Heritage has a dual character whereby it can, at the same time, be celebrated for its outstanding universal value while having a special meaning and value for local and, in particular, bearer communities. Basing protection on the former notion of heritage as a universal, global value has been the dominant approach in international law-making since the second half of the twentieth century. More recently, the significance of heritage to local actors has become much better understood and recognised. The tensions associated with this duality have in recent times become evident with the adoption by UNESCO in 2003 of the International Convention for the Safeguarding of the Intangible Cultural Heritage. In this treaty, international cultural heritage law-making has shifted from a paradigm that gives value predominantly to the material heritage – monuments, sites, artefacts and other objects – to one that celebrates a living heritage that is primarily located in the skills, knowledge and know-how of contemporary human beings. This article examines the aforementioned shift from an emphasis on global to local heritage and the role museums can play in this with regard to safeguarding intangible aspects of heritage.
Intangible Cultural Heritage and the Role of the Museum
Toward an Alternative Account of Museums in Cultural and Urban Development
Over the last twenty-five years or so there has been a ‘cultural turn’ in urban development strategies. An analysis of the academic literature over this period reveals that the role of new museums in such developments has oft en been viewed reductively as brands of cultural distinction with economic pump priming objectives. Over the same twenty-five year period there has also been what is termed here a ‘libertarian turn’ in museum studies and museology. Counterposing discussions of the museum’s role within urban development with discussions from within the museum studies literature on the ‘post-museum’ reveals the dichotomous nature of these approaches to the museum. This article proposes instead a consideration of the phenomenotechnics of new museum developments. This approach presents a way of taking account of both technical and symbolic conditions and characteristics and in doing so, it is hoped, provides a way of analyzing the ‘realpolitik’ of the role of museums in urban development.
Greagh Smith, Conal McCarthy, Bronwyn Labrum, Ken Arnold, Dominique Poulot, Jill Haley, Jun Wei, and Safua Akeli Amaama
, various approaches to engagement, and the growing social role of museums in relation to their communities. Museum anthropology is seen as a type of “cultural work” (4). The expert mapping of the contemporary field of museum anthropology in Chapter 2
Sheila K. Hoffman, Conal McCarthy, and Billie Lythberg
foreign values, while in response others suggested that reticence to change was tantamount to bigotry. The words and emotions were powerful reminders of the passion of museum practitioners and the important role of museums, but moreover the extraordinary
Reframing Africa at the Royal Ontario Museum
immobility of the museum and its ability to maintain its relevance as a heterotopic repository. In his seminal 1971 article, Duncan Cameron analyzed the shifting role of museums from temple-like structures to platforms for public engagement. By the end of the
Kylie Message, Masaaki Morishita, Conal McCarthy, and Lee Davidson
opportunities to increase the value and influence of their institutions. It is to be hoped that it is the start of a conversation about the existing and potential role of museums on the world stage, one that warrants much further research and critical engagement
Remaking the World Cultures Displays at the National Museum of Scotland
curiosity, advancing knowledge and learning, and encouraging appreciation of science, culture, technology, and art. In all these discussions of universalism, we have various proposals as to the role of museums in fostering a cosmopolitan consciousness in its
The Second World Museologies Workshop, National Museum of Ethnology (MINPAKU), Osaka, December 2019
Laura Osorio Sunnucks, Nicola Levell, Anthony Shelton, Motoi Suzuki, Gwyneira Isaac, and Diana E. Marsh
deconstructions relating to the alienation engendered by the “modern” condition and late-stage capitalism, as well as to image/object/art production and the contemporary role of museums ( Henríquez and De Santa Ana 2019 ). Shelton's presentation of Estévez
A Survey of Responses on the Current Crisis
Joanna Cobley, David Gaimster, Stephanie So, Ken Gorbey, Ken Arnold, Dominique Poulot, Bruno Brulon Soares, Nuala Morse, Laura Osorio Sunnucks, María de las Mercedes Martínez Milantchí, Alberto Serrano, Erica Lehrer, Shelley Ruth Butler, Nicky Levell, Anthony Shelton, Da (Linda) Kong, and Mingyuan Jiang
://www.smithsonianmag.com/smithsonian-institution/smithsonian-museums–close-amid-coronavirus-outbreak-180974399/ . Evening Post . 1918 . “ Local and General .” Evening Post 96 , 138 , 7 December . https://paperspast.natlib.govt.nz/newspapers/EP19181207.2.41 . Gaimster , David . 2020 . “ Role of Museums in the Past, Present and Future
A New Paradigm for Understanding Belonging?
of museums in understandings of all of these, and museum-focussed research as a method in itself. Understanding ‘Home’ What is home? While ‘where is home?’ might be a more familiar question, understanding the idea of ‘home’ and how this word