Over the years, culture, ethnicity, and national identity through museums have become moulded as the world has emerged through the globalisation and post-colonialism. Through globalisation and post-colonialism, people from all around the world have become aware of the different cultural and ethnic groups. This process of understanding different cultures can be understood through museums. A proper understanding of culture can attributed through the visual perspective, and that is what museum offers the people that visit both public and national museums. Within the essay will examine the difficulties and positives that occur within museums with regards to the accurate representation of the cultures that are displayed. Furthermore, will examine how globalisation, post-colonialism, multiculturalism, and transnationalism have played a role in the modern museums and how difficulties through the ‘politics of representation’ have become linked with globalisation, post-colonialism, multiculturalism, and transnationalism.
The term ‘politics of representation’ refers to “the language used in a text or talk to assign meaning to groups and their social practices, to events, and to social and ecological conditions and objects (Wenden, 2005: 90) . Within museums there are exhibitors who are responsible for the politics of representation. Within each museum, there are personnel that have the task and duty of being curators for the collections within the museum. When viewers go to the museums, they have the purpose of attempting to visually understand the collections that available for viewing. Baxandall (1991: 33-34) states that the viewer has two specific purposes for visiting a museum and that is to look at objects that visually interesting. T...
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... Culture and the Museum. London: Routledge, 41-51.
Karp, I. 1991. Culture and representation. Exhibiting Cultures: The Poetics and Politics of Museum Display. Washington: Smithsonian Institution Press, 11-24.
Pieterse, J. N. 2005. Multiculturalism and museums. Discourse about others in the age of globalization, in G. Corsane (ed.), Heritage, Museums and Galleries: An Introductory Reader. London: Routledge. 163 – 183.
Simpson, M.G. 1996. Making representations: Museums in the post-colonial era. London: Routledge. Chapter 5: From treasure house to museum . . . and back, 107-134.
Young, L. 2007. Globalisation, culture and museums: A review of theory. International Journal of Heritage Studies 5(1): 6-15.
Wenden, AL. 2005. THE POLITICS OF REPRESENTATION: A CRITICAL DISCOURSE ANALYSIS OF AN ALJAZEERA SPECIAL REPORT. International Journal of Peace Studies, 10 (2): 89-112.
In “Sacrality and Aura in the Museum: Mute Objects and Articulate Space,” Joan R. Branham argues about the experiences art viewers have in museums based on their surroundings. Her points include how a person is to completely understand and feel a ritual object if it is taken out of its natural context or how someone is able to fully appreciate of work of art if they can’t see it where it truly belongs.
Baxandall, Michael. "Exhibiting intention: Some preconditions of the visual display of culturally purposeful objects." Exhibiting cultures: The poetics and politics of museum display (1991): 33-41.
Duncan’s (1991) analysis of western museums is defined through the theme of “durable objects” as a criterion to judge the heritage of American and European art as a ritual of the modern state. In this manner western art museums are built like “temples” as a symbolic and figurative representation of greatness of western culture throughout the world: “[They] are more like the traditional ceremonial monuments that museum buildings often emulate—classical temples” (Duncan 90). This interpretation of American/European museums defines a dominant source of cultural heritage that ritualizes
For years on end, countries have been fighting with big museums from other countries for ancient artifacts that belong to the original countries. The argument of whether or not the museums should be able to keep them still remains. It is the right of the country to have their own artifacts. It is imperative for countries to be able showcase their historical artifacts, therefor museums should return them to their rightful owners.
The “superstar” museum gained this status by considering every important detail during its establishment and initial phases of conversion from royal palace to museum (Gombault, 2002). As the purpose of the building changed, each room addressed new functions with new requirements. Although the function of the Louvre is different from the building’s original intention, the building is still appears dignified and important enough to display priceless artifacts and painting (Steffensen-Bruce, 1998). This consideration was applied in designing the Met. The Met looked towards the South Kensington Museum (Victoria and Albert) and the “ideal role model” due to its extensive collections and international reputation (Heckscher, 1995). The Met found itself in a similar situation to the South Kensington, because it did not have a building or a collection to start with (Heckscher, 1995). When designing museums, architects strived to create monuments that “prepare and educate the mind of the visitor (Steffensen-Bruce, 1998).” Education is an essential function of a museum. Acquiring, preserving, and properly displaying materials, permits a museum to fulfill this duty (Steffensen-Bruce, 1998). For instance, lighting is a factor that affects the manner in which artwork is viewed and can be properly appreciated. When determining the proper lighting for the Louvre, Comte d’Angiviller, strongly believed that natural, overhead lighting was the most effective solution (McClellan, 1994, p. 72). The same determination impacted the decision to add skylights at the Met. During the initial phase, architects Vaux and Mould, added skylights to the upper floor, and windows to the lower floor that provided a natural light solution (Heckscher, 1995). Additionally, glass-roofed courtyards provided “unimpeded light” for displaying
...troversy as all countries have lost, to a great or lesser extent, treasures of national renown and significance over time. Wars, theft, treasure seeking, changing boundaries and migration have all in some way contributed to this diaspora of art. There is clear evidence that the historic placing of objects in locations remote from their origin has on occasion afforded protection and preservation, The Elgin Marbles in The British Museum being a case in point. However, given the overarching principle of self determination it is difficult to argue that serendipitous historic placement is sufficient reason for items of true national heritage to be kept indefinitely. A world-wide system of touring exhibitions and cultural exchange, with context being provided by the originating society may provide the natural progression to the accessible widening of people’s experiences.
