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NEWSLETTER
CALENDAR
UMAC 2004: Papers and Posters Presented
UMAC 2004 · Gallery of participants
Papers and Posters (in alphabetical order of family name)
Speaker
Presentation
Bae
Kidong
University Museums in Korea
Chair of Korean Association
of University Museums /
Secretary General of ICOM
2004 Organising Committee
/ Director, University
Museum, Hanyang
University, Korea
bkd5374@chol.com
Chung
Yun Shun Susie
The Current State and Future Direction of University Museums
in the Republic of Korea
Professor, Heritage
Management
Center for Advanced Study
of Museum Science and
Heritage Management
Museum of Texas, Texas
Tech University
Box 43191, Lubbock, Texas
79409-3191, USA
yun-shun.chung@ttu.edu
Abstract: University museums are centers of preservation and
research. The beginnings of university museums in the West
demonstrate the concentration on the systematization of collecting
and the use of the collections for teaching. However, most
university museums do not serve as cultural centers communicating
to the broader community beyond specialist knowledge. This is true
for not only the West but the East as well. In conjunction with the
2004 International Council of Museums general conference taking
& Insook
place in the Republic of Korea (ROK), this paper will focus on the
Lee
university museums in the ROK. Statistics show that one-third of
Assistant Independent
all the museums in the ROK are university museums. There is a
Scholar; Research Fellow,
National Gallery of Art,
strong commitment to preservation and research of specialist fields
Washington, D.C.; Vice
in archaeology and folk culture and history in these museums. The
Chairperson, Korean
purpose of this paper is to examine their current and future role and
National Committee of
ICOM 204-33, Kaenari Apt. importance in the Korean museum community. Three strands will
Yeoksamdong, Kangnamku, be explored. They are: the evolution and current state of university
135-082, Korea.
museums in the West; the background of university museums in
insooklee1@hotmail.com
Korea; and the problematics and future direction of university
ahalee@kg21.net
museums in the ROK. It is argued that there is a definite need for
re-direction of university museums in the ROK to serve as cultural
centers in the region by striving to balance the four functions of a
museum: administration, preservation, research, and
communication.
Cordova-González
Julia
Dept. Arqueología y
Museología
Universidad de Tarapacá
Arica-Chile
jcordova@uta.cl
Pre-Columbian Andean textiles - a stimulus to intercultural
understanding
Abstract: The pre-Columbian Andean textiles belonging to the San
Miguel de Azapa Museum of Archaeology, have always been
considered purposeful items implying ethnic expression, so that
style classification could lead to social identification. Aesthetic
accomplishment was a plus, fibre, colour, balance and figures
resulted in organic pieces to provide pleasure to the owner as well
as to the viewer.
More recently, a second perception has been advanced, preColumbian textiles are not only beautiful but they convey messages
embracing different levels of meaning other than ethnic belongings.
This paper presents a hermeneutic approach to analyse one textile
of this museum's collection, suggesting an unspoken narrative of
some 900 years ago. The purpose of the interpretive effort is to
stimulate intercultural understanding.
Hahm
Han Hee
Korean Folklore through Time: in the case of Hungbujon
Department of Cultural
Anthropology, Jeonbuk
National University, Korea
Abstract: Recently famous Korean folktales, myths, and legends
increasingly have become the thematic sources of local cultural
festivals. This means that folklore is revived as the object of the
regional or local consciousness and identities. Some cities and
county offices competitively search for folklores that are thought to
have originated in their cities and counties.
Namwon, known to be a home of famous traditional song, pansori,
Ch'unhyangjon, achieved success in drawing national attention with
the festival of Chunghyang. This success has driven the city of
Namwon to search for another folktale that can be a theme of
cultural festival. The officials and researchers in Namwon found
out that Namwon is the original place of Hungbujon, one of the
most famous folktales in Korea. They found evidence to show that
two villages in the area of Namwon, Ayong and Songsan have a
long tradition of commemoration rituals for Pak Chomzi, the
incarnation of Hungbu, the main character of Hungbujon. They
argued that Hungbujon was made on the basis of the life story of
Pak Chomzi. Furthermore, according to their argument, Hungbu
was born either in the village of Ayong or Songsan. The fictitious
character was the embodiment of a real person with historical facts.
