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SeSSion 4: Regional Development
Museum for National Policy of Sustainable Development of Local Community
SeSSion
4
04-Session4 .indd 1 2015. 10. 23. 11:46
CONTENTS
Museums in the Life of the City 5
MUSEUM FOR NATIONAL POLICY OF SUSTAINABLE DEVELOPMENT OF LOCAL COMMUNITY 35
A Whole of Museum Approach to Collaboration with Australias First Peoples 67
The Role of Museums for Sustainable Development of Local Communities: A Case of South Korea 91
:
Museums and Museology in Romania 95
Museums in Slovenia (EU) 125
(EU)
Local communities and cultural capital- Case study of the Village Museum Project by Hello Museum 149
-
Conservation and Establishment of Fort Alice Museum, Sarawak, Malaysia: A Testimony of Public and Local Community Partnership 167
:
Egyptian Museums in the Twenty-First Century 199
21
MASTER SCHEME FOR DEVELOPMENT OF VIETNAM MUSEUM SYSTEM TO 2020
217
2020
Tourism program developed with the eco-museum approach 233
(eco)
Museums in the Mongolian Society: Changes and Transformation 265
:
Museums in Tanzania: National Policy and Functions in the Society 279
: ,
Educational projects of the National museum of Republic of Buryatia and their influence on the region development 299
National Policy and Museums Function in Society, Case of Uganda Museum 317
:
Session 4
[Regional Development] Museum for National Policy of Sustainable Development of Local Community
[]
Museums in the Life of the City
Mark O'Nell ( )
Director in Policy & Research for Glasgow Life( )
7
Museums in the Life of the City
Mark O'Nell
SummaryGlasgow is Scotlands largest city. Founded 1300 years ago, in the 19th
century the city was a global leader in the production of ships, locomotives
and engineering products and was known as the Workshop of the World.
When the iron, steel and steam age economy collapsed in the 1960s and
1970s, Glasgow lost nearly half its population and became one of the
poorest and most unhealthy cities in Western Europe. Described in one
book as The City that Refused to Die, Glasgow has made huge progress in
recovering from this low point. In 2009, the city was named by the Lonely
Planet Guides as one of the top ten places in the world to visit, and in 2014
it was the fifth most visited tourist city in Britain. Glasgow still has many
problems, but the recovery has been significant, with the population growing
again for the first time in 50 years. And museums have been at the heart of
this transformation. Glasgow was the first city in the UK to use culture, and
museums in particular, to lead economic, social and cultural regeneration.
This essay describes how, since the 1980s all aspects of the museum
service have been modernised to: engage local communities; improve civic
morale; preserve and provide public access to collections in store; and to
attract regional, national and international tourists. Museums are at the
heart of Glasgows civic life and international engagement.
Glasgow: A Brief HistoryGlasgow began as a religious settlement founded by a Celtic saint St
Mungo- in the 7th century, there is a 12/13th century cathedral built on the
site of his grave.
8
Near the Cathedral is Provands Lordship, a medieval house dating from 1475
which is one of the Citys museums.
By 1800 Glasgow was a beautiful Georgian city of 70,000 people famous for
its merchants and for its university, which was founded in 1451.
9
Glasgow in 1826, by John Knox
Glasgows industrial expansion in the 1800s was the fastest in world history
until the Soviet modernisation programme of the 1920s. Glasgow was of
course most famous for its ship building. In 1913, two thirds of all the
shipping tonnage built in the world was built in Glasgow. By 1900 Glasgow
had a population of over a million and was the fifth largest city in Europe,
after London, Paris, Berlin and Vienna. The wealthy classes of the city
founded great cultural institutions, including the first civic art Gallery in the
UK in 1857, the Peoples Palace museum and Kelvingrove Art Gallery and
Museum, as well as supporting world class artists like Charles Rennie
Mackintosh, the art nouveau designer and architect.
10
A Glasgow-built locomotive being taken to the docks for shipping to Egypt,
1949.
When the iron, coal and steel economy collapsed in the 1970s and 1980s,
Glasgow experienced a deep and damaging recession, to the extent that the
Scottish Government assumed that the task of the City council was to
manage decline and advised businesses not to invest there. Between 1950
and 1980, the population fell by nearly 50%, to fewer than 600,000. In 1985
25% of the adult population was unemployed and the city developed a very
bad reputation. London newspapers said that Glasgow was worse than East
Berlin and had No vision in the face of urban devastation. But the city
fought back, in the spirit captured in the title of a 1988 book by Michael
Keating, called The City that Refused to Die. A key part of the citys fight
back was culture, beginning with the opening of the Burrell Collection in
1983. A major step in transforming the Citys global image and
self-confidence came with the title of European City of Culture in 1990.
Glasgow was the first UK city to use culture to lead its regeneration and to
transform its international image. Twenty-five years later it is still seen as the
most successful European Capital of Culture.
11
Medieval Stained Glass in the Burrell Collection
Glasgows population has only begun to grow again in the past 10 years,
which is a major sign of success for the city. Today Glasgow is visited by
over 2.5 million tourists each year, and is the fifth most visited tourist city in
the UK. In 2009 the Lonely Planet guide named Glasgow as one of the top
ten places in the world which tourists should visit.
Despite what Bill Bryson called this glittering transformation however, we still
have many social problems, with a third of the population living in poverty.
To use one indicator to compare the social problems facing Korea and Great
Britain, both countries have the same general level of child poverty, at about
10%. In Glasgow the figure is 33%. One third of the citys children live in
poverty. To look at another indicator, male life expectancy in the UK is
also the same as in Korea, about 81 years. In the poorer parts of Glasgow,
the average life for men is 56 years. In Glasgow we believe that this kind of
12
inequality is part of the business of museums.
Inequality is increasing across the world and we believe that unless you are
working to reduce inequality, you are supporting that increase.
But what can museums do? How can museums respond to these social
problems, and to these different pressures to attract tourists, and to cater
for the most excluded people in society? Today, Glasgow runs the largest
civic museum service in the UK. Despite or perhaps, because of its
problems, Glasgow spends more per head of population on museums than
any other city in the UK. Museums are part of the life of the city, and most
people of all social classes feel they own the museums all of which are
free to enter.
In 2006 we reopened the citys main museum, Kelvingrove, after a 30
million refurbishment. Before it closed it received 1 million visits a year,
making it the most visited museum in Britain outside London. Our aim in the
refurbishment was to make the core, the very heart of the museum
accessible.
13
Kelvingrove originally opened in 1901, the last great achievement of the
Enlightenment encyclopaedic museum movement in Britain. It had everything
from a stuffed elephant to major works of art by Dali and Rembrandt.
Beyond the individual displays, the overall message we wanted to
communicate was that the museum belongs to everyone in the city.