Andersen, Roy, Robert F. Seibert, and Jon G. Wagner. Politics and change in the Middle East: sources of conflict and accommodation. 9th ed. Englewood Cliffs, N.J.: Prentice-Hall, 1982. Print.
One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.
Gerner, Deborah J., and Philip A. Schrodt. "Middle Eastern Politics." Understanding the contemporary Middle East. 3rd ed. Boulder, Colo.: Lynne Rienner Publishers, 2008. 85 -136. Print.
New museology is the modernisation of museums. New museums are made to be more interactive and more interesting for the visitors. Displays in the museums are no longer covered in glass and people are encouraged to look more closely and interact with displays. The museums are brighter are the displays...
In “Whose Culture Is It, Anyway? ”, Kwame Anthony Appiah begins by pointing out that some of the museums of the world, particularly in the West, have large collections of artefacts and objects which were robbed from developing and poor countries. He then raises a question: who owns these cultural patrimony and properties? Our first answer may be that since they make up the cultural heritage of a people, they belong to the people and culture from whom they were taken. Appiah has doubt about this and argues that if some cultural artefacts are potentially valuable to all human beings, they should belong to all of humanity. He thinks that when they make contribution to world culture, they should be protected by being made available to those who would benefit from experiencing them and put into trusteeship of humanity.
We visited the Museo Nacional De Antropologa in Madrid, and were assigned to analyse the Asian Room, which is focused particularly on the Philippine Islands because of their historical colonisation with Spain. The display of things in a museum are things that we look at as something that is outside of normal. In contrast to the movie or movies, where scenes substantially show how the person felt and dealt with situations and tools from their own perspective, with their own knowledge and experience and through different means such as real images, sounds, language and others produces a different knowledge on the racial discourse. When looking at exhibitions in museums the other culture is unknown, and almost uncomfortable to us, but in movies we can be standing in their shoes.
Aday, S. et al. 2012. New Media and Conflict After the Arab Spring. United States Institute of Peace. [online] Available at: http://www. usip. org/files/resources/PW80. pdf. [Accessed: 29 April, 2014.]
‘Savage Beauty’ was an exhibition that pushed the boundaries of museology, in its artistic, social and critical undertakings. The questions brought to bear by the exhibition of contemporary art and culture in various situations is something I am interested in researching further with a degree in curating.
Museum defines as an institution housing collections of objects of artistic, historic, or scientific interest conserved and displayed for the educational and enjoyment of the public. Museums are places of memory that provides the link of distant past to the present generation which also help the society to know the path their forebears trod. The main purpose of museum is neither to educate nor entertain but rather creates a memory bank would remind us of the past. No wonder most societies in different parts of the world traced their origin through the works of arts history. There are many types of museum includes museum of Antiquities-in which are housed ancient pieces of furniture or objects of art such as sculptures, paintings, ceramics, textiles and other crafts. Public record office museum serving as collection centre for famous documents, War museum containing relics of national wars, Maritime museum for maritime history, museum for architecture, with types, structures and styles of building, etc., Museum for Local/Indigenous Technologies, Science Museum, with objects depicting history of science and engineering and Natural History Museum. However, all types of these have their own roles of information institutions in national development. The main roles are to identify, acquire, preserve, and exhibit unique, collectible, or representative objects. The role of museum in the life of a nation involves conducting research into the vast natural history heritage and biodiversity of the country, serving as a repository, of natural objects, source materials and taxonomists in that country, creating scientific awareness, on natural history resources of the nation through annotated exhibitions for public enlightenment in display ga...