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

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As an alternative space which uses the mediation of real ity, the museum must adopt an innovative, dynamic position capable of respond ing to the expectations of a more demanding public. Not only must it convey the information it has, but also develop in each individual the capacity to use it, helping him to establish a harmonic, balanced relation with himself and with the environment. The origin of the new orientations maybe lies in the acceleration of historical processes and in new ways of living which related the urban and the rural , that which is necessary and that which is superfluous, that which is material and that which is spiritual. In a world which is permanently and increasingly competing, museums and cultural and educational institutions must justify their existence in relation to their contents and social relevance. The museological experience can only be highlighted if there is real communication with the audience. This communication requires that each of the parties speak the other's language, with a full opening towards learning and experimentation. Just like the traditional museum became a vehicle of a centralized economic model, the community museums are the paradigm of decentralized development. They contribute to the process of social unification, identity and local participation and appraisal of natural and cultural resources; they place man in his geographical , historical, ethnical, socioeconomic, cultural and natural reality and empower him to understand and evaluate the importance of interaction with the surrounding environment. Using the language of the object, the real framework of daily life, the concrete situations, they are able to provide members of the community with the means to enable them to become subjects of their own integral development. Such integral development is a global concept which arises as an aspiration of the communities, of their groups of individuals. It uses a participative methodology which privileges collective team work, enables a more active commitment and a more direct involvement of each one of the community members. The solution of many of the problems set forth by reality demands from them a combination of different specialties, but although the multidisciplinary aspects aim at going beyond knowledge located in stagnant compartments, they cannot be confused with the conception of an integral culture. This does not entail denying the importance of the specialties but instead the need for the specialists to understand - as Edgar Morin says - that the search for truth demands the syncretism of partial knowledges. Each community must use the museum as an instrument of evolution in which the individual may develop his critical thought and apprehend reality within the parameters and limitations of his own cultural and social identity. The horizontal relationship of a constant exchange fosters a reflexive attitude related to daily personal experiences integrated into the transformation processes which take place within the community's own reality. To this effect, it is essential to have activities which link the museum to the community, elaborating programmes 38
to promote communication and education, privileging participative methodologies which, in turn, develop community critical awareness, where unity and diversity act as genuine expressions of universality. The community museum stems from the community's own needs and interests. As determinants of new methods and objectives, community initiatives and development link a territory with a heritage - through elements which represent nature and mankind's creativity - within a geographically limited local population which is in turn subject and actor of its own culture. They constitute the conjunction of actions for favouring social, cultural and economic progress of each community; voluntary, desired development, implemented and criticized by its own members, both individually and collectively. As Hugues de Varine says "the natural community framework is a concentric space which successively involves the family, the professional environment, the neighbourhood or village, the city or province and finally the region". At this point, imaginary spaces must be taken into account. Although immaterial, these are the spaces of creation and emotion which, together with intelligence, allow to reach total knowledge. What is peculiar about man is his spirit and it is this spirit which gets to know reality and which apprehends and updates values. His memory locates the events he recalls in terms which presuppose an abstract, general time; it is symbolic because it does not only revive past experiences, but instead rebuilds them. Achieved throughout a complex, arduous intellectual process, only man has that idea of abstract, geometric space. It is man who creates culture, uses it in several ways and grows and develops under its protection, constituting thus an undissolvable unit. Heir of his past, of a series of bygone experiences which condition it, his distinctive feature is still his work. Conditioned by symbolic thought and the pertinent behaviours, the progress of culture and the continuity in the cultural development of communities is the basis of the future. After UNESCO's Fifth Regional Seminar in Mexico in 196i , the museum was considered the community's cultural centre which • ... must complete and assess the education system and perform an integration function aimed at the unity, preservation, analysis, interpretation, conservation and presentation of the community's cultural heritage and natural realities '. The community, that heterogeneous social group, joined by traditions, needs and solidarity, placed within a spatial and temporal framework. Community , UNESCO's Fifth Regional Seminar ''The museum as the cuffural centre of the community", Mexico, October 1962. 39
Page 1: Symposium MUSEUM AND COMMUNITY II J
Page 4 and 5: IV MUSEUM AND MUSEOLOGY IN NORWAY A
Page 7: SYMPOSIUM MUSEUM AND COMMUNITY, Par
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
Page 35 and 36: La troisieme communaute - qui aujou
Page 37: Heritage, Museum, Territory and Com
Page 41 and 42: ''The museum must openly embrace th
Page 43 and 44: MUSEUMS and COMMUNITIES: a powerful
Page 45 and 46: have many of the great museums adop
Page 47 and 48: first immigrant housing. The first
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
Page 65 and 66: The nature of museums MUSEUMS AND T
Page 67 and 68: to all. It appears that history can
Page 69: fees for services and admissions in
Page 72 and 73: "Les musees. interoretes du oatrimo
Page 74: II ne s'agit plus d'un patrimoine o
Page 78: des courants tres divers dans leur
Page 82 and 83: During the Nineteenth Century sanct
Page 85 and 86: the community more effectively and
Page 87 and 88: 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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