The folktale which was long enjoyed by Koreans became local
history. The transformation from folktale to history was a distinct
feature of Hungbujon in contemporary Korea. At the same time, we
can witness the similarity in its structure between the folktale and
the reality. There are severe conflicts between two brothers in the
folktale. Such antagonism was repeated between the two villages of
Ayong and Songsan over fortunes. The clash was finally resolved
by depending on the folktale.
Some scholars have argued that folklore is not simply a product of
the past but is emergent, the result of a complex interaction of
communication, social goals, individual creativity, and
performance. They have paid attention to the interactive
characteristics of folklore between the past and the present.
However, the argument has not dealt with the interchangeability
between the fiction and real. A good example is the making of
history based on the Hungbu folktale. The genres of folklore and
history are blurred in the Hungbujon's case. But what is clear in it is
the structural continuity of folklore and the making of history.
Heinämies
Kati
POSTER: We did it!
PO Box 11, 00014
University of Helsinki,
Finland
kati.heinamies@helsinki.fi
Abstract: In 2000 in Paris, the title of my presentation was
'Funding and Museum Ownership'. In that paper I explored various
possibilities for the organisation and funding for the museum that
was being planned. At that time, no official decisions about the
establishment of a new university museum had been made and
opinions strongly favoured a foundation-based organisation with
cooperating partners from institutions close to the field of the
museum. In Sydney my topic was 'New forms of co-operation
between the Helsinki University Museum and students', which
included the idea of using the museum as a teaching aid and
provider of opportunities for practical training for students of
museology.
The new Helsinki University Museum was opened to the public in
early November 2003. The University leadership gave its full
support to the museum and took full financial responsibility for its
operations - even though we operate on a modest budget, the
investment comprising all operating expenses, salaries and rents is
considerable. Cooperation with students was launched according to
plan and has already led to concrete results: an exhibition on the
folklore collection, gathered by students over a period of 130 years,
which was also independently designed and mounted by students of
museology, was opened in May in the premises for temporary
exhibitions.
Horder
Jenny
Museum of Human Disease
and Hall of Health,
University of New South
Wales; 5th Floor, Wallace
Wurth Building; School of
Medical Sciences
UNSW, Sydney NSW 2052,
Australia
j.horder@unsw.edu.au
Getting the Balance Right - University Core Commitment Vs
Community Outreach
Full Text (Word document, 100 KB)
Abstract: Since the advent of an encroaching ground shift away
from the age of formal education in the classroom towards an age
of personal learning at every stage of life, university museums and
galleries should be increasingly aware of their opportunity of
returning to their earlier role as partners and initiators of these
processes. In turn, the University may be mindful of an expected
benefit in the form of enhanced undergraduate and postgraduate
student enrolments in addition to being more highly valued by their
communities in general. As significant sites for personal and
lifelong learning and the fact that 70% of the learning we do in our
lifetime is informal, current research on theories of learning are
beginning to say that the most effective kinds of learning
experiences are exactly the kinds that museums and galleries can
best provide. Are university museums engaged in this process?
Through the lens of a highly successful community program
operating out of the Museum of Human Disease and Hall of Health
at UNSW - now serving the needs of over 10,000 community
visitors annually - this paper will explore the rationale of initiating
such a program, the journey in a capsule, current hurdles and
threats, the precarious balancing of the often shifting expectations
of University management and the shedding of light and
recommendations for survival in the University environment and
the external competitive museum climate. Some other case studies
will be presented, including collections from overseas tertiary
institutions where there has been a successful promotion and foray
into the wider community and the public domain.
Janiszewski
Leonard
& Effy Alexakis
Australian History Museum,
Macquarie University
Department of Modern
History, Macquarie
University, Sydney, NSW,
2109, Australia
greekoz@hmn.mq.edu.au,
effy.alexakis@mq.edu.au
Harnessing the Intangible - A Greek-Australian Experience
Full Text (Word document, 100 KB)
Abstract: A history of the human experience of any given society
cannot be limited to evidence such as paper documents or the
objects and physical constructs of daily life. Yet, a major
characteristic of countless university social history museums, and
indeed their state and national counterparts, appears to be this
circumscription. Tangible objects abound, and for the most part, are
the major focus of an institution's exhibitions, research, and public
interaction. Can intangible elements therefore become a key driving
force in assisting a museum's exhibition development?
