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

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Which museums for which communities ? Mathilde Bellaigue Laboratoire de recbercbe des musees de France, Paris Ab s tract From the XVIIIth century in Europe, the history of museums sbows how their audience was borne and bow it evolved until now. In France, the left government of 1936, then the Second World War and, last but not least, the events of 1968 opened the way to various education folk movements. The wave of French ecomuseums and foreign community museums came out from there. New words were brought forth in the museum field, such as identity, territory, participation, community. Such experiences were taken up in the world, especially in countries recently free from colonialism or dictatorship. But, in the eighties, the Frencb cultural policy shifted, introducing the notion of producing money and necessary rentability of the museums. Together with the industrial crisis in textile, steel, and coal, industrial archaeology appeared, involving both the museologists and the ancient actors of sucb activities and extending the notion of beritage to their materials. Sorts of memory communities were issued from there. In France, during the eighties, the accent was put upon prestigious architectural projects of museums and the necessity for cultural organisations to produce thier own financial resources. The .notion of community was no longer put forward. To-day, worldwide communication leaves no more spaces, no more things to be discovered. We must re-consider the role of artefacts in museums as much as our own attitude towards them. Traditional communities bave split, individualism has got stronger. Are there new museums for new communities (scbools, tourism, old people) ? Looking at the exclusion phenomena, we find new groups : illiterates are standing out of the community of educated people, as well as immigrated people are rejected by the nationals, and unemployed people remain out of the working community ... How can museums cope with that situation? Are there new forms of museal action to imagine? April 1995 36
Heritage, Museum, Territory and Community Nelly Decarolis - Argentina "Simple things do not exist, only simplified things do." G. 8achelard All coherent cultural policies should try to rescue the deep sense of development which takes into consideration the capacity of each human group to be informed, to learn and to communicate its experiences, showing the evolution of values and ideologies as well as the various lines of thought which have prevailed at different times in history. It is essential for mankind's creative activity and for the complete development of the individual and of society as a whole that there exists a wide dissemination of ideas and knowledge. Nowadays, we live in a globalized world where most of the interests have become international, sustained by blocs of nations and transnational corporations, but the global economy badly needs qualified workers. The fact of recognizing distinctive spiritual, intellectual and material features which characterize other social groups permits to distinguish values, make options and even feel ethically committed. The museum, which is closely related to a physical, social and cultural space, gathers different expressions of culture and has an enormous potential to implement actions which join towards improving mankind's quality of life in relation to his natural and cultural environment. It is no longer limited to the static presentation of traces of a prestigious past, but also to a past which made up daily life and which, committed to the present, is projected into the future. Its role is to recreate reality in an authentic, integral manner through its different expressions; to present and develop the community's cultural forms which have historically remained in oblivion; to accept the coexistence of ethnic groups of the same origin, sometimes with overlapping cultures; to help in the development of regional cultures; to respect the rights of mankind within an interdisciplinary framework and to understand the continuity and changes which take place in the cultural sphere. Therefore, it is a valuable instrument to achieve an integral outlook of the contents of material and immaterial testimonies which are mankind's cultural and natural heritage and abstractly gathers the plurality and uncertainty of our nations, which are going through a process of quick transformation. 37
Page 1: Symposium MUSEUM AND COMMUNITY II J
Page 4 and 5: IV MUSEUM AND MUSEOLOGY IN NORWAY A
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Page 11 and 12: heritage as community appropriation
Page 13 and 14: and its plurality. Continuing on th
Page 19: Dr. Eurydice in the paper 'Museums
Page 22 and 23: For museums this would mean -among
Page 24 and 25: Given the fact that museums have an
Page 26 and 27: 5. CuraLOr 37. no 4 (1994), p. 227.
Page 30 and 31: "pauimoine" de tous. n s'agit de re
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Page 39 and 40: to promote communication and educat
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Page 45 and 46: have many of the great museums adop
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Page 49 and 50: plantation and harvesting times. Af
Page 53: Museums and Communities - case stud
Page 58: climate around them, and once this
Page 62 and 63: Fuller, Nancy J 1992 The Museum as
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Page 69: fees for services and admissions in
Page 72 and 73: "Les musees. interoretes du oatrimo
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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
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MUSEUMS AND COMMUNITY FINAL REMARKS
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II MUSEUM AND COMMUNITY MUSEOLOGY A
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La question que I'on peut se poser
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ICOFOM Stavanger 1995 approaches do
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ICOFOM Stavanger 1995 The 'Declarat
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Paule Doucet (1995) «Les nouvelles
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politiques dans des efforts de depa
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constitution de leur action patrimo
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Conclusions Ces quelques dimensions
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ICOFOMIStavanger cours des annees 1
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ICOFOM/ Stavanger core dans une log
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ICOFOM/ Stavanger qualitative) est
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ICOFOMlStavanger Davallon (J.). 199
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) What is a museum? That is a recur
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IV MUSEUMS AND MUSEOLOGY IN NORWAY
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II. Looking at the Nordic museums,
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V,las founctea. ill llSbj. At 1 UfK
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Construction d'une identite nationa
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La culture nationale est fabriquee
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Le La pan - l' etranger de l'interi
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An Industrial Community and its Her
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and the curator has the role as a s
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and what we lost when the air and t
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Fig. :i 209
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ICOFOM LAM REPORT 1990 - 1995 Durin
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AUTHORS Per-Uno AGREN, Umea Univers
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ISS 25 (1995).pdf - The International Council of Museums

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