Kelvingrove Archaeology Gallery before refurbishment
14
Kelvingrove Archaeology Gallery after refurbishment
The architectural strategy for Kelvingrove was simple: to restore it to its
Victorian condition, while modernizing all the services for 21st century visitors,
and 21st century technology: the building hadnt been rewired since 1899.
Over the years various galleries had been partitioned off to create offices,
meeting rooms and education spaces. These functions were moved to new
public areas in the basement and these accretions removed, so that the
original vistas and circulation patterns of the building were restored. These
removals allowed more daylight into the building, and a new lighting scheme
was installed to highlight the architectural features. The most striking change
however was achieved by cleaning the beautiful blond sandstone, so that the
buildings original colour scheme can now be appreciated.
Works by Charles Rennie Mackintosh and Margaret MacDonald Mackintosh in
Kelvingrove.
Creating new displays involved a complete rethink of the philosophy of the
museum, not just updating the old galleries. The new displays are based on
an assessment of the most interesting objects or groups of objects amongst
the entire 1.4 million in the Citys vast collection. Curators proposed over 200
stories which were eventually whittled down to the 100 on display. We
decided, to retain the Victorian feel of the museum, to double the number of
objects on display. Each of these 8,000 objects had to be cleaned and if
necessary restored, each had to have a new display mount designed and
15
made. Keeping track of the objects as they were processed and then
installed was in itself a mammoth task. Each object forms part of a story
which needed to be written to rigorous standards of research and
accessibility the displays involve a total of nearly 250,000 words. To put
the objects in their cultural or natural contexts nearly 10,000 photographs
were selected and ordered from museums and libraries all over the world.
No single display method was chosen every story used the communication
method which worked best for its content and its envisioned audience.
Perhaps the greatest challenge was organizing the vast range of material and
display approaches into a coherent whole, to ensure that the museum had a
sense of unity. Evolved over decades the key elements of this vision are
that the displays were:
Object Based
The essence of museums is that they inspire appreciation and learning
through real things. We wanted to introduce the best modern display
methods but not at the expense of objects. This is the basis of our
commitment to double the number on display.
Visitor Centred
The museum aimed to welcome every visitor no matter what their
background or prior knowledge and to provide a way in to understanding the
wonderful objects on display. Extensive consultation with visitors and
non-visitors, as well as the latest psychology of communication and learning,
inform the displays.
Storytelling
Rather than summarize subjects (like Art History, Archaeology or Geology),
the museum focuses on telling the most interesting stories about the most
interesting objects. By focusing on the strengths of the collection, we dont
have to fill gaps with graphics or books on the wall. By using narrative
rather than the structure of subjects, the displays are able to function at
16
many different levels accessible to the novice, but resonant for the
knowledgeable visitor.
Flexible
Because each of the 22 Galleries shows four to eight separate stories under
a broad theme, individual stories can be changed without having to redisplay
entire galleries. This is one of Kelvingroves major innovations; it is a
genuinely flexible museum. By changing three of four stories a year, it is
able evolve over time, remain up to date and respond to new discoveries
and public interests.
Every change we made was informed by a huge programme of research,
with extensive surveys and focus groups with visitors and non-visitors. We
had an Education Advisory Panel, a Community Forum, a Disability Advisory
Panel and a Junior Friends of Glasgow Museums Board. We did a survey of
how people used the building, and discovered that 85% of visitors never
went upstairs. We asked people about their Favourite objects, their prior
knowledge and interests, their Learning preferences for new subjects. Many
museums now do consult the public, they often ignore the results
apparently the public often want the wrong thing. So when parents said they
found it hard to interest their children in the paintings, which meant that they
did not see the paintings themselves, as they were dragged away after a few
minutes, we created a quiet family interactive in the middle of the
Impressionist Gallery.
More broadly, our aim for Kelvingrove was to use the breadth of the
collection to embrace a wide range of human experiences, so the displays
not only embrace great art, alongside spitfires and polar bears, but also
paintings by Marianne Grant which she did in the Nazi concentration camp of
Bergen Belsen. If you think of the range of human experience evoked in
novels or the cinema, you realise how narrow museums can be in the
human stories they choose to tell.
17
The Open MuseumOne of the ways we learn about our communities is through outreach work.
Our outreach team The Open Museum aims to bring the museum
experience to people and communities who might not, for whatever reason,
visit our venues. Their work ranges from lending handling kits to community
groups, to working with Glasgow Central Mosque, where we work with a
group of women who visit our stores once a year and select objects for a
display. Many museums do this kind of outreach work, engaging intensively
with small groups, sometimes ending in displays within the museum. Our
concern is that it can easily become a way of avoiding creating access to
the core. While we will always want to provide an outreach service, our main
aim is to learn from engagement with communities to ensure the core of our
museums the displays in the prestigious centre is accessible.
Glasgow Gallery of Modern Art (GoMA)GoMA opened in 1996, as part of the citys commitment to modern art and
as a symbol of the future. The Gallery views with Tate Liverpool for the title
of most visited contemporary art gallery in the UK outside London. It attracts
over 500,000 visits a year, including a very wide range of local people as
well as tourists. Part of the programme there has been a series of
exhibitions on contemporary art and human rights, which we put on in
collaboration with Amnesty International. Here you can see an exhibition on
violence against women by Barbara Kruger. The aims included challenging
destructive social attitudes as well as representing the real lives of women
who suffer abuse. Another exhibition in this series his was an exhibition of
art about Lesbian, Gay, Bisexual, Transgender and Intersex lives. Here you
can see some of the works in the exhibition. One of the outreach projects
involved a work which invited people who had been excluded from the Bible,
especially LGBTI people, to write themselves into the text. This was
extremely controversial and we were subject to concerted campaigns by right
wing Christians for many months. So, this kind of work is not without its
risks, though I think we were nave about those risks and have become
18
much better at managing them now.
StorageMuseum Storage is not an obvious place to apply the principles of access to
the core. In the past 15 years Glasgow has spent 30 million on new state
of the art storage for its collections. The citys politicians agreed to this, on
the simple principle that the people owned the objects and should be able to
see it, seven days a week, without having to justify their interest. The stores
are designed for material to be visible, for public tours and events. We get
about 20,000 visits to our stores each year, about half of them from school
children.
The Riverside MuseumGlasgow opened a Museum of Transport in 1963, when the rise of the motor
car and the motorway led to the abolition of electric trams. In 2001 the City
decided to move this museum to the bank of the River Clyde as part of its
regeneration strategy. The building was designed by the famous Iraqi
architect Zaha Hadid, described as the worlds first great female architect and
incorporated the sailing ship Glenlee which was built in Glasgow in 1896.
The use of a starchitect has led to comparisons with the Guggenheim in
Bilbao, but there is one crucial difference the museum is full of local
history, not international art. It was renamed the Riverside Museum:
Scotlands Museum of Travel and Transport and opened in 2011, winning the
European Museum of the Year in 2012.