The creation of two touring exhibitions on Greek-Australians at
Macquarie University's Australian History Museum has
resoundingly answered, "yes". "Generations" and "In Her Own
Image: Greek-Australian Women", embraced intangible heritage as
their pre-eminent concern. The diverse complexity of GreekAustralian cultural identity, as manifested in a broad array of
beliefs and practices, was clearly revealed through a strong
interplay of oral histories (supplemented by archival/library
research), with historical and contemporary photographs. The
sociological and historical were married by selecting interviewees
across different generations, and of different periods of migration
and settlement. Voices, convictions, experiences and faces provided
form to the intangible.
Further exhibitions are now planned, where the tangible is hidden
and the intangible, seen.
Jonaitis Aldona
University of Alaska
Museum of the North
907 Yukon Drive
Fairbanks, Alaska 99775
USA
aldona.jonaitis@uaf.edu
Creating an art gallery for a university museum: Presenting
both tangible and intangible expressions of a sense of place -Alaska
Abstract: The University of Alaska Museum of the North is
opening its new wing in summer, 2005. The centrepiece of the
expansion is the 8,000 square foot Rose Berry Alaska Art Gallery,
which presents Native and non-Native Alaska art, as well as items
sometimes classified as "craft," as of equal value. During the
planning process which entailed numerous consultations with
community members as well as museum professionals, it became
clear that there was much more to an art exhibit than viewing
objects on display. Surrounding each work is a wealth of non-visual
features that depend on senses other than sight, such as the feeling
of the media as the artist works on it, the experience of being
outdoors in a wilderness setting painting a landscape, the smell of
salmon roasting during the Native ceremony when a mask is used.
We decided that including those intangibles in our gallery, visitors
would be better able to understand the Alaskan sense of place. The
end result included verbal comments by the artists themselves,
recordings by Native people of what the artworks on display mean
to them, opportunities to engage in hands-on art-making activities,
and "The Place Where You Go to Listen," a sound experience
created by real-time geophysical phenomena such as earthquakes,
aurora, light, temperature linked to sound-generating computers.
This talk will cover the planning process and also demonstrate how
we have included those intangibles in our gallery.
Kelm
Bonnie G
Moving Forward by Looking Back: How Reviewing the History
of University Museums can Help Chart Plans for the Future
Director, University Art
Museum
University of California,
Santa Barbara, CA 93106-
Full Text (Word document, 100 KB)
7130
bgkelm@uam.ucsb.edu
Abstract: The history of university museums in America in many
ways runs counter to the history of municipal and private museums
in terms of programmatic content, use of collections, and public
policy. University Museums from the earliest recorded examples
were much freer, more experimental, and both inter- and multidisciplinary in their development of exhibitions and programs.
Many of the "progressive ideas" promoted by professional
associations, like the American Association of Museums (AAM), to
mainstream museums over the last twenty-five years, appeared in
the exhibitions and programs of university museums decades
earlier.
Over the past 15 years as this "reverse museum history" continued
for university museums, many of these institutions began emulating
mainstream museums, especially in terms of impressive building
campaigns and emphasis on so-called "blockbuster" exhibitions.
Often, these new ambitious efforts displaced the more traditional
objectives of curriculum support, alternative programming and
collection study. Some University Museums have been very
successful in attracting significant private support for their new
endeavors. However, in the wake of economic slow downs of the
early 1990s as well as in the current depressed economic
atmosphere, universities have turned a more critical eye toward
their museum progeny. The trend has often either been to view the
museum as unwanted competition for other needy campus
programs vying for private and public support or, to view the
university museum as a superfluous financial drain during hard
times. Even if the recaptured funds from closing a museum might
not amount to very much in terms of budget support, the sociopolitical climate has promulgated the view of the museum as nonessential to the "core" programs of the University. Looking back in
history to the time when museums in this country originated in
academic institutions and actively participated in the process of
education, can we rediscover the elements that encourage a
respectful relationship between university museums and their
parent organizations? In reviewing the past, what implications are
suggested for the future of university museums?
Kim
Kwon Gu
Director, Keimyung
University Museum
ggkimdream@kmu.ac.kr
Strengthening Relationship between the University Museum
and the Local Community
Abstract: The review of the present status of university museums
in Korea as well as their present roles will be made in this article.
Then the necessity for strengthening relationship between
university museum and local community will be mentioned
particularly in the present Korean context. In addition major
problems university museums in Korea are facing at the moment
will be discussed and appropriate strategies to overcome obstacles
will be suggested. In short this article is designed to discuss
necessity for strengthening relationship between university museum
and local community as well as strategies. This is quite important to
upgrade present university museums to upper level.
