ISS 25 (1995).pdf - The International Council of Museums
ISS 25 (1995).pdf - The International Council of Museums ISS 25 (1995).pdf - The International Council of Museums
irriage of, ifnot "superiority", then of "advanced evolution" . Age and history are not the same qualities, though age and history can be applied to the same objects and concepts. The overriding difference between the two qualities is that one notion is based on means of time determination and the other is based on an evolution determination which, in many cases is imparted to an object, rather than it being inherent in the object itself It is a curatorial concern to import historical meaning to objects of age and serve the community with historical interpretation. The Community Communities are defined as an aggregate of people of a joint interest. This interest could have arisen from an association with a simple locale such as a neighbourhood, it could have arisen from the avid zeal in a subject such as aviation, it could have arisen through the intellectual inquiry such as an archeological study of antiquities, it could have arisen by nationalist motives such as the state run and operated museums of countries which propound patriotism, it could have arisen through civic pride, individual collecting, or by the awakening of a "new truth" whose followers would make an historical statement and find that together they are a community. Contemporary Pressure Contemporary political and economic spheres have placed pressures on the world creating a modem oddly mixed social order. To discover and/or redefine a history for this extant new order has caused a reexamination of what is important in life. The world community is now having to achieve understandings where local claims to history are no longer adequate. Further, to add to the special modem mix, there has been an increase in special interest claims, international political movements, and global intellectual claims which all need their explanations in history. The modem dilemma is that none of the demands for historical validation match a single threaded path of history, but are a part of a complex and competing arena that is vying for attention. Not all the contributions put forward to make a claim on history are overlapping or congruous, in fact, some are quite discreet and others definitely opposing. This modem and intense demand for knowledge of competing existences has created a situation where museums cannot possibly satisfy the variety of different publics and communities. The Conflict There is a conflict which has arisen through the demands of international, national, provincial, city, ethnic group, native group, different political affiliations, historical traditions placed upon the support that history can offer the justification of a community's existence and still be fair 68
to all. It appears that history cannot logically envelope all the modes of explanation with equal clarity and force of pronouncement. For example, it does seem that the museum cannot serve the dominant culture of Canada and at the same time serve the aspirations of First Nations peoples as the notion of historical occurrences are in conflict. This rising friction between the requirements for knowledge to explain existences and the ability to make the expression has created cracks in and hardships on the structure of museums and the stress caused on the morality of museum purpose has pressured the decision makers to a more user-defined institution such that the morality is defined by public support rather than by idealogy or thought detennined positions. Politically correct Special interest groups and cultural minorities within the social fabric are demanding a 'voice' and thus a forum in which to present their histories and to advance their socio-political messages. In this way and through this kind of 'media conduit', ie. the museum, such groups can reach an audience for purposes of eliciting sympathy and support, which in tum becomes a powerful tool to effect changes desired by the group. In keeping with the notion that histories are the story of evolution of how a people or culture or community have come into existence, the use of words, phrases, and concepts that have traditionally been used by one community have in recent years been challenged under the broad rubric of ' political correctness'. The explanation for the rise of political correctness has to do with the enfranchisement of disadvantaged or minority communities which have recently acquired political strength and are demanding histories that explain their particular evolution or struggle for existence. In the common vernacular it is stated that victors write histories and in this sense, the volatility of historical meaning alters with the change of political climate. Clearly this has a major influence on museum exhibition and practices. A recent exhibition entitled "Into the Heart of Africa", mounted by the Royal Ontario Museum in Toronto and publicised as a view of Victorian Africa, was roundly criticized by many ethnic Canadian communities as being racist and derogatory. A search for a Solution The signposts that a search is ongoing to find a solution to the demands arising from political correctness, historical explanation and financial support are that the museums are becoming responsive to a variety of community voices and sensitive to financial relationships, thus leaving their direction open to the vagaries of a 'marketplace' not under museum control. 69
- 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.
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- Page 35 and 36: La troisieme communaute - qui aujou
- Page 37 and 38: Heritage, Museum, Territory and Com
- Page 39 and 40: to promote communication and educat
- 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: The nature of museums MUSEUMS AND T
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to all. It appears that history cannot logically envelope all the modes <strong>of</strong> explanation with equal<br />
clarity and force <strong>of</strong> pronouncement. For example, it does seem that the museum cannot serve<br />
the dominant culture <strong>of</strong> Canada and at the same time serve the aspirations <strong>of</strong> First Nations<br />
peoples as the notion <strong>of</strong> historical occurrences are in conflict. This rising friction between the<br />
requirements for knowledge to explain existences and the ability to make the expression has<br />
created cracks in and hardships on the structure <strong>of</strong> museums and the stress caused on the<br />
morality <strong>of</strong> museum purpose has pressured the decision makers to a more user-defined<br />
institution such that the morality is defined by public support rather than by idealogy or thought<br />
detennined positions.<br />
Politically correct<br />
Special interest groups and cultural minorities within the social fabric are demanding a 'voice'<br />
and thus a forum in which to present their histories and to advance their socio-political<br />
messages. In this way and through this kind <strong>of</strong> 'media conduit', ie. the museum, such groups<br />
can reach an audience for purposes <strong>of</strong> eliciting sympathy and support, which in tum becomes<br />
a powerful tool to effect changes desired by the group.<br />
In keeping with the notion that histories are the story <strong>of</strong> evolution <strong>of</strong> how a people or culture<br />
or community have come into existence, the use <strong>of</strong> words, phrases, and concepts that have<br />
traditionally been used by one community have in recent years been challenged under the broad<br />
rubric <strong>of</strong> ' political correctness'. <strong>The</strong> explanation for the rise <strong>of</strong> political correctness has to do<br />
with the enfranchisement <strong>of</strong> disadvantaged or minority communities which have recently<br />
acquired political strength and are demanding histories that explain their particular evolution<br />
or struggle for existence. In the common vernacular it is stated that victors write histories and<br />
in this sense, the volatility <strong>of</strong> historical meaning alters with the change <strong>of</strong> political climate.<br />
Clearly this has a major influence on museum exhibition and practices. A recent exhibition<br />
entitled "Into the Heart <strong>of</strong> Africa", mounted by the Royal Ontario Museum in Toronto and<br />
publicised as a view <strong>of</strong> Victorian Africa, was roundly criticized by many ethnic Canadian<br />
communities as being racist and derogatory.<br />
A search for a Solution<br />
<strong>The</strong> signposts that a search is ongoing to find a solution to the demands arising from political<br />
correctness, historical explanation and financial support are that the museums are becoming<br />
responsive to a variety <strong>of</strong> community voices and sensitive to financial relationships, thus leaving<br />
their direction open to the vagaries <strong>of</strong> a 'marketplace' not under museum control.<br />
69
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