The development of the Riverside museum took the principles of public
engagement through consultation and visitor studies developed for Kelvingrove
to the next stage, reaching a new level of depth. We had a very traditional
collection which focused on technology. Because of our interest in stories of
human experience we created a much more representative museum that was
about the experience of travel and mobility, drawing on a much wider range
of the collections, including costume, decorative arts, history, archaeology and
19
paintings. Since the museum opened displays have already changed to
become more representative. One new story is about people from Pakistan
who moved to Glasgow in the 1960s and the many of them who worked as
drivers on the buses. Another is about disability and travel. The Riverside
doesnt have a temporary exhibition space and aims to retain its audience
through changing individual displays and events. Every summer it has a
beach outside the museum, recognising the importance of social activity for
non-traditional visitors.
The Burrell Collection: The Next StageGlasgows cultural regeneration began with the opening of the Burrell
Collection in 1983. The next stage of our regeneration will be led by a
refurbishment and renewal of the museum, due to reopen in 2020. As part
of the promotion of the Collection and the City some of its main treasures
will tour America and we hope Korea. We hope you will be able to visit
Scotland one day, but perhaps you will be able to see some of our greatest
museum objects in Korea sometime soon.
Medieval Sculpture from the Burrell Collection
20
ConclusionFirst, museums have to decide whether inequality is our business. We have
to take a position. We are either resisting increased in equality or supporting
increased inequality. Because inequality is increasing all the time neutrality
not possible. Our underlying aim in Glasgow is to make museums which are
deeply rooted in a sense of place of our own history and traditions, but can
speak to the entire world, welcome new citizens and evoke any human
experience, from sublime creativity of Rembrandt to the horrors of the
Holocaust.
The range of human experience in museums: Man in Armour by
Rembrandt; and a painting of a prisoner checking for lice in Belsen
concentration camp by Marianne Grant.
Through visitor studies, through outreach, through challenging prejudice we
aim to make our museums accessible at their very core. These deep local
roots mean that the museums are more, not less, interesting for tourists.
We believe that museums can be rich sources of hope, meaning and social
connection and they should therefore be accessible to all.
21
The temporary beach at the Riverside Museum
All images courtesy of Glasgow Museums
22
:
(Mungo) 7
(Glasgow) . 12,13 .
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23
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24
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Session 4
[Regional Development] Museum for National Policy of Sustainable Development of Local Community
[]
MUSEUM FOR NATIONAL POLICY OF
SUSTAINABLE DEVELOPMENT OF
LOCAL COMMUNITY
Adediran Nath Mayo ( )
Previous President of the Nigerian Museums at the National Commission for
Museums and Monuments (AFRICOM) ( )
37
MUSEUM FOR NATIONAL POLICY OF
SUSTAINABLE DEVELOPMENT OF LOCAL
COMMUNITY
Adediran Nath Mayo
Introduction
As I began a new life (after retirement from government service as Director of Nigerian
Museums) into Consultancy business of developing new museums for Organizations,
Government Institutions, Universities, Private Individuals, Communities and supporting them
with training facilities, some of the issues that bothered my mind especially for community
and private museums are those of job creation, wealth creation (and of its redistribution)
and empowerment. This has made me to recall the memories and review of what I had
done in several communities that I had worked in over the thirty five years across Nigeria.
These issues are seen from the views expressed in the desires of the Nigerian Cultural
Policy for the sustainable development of local communities. This presentation looks into the
premises of the cultural law, the generation of the national policy on culture and the
museum roles in supporting and implementing the aspirations stated in the policy of
sustainable development of local communities. Sustainable development of local communities
involves all cultural and natural resources put to use does not on the long-term use
damage the social harmony and the environment. This is to say that all activities that are
done in the execution of the policies are geared toward the overall improvement of the
community.
Museum Definition:
Museums has been defined by the International Council of Museums (ICOM) Code of
38
Ethics (2004) as
a non-profit making permanent institution in the service of society and of its
development, open to the public, which acquires, conserves, researches,
communicates and exhibits, for purposes of study, education, and enjoyment, the
tangible and intangible evidence of people and their environment. [1]
The emphasis here are on the permanent nature of the museum and of its sustainability
as institution in the service of society and its open(ness) to the public with the evidence
of people and their environment. The 1972 International Council of Museums (ICOM) in
Santiago, Chile was where the amendment and reflection of this phrase was included or
inserted into the definition of museum. Credit must be given to Georges Henri Riviere
(1897 1985), a French museologist, who first raised the issue that led to the change in
the definition. It is in recognition of the vital role that the museum is to play in the
sustenance of its community.
in 1974, the ICOM definition of a museum was revised according to the new spirit,
stating that the museum should be an institution in the service of society and its
development (Nancy J. Fuller pp 329 1992). [2]
National Policy:
The National Policy of any country is the stated and expressed guidelines to the
interpretation and accomplishment of what the law of the country emphasizes for cultural
development in the nation. In Nigeria, museums have been placed under the concurrent
list, meaning that any individual, community, university, association or group of interested
people, the local government, states and federal agencies can establish their museums. The
National Policy on Culture stressed the need for National Museums under the National
Commission for Museums and Monuments (NCMM) and a host of other agencies within the
culture Ministry to collectively work together under these broad principles:
39
a) To Promote national consciousness and identity;
b) To attain national integration and democratic participation;
c) Stimulate creativity and develop cultural industries;
d) Sustain tourism;
e) Promote Economic empowerment;
f) To utilize arts and culture as vehicles for participation in national and global
development;
g) To document, preserve and promote tangible and intangible cultural heritage
h) To promote research for strengthening the link between nature, culture, science,
technology and education
i) To strengthen governmental and non-governmental cultural institutions at all levels
for optimal performance;
j) To encourage public and private sector participation and partnership in cultural
initiatives;
k) To promote and develop cultural festivals and related activities and
l) To encourage the development of cultural calendar at all levels of government.
(Extracted from the new proposed Cultural Policy of Nigeria; the first was published in
1988) [3]
The implementation of these broad based policy statements are made on the recognition of
the provision of the constitution and national laws; International standard Setting Instruments
on culture; UNESCO Conventions; World Intellectual Property Organization; UNIDROIT; and
the African Union Charter for Culture 1982. (Section 3). For its implementation, it further
40
recognizes the stakeholders as other government agencies in the Ministry; State
governments; Local governments; Civil Society Organization (CSOs); the Private Sector;
traditional Institutions; and Faith-Based Organizations. In view of the complex nature of the
requirements to make it sustainable, the Federal ministries of Information; Education; Health;
Foreign Affairs; Aviation; Transport; Agriculture; Industries; Justice and Environments and all
their agencies are collaborators in the implementation of the National Policy. This makes it
a very comprehensive document.
For the role of museums in the effectual implementation of the policy and of its
sustainability museums hae been specifically charged to use its traditional roles and
activities to support the achievement of the desired goals. This is to say and emphasize
that museum roles in a sustainable development of local communities will follow these
afore-mentioned objectives of the national policy acting alone and in conjunction, partnership
and cooperation with other agencies.