Lee
Sang Chun
University management and the role of University Museum
President, Yeungnam
University, Korea
sangcl@yumail.ac.kr
Abstract: The museum was mandatory facility for the foundation
of university along with the library until 1970s in Korea. However,
as a new private university owner, the university museum is a
burden so that the museum is excluded from the university
organization law by request of new private university owners.
Regardless of over 90 university museums which have the clear and
evident fundamental ideology of the foundation of the university
are expanding their buildings and functions. Yeungnam University
is an active museum supporter in conjunction with the education of
the national identity and traditional culture education in practice
which are the main education mottos of the Yeungnam University.
At the same time, Yeungnam University museum opened the public
education program for the very first time among university
museums in Korea. Traditional culture experience program is being
held for primary school students around a year and Yeungnam
University puts in practice museum tour from kindergarten to high
school students. These programs need to be considered positively
that a strategy of marketing activities of recruiting prospective
students in near future. The University Museum curatorial staff
members need to understand not only the management of university
as a whole but the university museum itself and make an endeavor
to develop and manage extensive and various programs.
Legget
Jane
Massey University
Out of sync? - Tertiary education users' perspectives on the
assessment of museum performance
PO Box 34665, Birkenhead,
Auckland 10, NEW
ZEALAND
jane.legget@xtra.co.nz
Abstract: All museums, including University Museums, are
accountable to a diversity of stakeholders, who each judge the
effectiveness of their museum's performance in different ways. This
paper reports on a case study where data from diverse stakeholder
focus groups generated "possible performance indicators" reflecting
both internal and external perspectives.
For its first 70 years, the case study museum was a University
Museum. Its constitution was then changed to reflect its role as the
principal museum of its region. While serving a broader
community, it maintains its traditional academic emphasis:
university researchers, teachers and students actively engage with
the Museum: there is University representation on the Museum's
governing body. Academics thus continue to be significant
stakeholders.
Drawing on the various stakeholders' concept maps of effective
museum performance, I shall report on findings from the tertiary
sector stakeholders, comparing and contrasting them with other
groups' perspectives. Aspects of museum performance that matter
to academics differ considerably from those of other stakeholders.
Can the diversity of perspectives be taken into account when
considering elements for a broader paradigm of museum
performance assessment to complement the formal accountability
reporting of governing bodies and requirements of museum
professional standards? What might this mean for University
Museums?
Lord
Barry
University Art Museums: Reorientation or Expansion?
Vice president, Lord
Cultural Resources Planning
& Management Inc.
301 Davenport Road
Toronto, Canada m5r 1k5
blord@lord.ca
Abstract: In recent years LORD Cultural Resources Planning &
Management, the world's largest museum planning firm, has been
invited to study the potential for reorientation of two Ohio
university art museums - those at Miami and Ohio Universities,
both of which sought to integrate their museums more effectively
into students' university experience. At about the same time we also
planned the relocation of the Florida International University Art
Museum and the expansion of Princeton University Art Museum.
The new FIU Museum is now under construction. The paper would
compare and contrast the approaches to reorientation of these four
museums, in relation to their student bodies, their administration
and their communities, and would also briefly compare university
museum planning with planning for other museums.
Metso
Tiina
& Saarenpää, Jouni
Polyteekkarimuseum,
Helsinki University of
Technology, Otaniemi,
Helsinki, Finland
c/o Panu.Nykanen@hut.fi
POSTER: kkarimuseo - The Polytechnical Students' Museum
Abstract: Polyteekkarimuseo is a unique museum, not only in
Finland, but also in the wider context. It was founded by students in
1958 and is still run by voluntary students. It lies within the
administration of The Technical University Student Union, and is
situated on the Otaniemi campus in metropolitan Helsinki.
The poster presents the unique aspects of the museum: academic
student traditions, heritage and voluntary organization devoted to
the long heritage of the Finnish technical students covering three
centuries.
The poster is related to Panu Nykänen's presentation.
Miller
Lenore D.
