ISS 25 (1995).pdf - The International Council of Museums

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) What is a museum? That is a recurrent question within our Committee on Museology. We may consider "museum" as a permanent institution, as most museum professionals in the world still do. Coming from the latin institutione, it means a thing that has been created , instituted , established, socially recognized as such. To institutions we attribute the character of relative permanence - and their are usually identifyed by the values of their codes of action, some of them expressed as laws. Being a permanent institution, the museum would be an established thing , continually existing within the system of values of a society, and having specific codes. Under this concept, "training for museum awareness" means qualifying somebody to work in a specific type of institution - thus training being based on information about specific skills to administer, document, retrieve, preserve, exhibit, garantee security, survey the audience, etc., etc. It may also mean giving a background about the conceptual frames into which the museum develops its action. (This is more or less what museum training programs used to do up to 20 years ago). But the abovementioned experiences with community action have brought about the relativization of the museum concept. A holistic approach has made possible the creation of concepts such as the total museum (musee integral), the ecomuseum , the inner museum , the museum of the biosphere. Development of technology and of Semiotics has given way to concepts such as the virtual museum. With so many facets of the concept, it became difficult to understand the museum as institution, now that it has incorporated the capacity to change. In the present days, it is already accepted that the concept of Museum varies according to the different world visions of societies, in time and in space. So today, when we talk about training for museum awareness we usually refer to the analytic study of such concepts, to the investigation of museum as phenomenon or to the idea of Museum, which lead to the understanding of Museology either as philosophy or as a scientific discipline. c) What is a community? That's another complicated question. When talking about ·communities· we usually take for granted that community is a group of people, either sharing the same tenritory or the same cultural identity or some other combination of cultural and/or social characters that make them identifiable as a group. We seldom remember that plants and animals form biological communities, or that biology refers to communities of microbes as well. We usually forget the nuclear family as a basic community, or the population of the world as planet Earth community, to which UNESCO and ICOM so frequently refer. Since this is not a meeting on terminology, let us consider ·community· in its basic social sense: a group of people sharing common traits and pattems of behavior. Also for purposes of study, let us substitute the word "training· for individual or group education and qualification. Now we come back to training and offer you a second issue to reflection: 173
And how would a program like this be shaped? By combining a conceptual framework with practical exercices , a program of studies for museum and community awareness is able to provide, at the same time, the fullfilling of rational aspects with the opportunity of emotional experiences and exchange. On the whole, it is important that trainers (whom we will call educators) create an atmosphere that enables those who follow the program to LEARN HOW TO LEARN that is, to understand how they are able to develop knowledge towards the world . The renowned brazilian educator Paulo Freire, in his book Pedagogy of Hope, reminds us that ... To teach and to /eam are thus moments of a bigger process - that of knowing, which implies re-cognizing (re-cognoscere). (Paulo Freire, Pedagogy of Liberty, p. 47) Such process involves combined change: teaching and learning are on both sides. Programs on environmental education can be easily used for such purpose: they deal with a conceptual framework that involves the notions of: similarity/difference; adaptation/interaction; continuity and change; evolution; patterns. Through such notions, almost everything around us can be explained. One successful example is the program on Interaction museu-community through environmental education, developped at the University of Rio de Janeiro since 1991 and which has already generated a three year research on the matter, a 290 hour transdisciplinary course and a book which preprint (I am proud to say) is already mentioned in Paulo Freire as an example of contemporary pedagogy. Community awareness programs may be organized by museums, universities and by communities themselves. In ali cases, it is important that they integrate ali such spheres of action, enabling members of each community to create and care for their own museums, schools and universities - no more accepting imposed concepts, methodologies and models and being able to care for their own identities and heritage. 175 Tereza Scheiner Stavanger, Ju/y 3, 1995.
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Symposium MUSEUM AND COMMUNITY II J
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IV MUSEUM AND MUSEOLOGY IN NORWAY A
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SYMPOSIUM MUSEUM AND COMMUNITY, Par
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heritage as community appropriation
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and its plurality. Continuing on th
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Dr. Eurydice in the paper 'Museums
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For museums this would mean -among
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Given the fact that museums have an
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5. CuraLOr 37. no 4 (1994), p. 227.
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"pauimoine" de tous. n s'agit de re
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La troisieme communaute - qui aujou
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Heritage, Museum, Territory and Com
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to promote communication and educat
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''The museum must openly embrace th
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MUSEUMS and COMMUNITIES: a powerful
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have many of the great museums adop
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first immigrant housing. The first
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plantation and harvesting times. Af
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Museums and Communities - case stud
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climate around them, and once this
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Fuller, Nancy J 1992 The Museum as
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The nature of museums MUSEUMS AND T
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to all. It appears that history can
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fees for services and admissions in
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"Les musees. interoretes du oatrimo
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II ne s'agit plus d'un patrimoine o
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des courants tres divers dans leur
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During the Nineteenth Century sanct
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the community more effectively and
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Paivi-Marjut Raippalinna REGIONAL A
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insitutional ideas of Pierre Bourdi
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ON MUSEUM, COMMUNITIES AND THE RELA
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original environment - as if it was
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Des etudes recentes prevoient que,
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eserves, d'espaces d'exposition tem
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Si les musees du Quebec veulent etr
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These observations reprooving to th
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The Life Itself Provides The Topics
Page 121 and 122: MUSEUMS AND COMMUNITY FINAL REMARKS
Page 123: II MUSEUM AND COMMUNITY MUSEOLOGY A
Page 127: La question que I'on peut se poser
Page 132: ICOFOM Stavanger 1995 approaches do
Page 135 and 136: ICOFOM Stavanger 1995 The 'Declarat
Page 137 and 138: Paule Doucet (1995) «Les nouvelles
Page 140 and 141: politiques dans des efforts de depa
Page 143 and 144: constitution de leur action patrimo
Page 145: Conclusions Ces quelques dimensions
Page 154: ICOFOMIStavanger cours des annees 1
Page 157: ICOFOM/ Stavanger core dans une log
Page 161: ICOFOM/ Stavanger qualitative) est
Page 164: ICOFOMlStavanger Davallon (J.). 199
Page 173: IV MUSEUMS AND MUSEOLOGY IN NORWAY
Page 176: II. Looking at the Nordic museums,
Page 179: V,las founctea. ill llSbj. At 1 UfK
Page 184 and 185: Construction d'une identite nationa
Page 187 and 188: La culture nationale est fabriquee
Page 189 and 190: Le La pan - l' etranger de l'interi
Page 191 and 192: An Industrial Community and its Her
Page 193 and 194: and the curator has the role as a s
Page 195 and 196: and what we lost when the air and t
Page 205: Fig. :i 209
Page 211 and 212: ICOFOM LAM REPORT 1990 - 1995 Durin
Page 215: AUTHORS Per-Uno AGREN, Umea Univers
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