Identity and its awareness
Identity remains the platform of all cultural development. The Cultural policy did emphasize
that the culture, history, identity and heritage of minority groups are tied to their individual
socio-economic well-being. Its realization and respect in museums operations through
collection, exhibition and interpretation touches the heart of the peoples culture and can
build inroads into the communitys life in such positive way as to receive implications
socially and economically. The development of self-identity and pride in communities, which
creates integrity within the larger society, is of primary and profound importance. Museums
have the resources to confirm and strengthen identities of communities by their collection,
exhibition and interpretation in consultation with other stakeholders. The responsible and
democratic awareness creation and sustenance builds peace and sustainability in the
community no matter how diverse.
There are also known dangers in that Museums have the power to confirm or deny
41
identities especially of minority communities.
Art, history and ethnography displays, even natural history exhibitions, are all
involved in defining the identities of communities or in denying them identity.
Ivan Karp 1992 (page 19)[4a]
Further more
The very nature of museums as repositories for knowledge and objects of value
and visual interest makes them key institutions in the production of social ideas in
many nations. Museum collections and activities are intimately tied to ideas about
..what is central or peripheral, valued or useless, known or to be discovered,
essential to identity or marginal [4b]
This situation is seen often times in a plural society where integration has become a
difficult issue. At a seminar to discuss Citizenship in Nigeria, when Nigeria celebrated its
50th year of independence, discussions centred of two issues, Primordial and National
citizenship, while the third, Heaven was left out. With the fast changing demography,
situations have become more complex. Despite the complexities involved, several people
have devoted their time and energy in the promotion of cultural goods that emphasizes
their identity. With United Nations Educational Scientific and cultural Organization
(UNESCOs) Convention on Cultural Expression, there are more cultural goods produced by
dedicated people in the hope and believe that by so doing, their identities are not wiped
out the face of others. It is another means of preservation and protection of their identity.
This is to say that in the process of preservation and promotion of cultural identity, a
sustainability process is involved, which creates jobs and empower people. Within that
identity, there is therefore a multiplier effect in a nation as diverse as Nigeria with over
two hundred and fifty ethnic nationalities and linguistic groups. On its sustainability, extra
care is required in the presentation and interpretation of museum exhibits. The art and the
facts of artifacts must be seen simultaneously.
42
No museum, no history, no object nor piece of evidence is innocent or pure. In
that regard then, the capacity for museums to be places that defy convention and
speak when others are silent, is both a major safeguard and a tremendous risk
(Kavanagh 2001).[5]
So also is the issue that
There are no natives without strangers, no Strangers without the Native . Nor can anyone speak for one just for the other (Greg Dening 1996)[6]
Culture is cumulative of experiences over time and space and in the many contacts and
frictions with the environment. Respect and appreciation of that which was borrowed from
others from those which are indigenous should be appreciated and well defined.
Integration
For countries like Nigeria, built from the amalgamation of several ethnic nationalities and
being transformed into a new nation, the integration of various cultures under a unifying
cultural policy is paramount. It is essential and very important to be stated and
emphasized. One of the roles of the museum in this area is the efforts in building cultural
integration and making efforts to reconcile the many cultures brought together by the
artificial creation of a new nation. The efforts of the National Commission of Museums had
produced great dividends in publications especially of that of Treasures of Ancient Nigeria:
The Legacy of 2000 Years by Prof Ekpo Eyo first at the Second African Festival of Arts
and Culture tagged FESTAC. Integration of cultures gives a greater capacity to development
within the community, which is borne out of mutual respect and appreciation for one
another. Several exhibition in the past and some presently relatiing to the similarities in our
differences had gone a long way in promoting social harmony, development and the
building of peace (which I shall address later). For young developing countries, emphasis
has always been placed on integration of cultures especially of the minority side by side
with the dominant cultures. With the emerging new order and the changing demography,
43
new cultural goods are emerging to fill in the gaps and satisfy the new orientation.
Museum as repository of these cultural goods and following the trends in their collection
provide services that are of great significance to the stability of the community. The
museum maps the evolutionary trend of shifts within the community and the nation in
social expression. These services cannot easily be provided by other institution in the real
form. Photography and paintings may suffice, but the display of artifacts by museums gives
a more vivid information on knowledge, education and of social significance.
Sustain Creativity
The continued promotion and awareness creation goes a long way at sustaining creativity.
Sustenance of creativity is necessary because the eventual development and expression of
self-pride in identity creates a new line in the local economy and eventually in the national
economy. Creativity is invention and invention builds a new economy. To sustain it means
the creation of new line of business.
Research and Documentation
Continuous research and documentation of both tangible and the intangible cultural property
in their expressed forms reveal a lot of information first as to the progression of the
culture and also for study to see the gravitation of these cultures in their true perspectives
especially when compared with other close identities. Product of past researches and
documentations into various cultures are necessary to give new life to others in search of
what to do in life. Others will find a new living in it, while some others will explore the
situation to produce a new genre. The result will be useful in servicing other sectors as
will be discussed in detail in other areas along the line. Research is never a wasted effort
and the documentation of cultures is a store house.
Partnerships that Works for Development, Empowerment and Job Creation
The National policy in proposing that in creating a sustainable environment, partnerships
44
that works is needed for job creation, empowerment and development in communities. It is
a well-known fact that sometimes it may not be possible for one organization to do the
work outright, but it may be better done if two or three or even more organizations within
and without the culture sector come together. In partnership with others much could be
realized. While working as the Curator of the National Museum at the Old Residency,
Calabar, there was the need to support others in the development of tourism in the state.
The Museum was to assist in the identification of historic sites, monuments, historic houses
and other landmarks in the State based on past researches and (very) known facts. In
doing so with other agencies in partnership, we ended up having more museums
established and a few listed for further development. This singular participation created
several other jobs in the museum and in other areas like tour guides, security, and outlets
for souvenir markets, restaurants and entertainers. The partnership raised the profile and
quality of museum staffers, opened new areas of research as visitors demand more
information on display in museums and at sites. Many marketing outfits and organizations
in search of areas to brand and advertise, found suitable grounds. This resulted in more
jobs and empowerment.
Cultural Industries
UNESCO has defined Cultural Industries as follows:Cultural Industries are defined as those industries which produce tangible or
intangible artistic and creative outputs, and which have a potential for wealth
creation and income generation through the exploitation of cultural assets and
production of knowledge-based goods and services (both traditional and
contemporary). What cultural industries have in common is that they all use
creativity, cultural knowledge, and intellectual property to produce products
and services with social and cultural meaning.
Nigeria (Nollywood) is the third largest producer of films in the world after Hollywood
and Bollywood. Most of the ingredients used in the stories are those drawn from the
45
intangible cultural assets mixed with the contemporary to produce a new product.