Luther W. Brady Art
Gallery, The George
Washington University
805-21st Street, NW,
Washington, D.C. 20052,
USA
ldmiller@gwu.edu
Exhibition Strategies: Collaborating with Faculty Mutually
Supports Institutional Goals
Full Text (Word document, 100 KB)
Abstract: Turning intangible into tangible educational outcomes is
a daunting task. The realities of changing institutional goals have
engendered strategies across disciplines, and combined with new
patronage, elevate the University gallery's academic mission. We
advocate exhibition development in tandem with many disciplines
(language study, anthropology, philosophy, religion, art history and
fine arts.) A successful strategy has included inviting a variety of
faculty members within the University community to collaborate on
exhibition planning, not just those faculty engaged in study of the
visual arts, or with experience as "curators." Exemplary of this
process is the cooperative organization of an exhibition as a
complement to the 11th annual (Hahn Moo-Sook) Colloquium in
the Korean Humanities series at the George Washington University
scheduled for October 23, 2004.* The Colloquium series was
established with an endowment created with a grant from the Hahn
Moo-Sook Foundation in Seoul. This series has become one of the
fine traditions of the University, and the meetings have been
popular with scholars who have attended. Every single meeting has
been videotaped for future educational Purposessince 1999, and
they have produced a monograph each year with papers and
commentaries presented at the colloquium, and with audience input
included.*
The Luther W. Brady Art Gallery took the initiative to blend our
mission with the Colloquium's, using the theme of Korean
Education as an "intangible cultural heritage" to develop a small
exhibition of traditional Korean ceramics borrowed from a local
private collection. Korean vessels are highly prized expressions of
an ancient tradition representing complex interactions of function,
form, and design. Through text and objects, these ceramics set up a
"visual dialogue" to complement the colloquium's educational
goals.
* (The key characteristics of Korean civilization are rites, lineage
structure, literature and education, stated Young-Key Kim-Renaud,
co-convener, Hahn Moo-Sook Colloquium, Professor of Korean
Language and Culture and International Affairs; Chair, Department
of East Asian Languages and Literatures, The George Washington
University, whose generous collaboration is acknowledged).
Nykänen
Panu
Helsinki University of
Technology
Otakaari 1, PO Box 1000,
02015 HUT, Finland
panu.nykanen@hut.fi
Exhibition as a tool of Technical Education 1879-2004 - The
Helsinki University of Technology case
Full Text (Word document, 40 K)
Abstract: The exhibition and museum work has been a elementary
part of the technical education in Finland from the very beginning
of the institutionalised technical education in 1840's. During the
years 1879-1889 the Institute had a open access museum for
general audience. 1889-1908 the exhibitions were arranged yearly.
The turn of the century was the time of diversification of the
technical museum and exhibition work. Collections were divided in
to small special parts. 1927 the specific museum association was
introduced to take care of the historical collections - but the
association was not able to get financing for the general exhibition.
The progress led to situation, where the audience disappeared.
After the WW II the museum work was organisationally divided in
to different sections. At the 2000s a progress of building the
exhibitions due the needs of the audience is back again. The
relevant scientific collections are used for exhibition work and the
number of visitors is rapidly rising in all the exhibitions.
Pugnaloni
Fausto
Department of Architecture
Survey Drawing Urbanistic
History, Engeneering
Faculty, Polytechnic
University of Marche via
Brecce Bianche, Ancona,
Italy
f.pugnaloni@univpm.it
francesco.leoni@email.it
POSTER: Archives and digital collections for the knowledge,
divulgation and exploitation of architecture. A digital catalogue
for the Marche
Abstract: The architecture department (DARDUS) of Polytechnic
University of Marche in Ancona, based on long experience in the
field of documentation and description of architecture, started in
2001 in partnership with Faculties of Architecture of Bologna,
Ascoli Piceno, Venice and Milan, a research oriented in defining
innovative systems and strategies for an informative resources
integration and to systematize shared models of description that
leads to a configuration of an archive network and databases
dedicates to the architecture, to be able to give services of access,
consultation and comunication to a larger public.
This project try to keep university museums closer to the territory
and to integrate them to national museums network.
Among the tangible results of this work stand out the digital
collections that receive and systematize a large research on the
architecture of XXth century and its archival sources in the region
that constitute the bases for the establishment of the modern and
contemporary architecture catalogue in the Marche.
Ramirez
Eduardo A.
