurring the distinction risks sacrificing education, a moral mandate, to the ideal of equality. My article points to examples where, for fear of offending, a museum betrays its educational mission. I trace the affinity between inclusive museum politics and consumerist culture and consider the case of the Creation Museum-a museum that, as per the multicultural ideal, tailors science to the sensibility of its customer base, in this instance the sensibility of American biblical literalists.
A New Paradigm for Understanding Belonging?
’ to varying concepts. It will do this through analysis and observations of individual and collective human encounters with objects, voices, people and place, all articulated within the space of a museum. This article explores the personal, individual
Michael D. Picone
Initially, being mass produced and sequential, comic art was excluded from fine art museums. Some comics artists themselves have expressed ambivalence about the value of inclusion (but counter-arguments are proposed, challenging the perception of incompatibility). However, a pivotal element in the break from the ranks of artistic modernism has been the appropriation of comic art motifs for use in museum-grade pop art, figuration narrative and their successors. In counterpoint, comic art is replete with examples of museum art being appropriated in order to obtain diegetic enrichment of various sorts, either for the purpose of parody or in relation to plot construction. Against this backdrop, and abetted by the twin challenge that art museums are facing to remain relevant and to increase revenue, a game-changing development is afoot, leading to a co-operative re-positioning of art museums and comics artists. With the Louvre taking the lead, many art museums in France and Italy are now commissioning works of comic art based on the museum's own collections, often launched with companion exhibits. The resultant 'art within art' lends itself readily to rich experimentation with themes incorporating intertextuality and parallel narrative.
Drawing on a narrative study of Australian visitors to the Immigration Museum in Melbourne, this article explores the hermeneutic complexities of migration encounters through the meaning-making processes of museum visitors. Throughout this process of interpretive negotiations, museum exhibitions and visitor biographies become intertwined through narratives of migration. The empirical evidence emphasizes that the humanization of migration through stories and faces renders possible an understanding, explanation, and critique of sociopolitical contexts through the experience of human beings. Migration emerges as a practice that transforms cosmopolitanism from an abstract, normative ideal into a lived, interpreted reality. This article, then, is devoted to the cosmohermeneutics of migration encounters, that is, to an experienced and thus “actually existing cosmopolitanism” (Malcomson 1998) that entangles self and other through visitors' interpretive dialectics of reflexivity and empathy. The article suggests a cosmopolitan museum practice that opens interpretive spaces for shifting subjectivities and multiple identifications across differences and commonalities.
By looking at the numerous small palace museums founded in the Cameroonian Grassfields since the early 2000s, this article interrogates the meaning and function of displays of objects and narratives in the shifting social, political, and economic landscape of contemporary Cameroon. Museums in postcolonial Africa stem from very specific colonial premises, which are still relevant to the understanding of national narratives and displays. However, palace museums in the Grassfields engage in a different and somewhat contrasting use of objects and collections to present a more nuanced and complicated image of local societies. Through their eclectic and non-canonical display, these museums challenge ethnographic taxonomies and linear narratives, while serving effectively as ways to enhance the visibility and prestige of local kingdoms both nationally and internationally.
Economic and Socio-Political Uses of Heritage
This article focuses on the representation of the Highland Clearances – one of the most painful and controversial themes in modern Scottish history – in Scottish museum spaces. It brings to light the social, economic and political implications of the interpretation of this period through a survey of twelve independent local museums and two national museums. It argues that the Clearances have become a crucially defining landmark at a local but also national level. Yet the way the Clearances are represented in narratives differs significantly, showing the extent to which the meaning ascribed to the clearing process and its consequences is socially and historically conditioned. Whilst the symbolic and emotional resonance of the period as a traumatic rupture prevails, it has also come to articulate a political vision intrinsically linked with land reform in a devolved Scotland, and a transnational identity owing much to the imaginary of the Scottish diaspora.
A Conversation with Barbara Kirshenblatt-Gimblett
What was the first museum you remember visiting? I was born in September 1942 during the war. My parents came from Poland. Three weeks after I was born, 6,500 Jews from my father's hometown, Opatów (Apt, in Yiddish), 65% of the population