Museums have been supportive from the onset materials to be used and the context
in which it is to be used. Museum exhibitions have helped in sharpening and
increasing the depth of the contextualization of films. Today, Nollywood and its allied
service providers have generated more than any other sector of the economy.
A New learning Society
The Museum should be a new product in the market place. The Museum must take a
leading role in the interpretation for a new economy that is both functional and engaging.
The museums efforts in the presentation, projection and interpretation may result into a
new line of production in the economy that will provide jobs and sustain the society. The
power invested in the presentation of exhibits in museums sometimes become legislative.
In my new calling as a Consultant to many up-coming community museums, I have
suggested some of the following:
a. A function of the economy - By this, the museum should be seen from
the point of view of making attempts at turning the wheel of progress
forward. We are going to inspire to acquire by using things that we
already know exist to motivate. As Nigeria was preparing to host the
FESTAC in 1977, the National Museum Lagos created the Craft Village
as a place to demonstrate the process of actual production of many of
the artifacts on display in the museum by the same traditional methods
and the lineage of notable families whose occupation it has been to
make those products. This is in addition to what visitors would see at
the museum. Presently, there are more craft villages outside of the
museums. It has engaged several people in the trade and has produced
so much to feed both the domestic and international tourism.
b. Teach new skills the interpretations of exhibits should lead to the
acquisition of new skills necessary to function in the new economy.
46
Interpretation should be an opportunity to teach new skills that will add
value to the development of the economy of the community.
c. Raise apprenticeship and not mentorship In doing this, the museum
will be raising apprenticeship of its own where mentorship had failed.
Mentorship cannot teach, impose or raise new agents that will rise
above it. It may at best re-produce itself from a distant location.
d. Producing solvents for young and dynamic people for regeneration
This is an avenue to produce solvents, wherein the apprentice can be
dissolved, regenerated and transformed into a potent (dynamic) force
rearing to go. The creation of Entrepreneur Learning Centres based on
the models of the National Museums Craft Village setting in communities
and probably the creation of viable Eco-Museums using the local
resources for its development.
e. Recreation and entertainment It not all of learning and economy, it is
about a virile community that finds recreation and entertainment therein.
Its recreational facilities and entertainments through new products from
the museum should provide joy after the visit to the museum and taking
items that will further entertain them and give them joy at home. The
museum premises should also provide on-the-spot recreational and
entertainment spots most especially to the youth and a delight to the
aged. Old and notable recreational activities may have a space and
place in the museum as a means to broadening the perspective of the
citizens. A forum for topical debate, discussion and meeting to engage
each other on issues of the day.
May I end this part by this statement credited to John Choate, trustee of the new
Metropolitan Museum of Art, that the museums
plan was not to establish a mere cabinet of curiosities which should serve
47
to kill time for the idle, but .to gather together a .collection of objects
illustrative of the history of the arts in al its branches ..which should serve
not only for the instruction and entertainment of the people, but should also
show the students and artisans of every branch of industry ..what the past
has accomplished for them to imitate and excel. (James M. Bradburne
2001) [7]
A New Economy and Social Order
From the above, museums have a new role in their presentations and interpretations to the
visitors and to their community the projection of a new economy and a new social order.
The ancient arts were products of the past economy. They represent the climax and the
best of its time and if so, it should be seen and interpreted as instruments and catalysts
to the creation of a new economy and a new social order. Artisans of all branches of the
economy can freely copy (imitate) to excel in their calling. While museums demonstrate the
creation of these arts forms in the craft villages surrounding the Nigerian museums, new
technologies can be deployed to make improvements in their present day production.
Instead of hand looms used in the production of aso oke, specialized machines have
recently been introduced (to meet the greater demand) into the making of aso oke, which
makes longer strips at a very short time.
While serving as the Curator of the National museum at the old Residency, Calabar, one
of the projects we embarked on was to create a Museum in honour of Mary Slessor, (A
Scottish lady on a missionary journey to the Cross River region at the later part of the
19th century and the early decade of the twentieth century), who did so much to empower
women. The museum was modeled after the Kazuri beads of Nairobi, which started well
but because of politics and of succession of power, suffered an untimely death.
Support for Tourism
Museums in Nigeria are at the heart of its tourism industry. One of the foremost state in
48
the federal republic of Nigeria that took tourism seriously was the Cross River State. We
had planned to open several museums to address several issues of the history and
political development of the region starting from the Trans-Atlantic Slave Trade History
Museum, Missionary influence in Education, Health and also the Colonial History among
many others of local history and of palaces. Some of the facts that we have come to
realize were as follows:
a. Whereas it cost so much to erect new monuments and build new structures using
so many men that will be laid of immediately the project is finished, maintenance
of historic houses require the engagement of people on a more permanent situation
with opportunities to train them for efficiency and perfection. Maintenance of Historic
Houses and landmarks is labour intensive. It provides avenue for the creation of
more jobs on a more permanent basis.
b. As more heritage sites and historic houses are opened to the public, new
businesses develop around the facility. There are new markets in other businesses,
some related and complimentary. Some of these businesses are those of
entertainments, recreation and restaurants. There were many cultural groups available
to showcase traditional dances and attire at the every corner that you turn to.
c. Other less privileged sites not recognized by government for development, raised
money from other sources to project theirs thereby adding more to the fun of the
visitors and tourist.
d. There were more recruitments into the security services, restaurants, guides (both
state trained and maintained and other local). There were more transporting facilities
to the venue for moderate users as well as those for groups. The State employed
more cleaners and traffic wardens.
e. The year-long activity of the cultural tourism is the Annual Carnival. Carnival as it
was from its original beginning was to commence from the Shrine (Museum)
through the city passing through monuments and historic landmarks to the Arena
49
and the back to the Shrine (museum), where victories reside. The Museum here
was a colonial structure, housing colonial history; we lost this great aspect of
remaining as the centre-piece. This is why the carnival has be tagged the biggest
Cultural Street Party in Africa. It has the capacity to drawing several thousands of
youth to the streets for dancing and all sorts of cultural shows and performances.
One significant and very important aspect of it all is that during the month-long
activities, crime rate fell.
Building Peace
From the statistics of crime rate falling because of cultural engagements and performances
and the use of craft villages that have been springing up in many places in Nigeria, I
have proposed the use Cultural Industries as a means of peace building process in
Nigeria. It is also could be used to engage youth in restless areas to surmount conflicts
and bring about peace within the troubled region. The regional office of UNESCO in
Nigeria has adopted in addition with Town-Hall Conference (discussion table) this for use in
a post Boko Haram insurgence of the north east Nigeria. Museums must take a lead in
the process of the display and practice of both the tangible and intangible cultural property
of the community in its production and interpretation together with local community
historians and elders.
