department for preventive conservation national ... - WebSajtovi

i promišljenom pridobijanju publike. To nisu samo stalnii verni posetioci muzeja, već oni koji to tek treba dapostanu.Delatnost koju muzeji već sprovode, i koja je u neposrednojvezi sa novim zahtevima muzejske prakse, jezaštita nematerijalne kulturne baštine.Nacionalni muzej Filipina je pionirski započeo integrativnuzaštitu materijalne i nematerijalne baštine, dabi sačuvao Hadhad pevanje Ifugao naroda. Pod njegovimpokroviteljstvom se održavaju domorodački festivalii podučavanje mladih ljudi ovom pevanju preko publikacija,priručnika, audio i video materijala. 5Kustosi Britanskog muzeja već petnaest godina radesa Kulturnim centrom Vanuatu u Južnom Pacifiku, a njihovrad sa lokalnom zajednicom predstavlja inspirativniprimer spasavanja nematerijalnog blaga. 6Vijetnamski muzej etnologije, od osnivanja (1997.godine) ima za cilj da prikaže nematerijalnu kulturnubaštinu unutar muzeja. Tradicionalne veštine, usmenatradicija i društvena praksa prikazuju se kroz demonstriranjezanata, narodne predstave, izložbe i projekte;2001. su pozvali zanatlije iz jednog sela da bi u Muzejuizrađivali dečje igračke. Bilo je mnogo zainteresovanihza savladađivanje ovog zanata, a među njima naročitodece. 7Muzej civilizacije u Kvebeku je od 1988. godine, kadaje i osnovan, u centar svog rada postavio društvenudimenziju ljudskog postojanja, pa su i predmeti na izložbamakorišćeni samo kao ilustracija društvenog životarazličitih zajednica. U sve akcije Muzeja uključenoje građanstvo i posle sprovedenih anketa, na osnovu odgovoragrađana, iskristalisao se važeći stav Muzeja da jenasleđe tesno povezano s identitetom, ali da identitetnije određen samo fizičkim predmetima. 8Prirodnjački muzej u Nju Delhiju i Zoološki vrt LorensDarel u Belizeu, u jezgru svog rada imaju udruženaznanja lokalnog stanovništva i naučnih rezultata u prirodnomokruženju.Veliki je broj ovakvih primera u svetu. Kustosi muzeja,a naročito etnografskih, uvideli su, kroz praksu, dapredmet donet u muzej gubi svojstva i značaj koji jeimao u sredini iz koje je istrgnut. Zbog toga pokušavajuda mu “vrate dušu”, stvarajući mu makar i veštački ambijent.Smeštajući muzejski predmet u društveni i istorijskikontekst, kustosi spasavaju i neopipljive elementenarodne kulture.Prema tome, može se zaključiti da su najveće promenekoje su se dogodile u muzejskoj praksi na kraju XXveka i na početku novog milenijuma, isticanje važnostimuzejskog posetioca na račun muzejskog predmeta idovođenje u vezu muzejskog predmeta sa kompletnimokruženjem u kome je nastao (prirodnim, društvenim,religijskim, itd). Nije toliko važno koliko se predmetanalazi u muzeju, već šta će se s njima učiniti, pošto muzejiviše nisu “kuće predmeta, već kuće ideja”. 95 Joseph O’Reilly, Abstract art, Museums Journal, London,March 20046 Isto.7 Nguyen Van Huy, Intangible Cultural Heritage at the VietnamMuseum of Ethnology, ICOM NEWS no 4,Paris 2003.8 Yves Bergeron, Intangible Heritage at the Musée de la civilisationof Quebec, ICOM NEWS no 4, Paris 2003.9 Tomislav Šola, Marketing u muzejima ili o vrlini i kako je obznaniti,Zagreb 2001, Beograd, Clio, 2002.NEMATERIJALNA KULTURNA BAŠTINA i UNESCOImajući u vidu novine u načinu rada muzejskih institucijai različite programe čija je suština postala zaštitanematerijalnog nasleđa, UNESCO je dao objašnjenjepojma nematerijalna kulturna baština: “Nematerijalnakulturna baština je praksa, prezentacija, izražavathroughthose activities. 4 Future of the museum lies inmature and reconsidered gaining public appreciation. Itdoes not mean to rely on regular and loyal visitors butto those who are to become ones.Action which is already taken by museums and isclosely related to the new tasks of museum practice isprotection of intangible cultural heritage.As a pioneer in this field, National Museum of thePhilippines started with integrated protection of bothtangible and intangible heritage in order to safeguardHadhad singing of Ifugao people. This museum alsosupports native festivities and education of young peoplein this way of singing through publication, manuals,audio and video material. 5For the last fifteen years, curators of the British Museumhave been working in the Cultural Centre Vanuatuin South Pacific.Their cooperation with local communityis an inspiring example of safeguarding intangibletreasures. 6Since the opening of the Vietnam Museum of Ethnologyin 1997, its goal has been to present intangible culturalheritage within the museum setting. Traditionalskills, oral traditions and social practices have been presentedwith craft demonstrations, folk performances,exhibitions and various projects. In 2001, for example,craftsmen from particular village were invited to demonstratetoy-making in the museum. As a result, manyvisitors, including children, came to the museum to learnhow to make toys. 7Musee de la Civilization of Quebec, since it openedin 1988, has focused on the social dimension of humanexistence. Therefore, exhibited objects serve to illustratesocial life of diverse communities. Museum activitiesalways include public opinion. After a public opinionpoll about heritage, it became clear that heritage is closelylinked with identity but identity is not defined onlythrough physical objects – which proved right throughthe museum concept already. 8The National Natural History Museum in New Delhiand the Lawrence Durrell Zoo in Belize both integratelocal knowledge and perceptions of science and theenvironment into their core activities.There are numerous examples of this kind in theworld. Museum curators, especially ones in ethnographiccollections, realized through their practice that an objectbrought to museum loses its character and significance itused to have in the original environment. For this reason,curators are trying to ‘bring its soul back’ by creating atleast an artificial environment. While locating museumobject into social and historical context, curators are rescuingintangible elements of folk culture.Therefore, we could conclude that the biggest changesin museum practice at the end of the 20 th centuryand the beginning of the new millennium are emphasizingthe visitor before the object and connecting museumobject with environment of its origin (natural, social,religious etc.). The number of objects in the museumcollection is less important than their use, as museumscease to be “the houses of objects but (become) thehouses of ideas”. 94 George H.O. Abungu, Opening up New Frontiers: Museums ofthe 21st Century, Museum 2000 Confirmation or Challenge,Stockholm 2002, 37-435 Joseph O’Reilly, Abstract Art, Museums Journal, London,March 20046 As above7 Nguyen Van Huy, Intangible Cultural Heritage at the VietnamMuseum of Ethnology, ICOM News no 4, Paris 20038Yves Bergeron, Intangible Heritage at the Musee de la civilizationof Quebec, ICOM News no 4, Paris 20039 Tomislav Šola, Marketing u muzejima ili o vrlini i kako je obznaniti,Zagreb 2001, Beograd, Clio, 2002117