Conclusion
In making the Museums meet the aspiration of the National Policy objectives and support
the sustainable development of local communities, the museums as a matter of priority
must help locate the place of communal identity and sensitize it by creating the necessary
awareness as a template for recognition, relevance and participation. This appreciable
identity must be connected and be in conformity with shared values within the diversity of
the Nigerian society.
50
To be more meaningful, Museums must be at the centre of a new learning society and
the development of a new economy (that is not reliant on oil and its allied products),
helping to develop and teach new skills (cultural industries) that will help create wealth,
support the art (not the politics) of wealth re-distribution, build peace, create jobs and
empower its citizenry. It should be extended to supporting the tourism industries and
support a new social network that can attract and sustain interests to stimulate the
economy, while projecting the community and its traditional produce and product in an
excellent form that bring communal pride and overall preservation of local cultures.
Museum should stimulate creativity and build new systems and avenues in cultural
industries that turn small scale outfits of artistic creation into big time factories of employers
of labour, job creation and empowerment, which by other implications extend to the peace
building process within the community. This peaceful environment of peace supports heritage
(nature and culture) tourism both at the domestic and international levels for greater
economic benefits and a stimulant to investments.
References
1. International Council of Museums (ICOM) Code of Ethics 2004
2. Nancy J. Fuller, (1992)The Museum as a Vehicle for Community Empowerment:
The Ak-Chin Indian Community Eco-Museum Project (327 -365) in Museums and
Communities: The politics of Public Culture edited by Ivan Karp; Christine Mullen
Kreamer and Steven D. Lavine (Smithsoniain Institution Press, Washington and
London
3. Cultural Policy for Nigeria 1988 (revised) Printed by the Federal Government
Printer, Lagos
4. Ivan Karp 1992, Introduction: Museums and Communities: The Politics of Public
Culture; edited by Ivan Karp; Christine Mullen Kreamer and Steven D. Lavine
51
(Smithsoniain Institution Press, Washington and London
5. Gaynor Kavanagh, 2001, Museum 2000; Confirmation or Challenge
6. Greg Dening (in Nath Mayo Adediran) 2012, THE POLITICS OF OBJECTS
OBJECTS - Spoils: Viewing others: The Views of Others at the International
Conference of the International Committee on the History of Art
7. James M. Bradburne 2001, Issues Facing the Museum in a Changing World in
Museum 2000: Confirmation or Challenge?
52
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1. (ICOM) 2004
2. J. , (1992) (The
Museum as a Vehicle for Community Empowerment):
(The Ak-Chin Indian
Community Eco-Museum Project) (327 -365):
(The politics of Public Culture); D.
( , )
3. 1988 ()
4. 1992, : : ;
66
; D. ( ,
)
5. , 2001, 2000; (Confirmation or
Challenge)
6. ( ) 2012, ( THE POLITICS OF
OBJECTS ) - Spoils: (Viewing others):
(The Views of Others at the International
Conference of the International Committee on the History of Art)
7. M. 2001, ( Issues
Facing the Museum in a Changing World in Museum) 2000:
( Confirmation or Challenge?)
Session 4
[Regional Development] Museum for National Policy of Sustainable Development of Local Community
[]
A Whole of Museum Approach to
Collaboration with Australias First Peoples
Robin Hirst ( )
Executive Director Museum Victory's Research Program for Melbourne Museum
( )
69
A Whole of Museum Approach to Collaboration
with Australias First Peoples
Robin Hirst
Throughout history, people have been on the move across our planet. Empires
have risen and fallen, nations have formed and changed, lands have been
occupied and settled. However, across the globe, many nations have within their
current populations, descendants of the original people who inhabited the land.
This presentation aims to contribute to the discussion as to how museums can
play an important part in acknowledging these Indigenous people, the Traditional
Owners. I will draw on my knowledge of the context of Australia and in
particular on my experience with Museum Victoria.
1. Museum Victoria
Museum Victoria is Australias largest museum organization. We are based in
Melbourne in the state of Victoria, and are responsible for the stewardship of the
collections of the state of Victoria in the areas of history, technology, natural
sciences and Indigenous cultures. We describe our collections as encyclopedic as
they cover both nature and culture. Our collections total 17 million items, and
we have an active research program to develop the collections and enhance the
associated knowledge. We run four public venues: including three museums
(Melbourne Museum, Immigration Museum and Scienceworks), and the World
Heritage-listed Royal Exhibition Building. The annual visitation to our museums is
1.5 million people.
Since 1854, the Museum has collected Australian Aboriginal and Torres Straight
Islands artefacts. Like all museums of this period with major natural history
collections, these artefacts were made alongside collections of fauna and flora as
Europeans explored and colonized new worlds. These collections now bring new
70
responsibilities, especially to todays Traditional Owners of the land the
descendants of those who survived the devastating effects of colonization since
1788.
2. Aboriginal Australia
Australia is a vast island continent. From the tropical climate of the north to the
cool temperate region in the south, and from the lush eastern seaboard to the
harsh deserts of the centre, it was a land that just a few millennia ago was
connected to Asia in the north, and with the island state of Tasmania conjoined
to mainland Australia in the south.
The map of Aboriginal languages in Australia shows some 250 individual and
distinct language groups and many more social groupings and a similar number of
dialects. Each group resides in a different terrain often with different climates
and different cultural practices. Aboriginal culture is indeed made up of many
cultures. These are the oldest living cultures on the planet, with Indigenous
Australians having occupied Australia continuously for an estimated 60,000 years.
The population of Australia today is nearly 24 million people. The percentage of
Australians who identify as Aboriginal is 2.4%, and in Victoria it is 0.6% of the
states population. Compared with the overall population, the life expectancy of
todays Indigenous Australians is significantly lower, their infant mortality rate is
higher, their incarceration rate is higher, the level of education is lower and the
level of home ownership is lower. Today only a quarter of the Australian
Aboriginal people are found in remote areas.
Aboriginal Australians are a critical part of our history and our future. Museum
Victorias challenge is to work with the 38 different language groups in Victoria
alone, in our progress towards a national objective of reconciliation. There is
much work to be done.
71
3. Political Landscape
Australias recognition of, and reconciliation with, its Aboriginal people is a
relatively recent activity. It is still a work in progress. The national landscape
with respect to the Aboriginal people of Australia is changing and doing so quickly.
Museums are living through and making a vital contribution to changing the
relationships with the Traditional Owners of the land. There have been many
recent political advances after years of work by Aboriginal leaders:
1967 Referendum changed the Constitution, included Aboriginals in the
Census
1992 Native Title was possible as the land was deemed to have been
inhabited prior to white settlement
2008 Prime Minister Kevin Rudd apologizes to Aboriginal people for past
practices of removing indigenous children from their families.
There are currently discussions underway to see how the original inhabitants might
be acknowledged in the founding document for our nation, the Australian
Constitution. These discussions are consistently in the mainstream media today.
4. Museum Landscape
Australian museums, as holders of material culture and ancestral remains, have
had some major policy changes in the area of Aboriginal culture. Some of the
major changes in and influences on Museum Victoria include:
1984 Museum Victorias Aboriginal Cultural Heritage Advisory Committee
established to advise the Museums Board of Victoria
1984 Repatriation of Ancestral Remains begins
1993 Previous Possessions, New Obligations, a new policy from Museums
Australia, the professional membership association
2000 Bunjilaka Aboriginal Cultural Centre opened at Melbourne Museum
2005 Continuous Cultures, Ongoing Responsibilities, Museums Australias
policy is revised
2013 First Peoples exhibition opens in Bunjilaka.
72
What has changed with our leading museums in recent years is that the
emphasis, as outlined in Continuous Cultures, Ongoing Obligations, has become
more focused on:
Custodianship and care-taking rather than ownership
Recognition of the value of stories and other intangibles associated with
objects
Acknowledgement and recognition within museums of contemporary
Aboriginal and Torres Strait Islander cultural practices
The creation of genuine relationships of recognition and reciprocity between
traditional custodians and museums and galleries.
5. Leadership in Museum Practice at Museum Victoria
Museum Victoria is taking a leadership role in acknowledging and respecting
Indigenous Australians. Our partnerships with Indigenous communities have
changed the way the Museum works. Within the areas of collections, research
and exhibitions, new ways have been forged to work in a collaborative manner,
and all the while acknowledging the rights of the many Indigenous communities
we serve.
What I wish to do now is to take the familiar output of a museum, namely
collections, research and exhibitions, and to give you some examples of the ways
we now work with Indigenous people.
5.1 Collections
Repatriation
We have within our collections, a large number of Ancestral Remains and objects
which are regarded as secret or sacred by Indigenous communities. Our policy is
to return these. We have an active program of repatriation of these Remains
and objects to the Traditional Owners of the communities from where they were
taken. To date, we have returned over 2,300 Remains. The return of the
Ancestors began as a divisive issue, however it is now an overwhelmingly positive
one. Through returning their people, we have developed stronger relationships
73
with communities.
Conservation
I will outline the new approach to the conservation of Indigenous collections by
relating a research project recently conducted by a curator and conservator which
relates to two bark paintings collected by the University of Melbourne
anthropologist, Professor Donald Thomson, in Arnhem Land in northern Australia
between 1935 and 1937. These two barks come from an extraordinary collection
housed in Museum Victoria, part of the Universitys holdings. The two bark
paintings were not in a condition to be exhibited, yet they come from a clan
renowned for their bark paintings. Our curator has a long standing relationship
with the clan and the project allowed us to explore questions such as:
Should we treat the barks or not?
What did the community want them to look like?
Would treatment alter their meaning?
Who should carry out any treatment?
Are there traditional care and repair techniques?
Can modern materials be used?
To answer these questions, Museum staff approached a Gupapuyngu community
elder and scholar, Dr Joseph Gumbula, and engaged in both field- and
museum-based conversations with him and others from the community. Western
societys concept of preservation and conservation treatment was unfamiliar to the
Gupapuyngu community. A short film translated into the local language was used
to engage the community with the issue. These conversations led to new
knowledge for Museum staff. During visits to the Museum, clan members
demonstrated traditional methods to staff, and Museum staff explained
contemporary preservation techniques. Decisions were then made on the way to
best conserve the paintings without them losing meaning or introducing the hand
of another artist.
74
Contemporary Collecting
Museum Victoria has many Indigenous collections which date to the late-19th and
the 20th centuries. These were acquired relatively soon after European settlement
of the various parts of the island continent. However, as the cultures are
continuous, the interests and practices of communities are forever evolving. We
see it as our responsibility to collect contemporary material to illustrate this
evolution. Artists in some communities have been influenced by technology or
new materials, however the underlying stories remain and need to be documented
in these emerging forms for future generations.
Museum Victorias philosophy in developing the collections relating to Indigenous
Australians is twofold: it is underpinned by the notion that cultural objects and, in
more recent decades, artistic works in a range of media, reflect the ongoing
connections to country for Indigenous Australians; and it also reflects the dynamic
and ever-changing nature of Indigenous cultural practices and societies through
time. As such, particular components of these collections have a somewhat
continuous representation of cultural life and history for Indigenous Australians
from the earliest days of colonization through to the present day.
We have over 1,500 objects originating from the Tiwi people of Bathurst and
Melville Island off the coast of Darwin in northern Australia. The objects
collected in the late 19th and early 20th centuries attest to a strong cultural and
artistic aesthetic that is recognizably Tiwi as seen on bark baskets called tunga.
Tiwi had early contact with Macassan people over many hundreds of years,
however life changed dramatically when they encountered Catholic priests who
first arrived in 1911.
After 1945, a market for Tiwi souvenirs and carvings emerged, and artists changed
to making bird and human figures from ironwood, which was a practice based on
the strong tradition of making large and elaborately painted ironwood grave posts.
By the 1970s, figures, poles and spears were in high demand, and many examples
are to be found in the Museums collections. More recently, the Museum has
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collected contemporary jewelry based on traditional Tiwi designs.
5.2 Research
Indigenous Knowledge
Museum Victoria has a very active research program relating to the natural world.
Its natural science collections number some 15 million items. As a way of
monitoring the health of the fauna of the state of Victoria, surveys of various
regions are undertaken each year, and specimens collected. This field work
involves approximately 40 scientists together with photographers and videographers
who spend several days identifying species on land, in the waterways and in the
oceans.
Recently we have been working closely with the Indigenous communities whose
people have been connected to the land for thousands of years. A collaboration
with the Gunditjmara people, whose traditional land is the stone country in the
west of Victoria, has grown through this work. It has resulted in community
members, particularly Indigenous park rangers, assisting our scientists in the field
work. The rangers have made visits to the Museum, viewed the collections and
shared our knowledge of specimens. In return, the rangers have provided us with
their traditional knowledge of the fauna.
This collaboration has developed to such an extent that Museum scientists are
now working on a mobile device App with the local community which will be a
field guide to the fauna of the stone country and which will also incorporate the
communitys own stories related to the animals.
Access to Information
Museum Victoria is interested in looking at the best ways for researchers and
Indigenous communities to collaborate in order to facilitate access to collections
and associated documentation.
Two early ethnographers, Walter Baldwin Spencer and Francis Gillen, who worked
76
with Indigenous communities in central Australia for 10 years from 1875-1912,
amassed a significant collection. Museum Victoria holds a large part of the
collection, but other sections are dispersed across a wide network of Australian
and international museums.
Funded by a Linkage Grant from the Australian Research Council from 2010-2013,
researchers from Museum Victoria, Australian National University and South
Australian Museum consulted with central Australian Indigenous communities.
They worked together to reconstruct the collection of more than 50,000 objects,
notebooks, illustrations, photographs, film and sound recordings, and to bring them
together again virtually through a website. This work enabled the collection to be
viewed in a holistic way again for the first time in more than 100 years
The Spencer and Gillen: A Journey through Central Australia website was launched
in 2013, and now provides access to one of the most important cultural archives
available to these regional Indigenous communities.
5.3 Exhibitions
Co-curation
Last year, Museum Victoria won several international and national awards related
to a new gallery at Melbourne Museum called First Peoples which opened in
September 2013. The gallery is part of Bunjilaka, the Aboriginal Cultural Centre
at Melbourne Museum.
The awards included:
Overall Winner, and Winner of the Special Distinction Honour for Innovative
Integration of Design and Content, at the American Alliance of Museums
2014 Excellence in Exhibitions Competition
Winner of the overall National Award, and winner in the Permanent
Exhibition or Gallery Fitout Level 4 category, at Museums Australias 2014
Museums and Galleries National Awards (MAGNAs)
Winner in the Leadership in Public Programs category at the Victorian
Governments 2013 Arts Portfolio Leadership Awards
77
Finalist in the Communication Design category of the Victorian Governments
2014 Victorian Premiers Design Awards
Winner in the Good Design Selection Education Service category of Good Design Australias 2014 Good Design Awards
Winner of the Gold award in the Installation, Display, Exhibit and Set
Design category (for Bunjils Wing, part of the Creation Stories Cinema) at
the 2014 Melbourne Design Awards.
The First Peoples gallery has four major sections:
Wominjeka the welcome area, where visitors encounter the diverse geographical areas of Victoria and more than 40 different language groups
Generations where portraits, contemporary and historical, of local aboriginal people show visitors that the population is still here and proud
of their heritage. Life-sized projections of many men, women and children
tell their individual stories
Our Story telling of 2,000 generations of Aboriginal life in Victoria. It begins with a local Creation story and continues to the time of white
invasion when the narrative becomes one of a shared history
Many Nations featuring collections and stories from across Australia. The information on the collections featured is accessed through touch screens
which link directly to the collection databases, ensuring that the information
is updated automatically when any changes are made. This area also
features Aboriginal childrens games from across Australia to engage
younger visitors.
The success of First Peoples can be demonstrated not just through the awards it
has won from museum peers and wider industry, but through the way that it has
been embraced by Aboriginal communities and our visitors. However I believe the
success lies deep in the way it was conceived and delivered.
At the outset, there was a commitment by Museum Victoria to work closely with
the Aboriginal communities. However what transformed this project was moving
78
from consultation and community engagement to one of true collaboration. A
group of 20 senior Aboriginal community members from across Victoria was
employed by the Museum to come together for a period of a few days at several
different stages of the project, to provide direction and shape the stories to be
told. The group called themselves Yulendj, meaning Knowledge in the local
Aboriginal language. This collaborative curation model meant that the exhibitions
had an authenticity which ran through the entire development. Although it was
guided by senior Indigenous staff, the Museum as a whole had to embrace the
challenge to rethink the power relationships and to allow the Museum spaces to
be a vehicle for Indigenous perspectives on settlement history.
Promoting Contemporary Indigenous Artists
Since the opening of Melbourne Museum in 2000, Museum Victoria has had an
active program of commissioning new work from contemporary Indigenous artists.
The Museum has committed itself to commissioning major artworks from various
artists and communities, to complement the themes of our exhibitions and public
programs, to sit alongside our historical collections, and enrich our visitors
experience with Indigenous culture. Notable recent examples include: Judy
Watsons Wurreka 50-metre etched zinc wall for Melbourne Museum (2000);
Maree Clarkes kopi (mourning) installation in the First Peoples exhibition (2011);
and, Steaphan Paton and Megan Cope's Transcendence installation at the
Bunjilaka Aboriginal Cultural Centre entrance (2015). The Museums efforts have
helped to encourage the artists to develop their professional practices, permitted
them to produce ambitious new work, and often assisted them in dealing with
contemporary topics and issues.
Supporting Artists
For the last 15 years, the Bunjilaka Aboriginal Cultural Centre at Melbourne
Museum has been running a Community Art Program to help promote and
celebrate the continuation of the living and vibrant Aboriginal culture of Victoria.
The program encourages both new and emerging local artists to share the creative
expression of their culture, and showcases their stories, talent and immense pride.
79
Three exhibitions are presented each year in the Birrarung Gallery in Bunjilaka, a
space dedicated to Aboriginal art from south-eastern Australia. Artworks range
from painting, print-making, sculpture, glass, ceramics, carving and weaving,
through to photography, digital media and other installations. Over the years, the
program has encompassed the many cultural and geographical connections from
across south-eastern Australia, providing Indigenous artists with the opportunity to
maintain and strengthen their artistic and cultural practices and values. It has an
important role in creating a public understanding and awareness of local
contemporary art and culture. One important feature of this project is that the
work is often for sale, directly benefitting the artists.
6. Summary
Museums are playing an important role by giving voice to Indigenous Australians
to let them tell their deep and rich stories to visitors. Museums can also provide
information to communities that has been hidden within the collection thus
encouraging old practices to be rediscovered. Todays communities are enriching
the information held in scientific and cultural collections through generous
collaborations with museums. As Australia struggles to acknowledge and right the
wrongs of the past, there is an opportunity for museums to take a leading role if
they are prepared to work in partnership. This can be a positive step towards
recognition, respect and reconciliation.
80
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Session 4
[Regional Development] Museum for National Policy of Sustainable Development of Local Community
[]
The Role of Museums for Sustainable
Development of Local Communities:
A Case of South Korea
:
Suh, Won-joo ()Head / The Children's Museum, the War Memorial of Korea
[ ()]
93
The Role of Museums for Sustainable
Development of Local Communities:
A Case of South Korea
Suh, Won-joo
I. Definition and Concepts of Sustainable Development(SD)
II. Role of Museums for Sustainable Development of Local Communities
III. Case of South Korea
94
:
I. (SD)
II.
III.
Session 4
[Regional Development] Museum for National Policy of Sustainable Development of Local Community
[]
Museums and Museology in Romania
Dan Octavian Paul ( )
Head of Zonal Restoratlon Laboratory Museum of Banat
( )
97
Museums and Museology in Romania
Dan Octavian Paul
Romania is located in the South-East of the Central Europe, in the Northern part of
the Balkan Peninsula, with a 238391 km surface. Romania is standing on the
carpathian-danubian-pontic region, and it formed its shape following the Romanian
Carpathians.
Romania's neighbouring countries are Ukraine in the North, Bulgaria in the South,
bordered by the Danube, Hungary in the West and Serbia in the South West. We
can find The Republic of Moldova in the East and the Black Sea in the South
East. The 45th parallel North passes through Romania.
The 2011 official census indicated a population of over 20 million inhabitants.
Romania has been a member of the European Community since 2007, and member
of NATO si