Chief Engineer, Bergen
Museum, University of
Bergen
Museplass 3, N-5007
Bergen, NORWAY
eduardo.ramirez@bm.uib.no
POSTER: Methods and tools for Conservation in the Digital
Age: Confocal Laser Scanning Microscopy as a valuable
analysis instrument in Museum Conservation Sciences
Abstract: This work has demonstrated the ability of confocal
imaging for volume estimate of the oil inclusion. Threedimensional images are compiled and computerised in order to
visualise the inclusion volume in a museum glass object. Computer
treatment consist of calculating the whole volume of the inclusion
after threshold of 2-D images of the oil which have a grey scale
corresponding to the intensity variation of the emitted fluorescence,
and then measuring the volume of the semi-spherical gas bubble.
Deformations of the vapour bubble 3-D image can be explained by
diffraction of the laser beam due to differences of diffraction
indices between oil and gas, and by the refraction light on the wall
of the gas, these will have to be taken in consideration in any
further measurements by confocal microscopy. Future studies on
organic materials in our collection will be investigated in the future.
Rashid
Nargis
Associate Professor, History
(General), University of
Karachi, Pakistan
nr2000ku@yahoo.com
POSTER: New Vision - Unversity Museums & the Challenges
of 21st Century In Pakistan
Abstract: Museums generally and at the departments of
Universities, have often been understood in both intellectual and
popular young circles as mausoleums, as centers of agglomeration
of objects which no longer have a living relationship with the
present. This is an image which makes it almost impossible to
associate the museum with debates about contemporary cultural
issues. Museums throughout the world have entered the interactive
arena of 21st century; off course Digital Communications, but not
the under developing countries.
A need has emerged to access strategies of program development
that perfectly interface with existing missions and resources. In this
paper I want to propose that now it is no longer a valid way of
representing the museum, mainly because the museum is now
deeply concerned in electronic media stream, making it an
important site for the newly emerging 'information society'. This
new relationship between electronic technologies and museums, has
fundamentally questioned the traditional museum's orientation to
objects. A course introducing a new situation or environment;
which, I argue, would ultimately lead to the enhancement of
museums image as New Vision Museums instead of mausoleums in
the first place.
The primary goal of introducing New Vision University Museums
is to impart knowledge that produces evidence of higher level
student learning and academic performance. The initiation will
involve a re-evaluation of the role of objects in museums as well as
that of the role of curator and museum's relationships to
communities. Further more both universities and museums will get
transformed in the way that they would be able to define and
deliver education through integrated, interactive Web-Sites, On
Line Exhibitions and Web-based Learning. A step towards the
"Free Choice Learning".
Rayaprolu
Venkata Ramana
Threshold of the apparent and hidden
Department of Museology,
Faculty of Fine Arts, The
Maharaja Sayajirao
University of Baroda,
Full Text (Word document, 10 MB)
Vadodara 390 002, India
ramnarv@yahoo.com
Abstract: This paper discusses intangible heritage and traditional
culture of collection at academic institutions in India. The ideas are
grouped into: the inseparable Intangible component in the cultural
milieu of the land and its significance, reflection of intangible
heritage in the works of art exhibited in museums, role of university
museums in promotion of traditional culture and intangible
heritage.
The context is a country inhabited by one of the early civilizations
of humanity, which progressed with an almost unbroken continuity
of its past for over 7000 years. Its history of this land is explained
by broadly categorizing it into Pre and Proto History, a difference
characterized by advent of script.
Before the announcement of this topic as theme of the conference, I
came across dilemmas, which arose from the limitations of works
of art, to tell about themselves completely. Perhaps some other
museum professionals might had a similar experience to a varying
degree of intensity.
The first was exposure (as a student of museum studies) to a
showcase of turbans (a head gear of textile), which of course taught
me the combinations and permutations possible in style, size and
shape. The objects were original and authentic but are bereft of the
associations. Similar feelings were experienced when I saw a
showcase of musical instruments. Another example of this feeling
of inadequacy was experienced in seeing a classical miniature
painting, which was narrated by singing a poem by the guide
lecturer that explained the theme and plot illustrated in it. Yet
another example belongs to tribal art. It is pictorial depiction of an
ethnic song. I learnt of the scientific fact conveyed through it (for
generations in that community) some time later through wildlife
photography.
University Museums began to be established in India since second
quarter of last century. They are mostly found in the east, north and
west of the country. These institutions are similar in nature of their
collection and governance.
Many a virtues, customs and facts not readily apparent to the
visitors of university museums could be explained by planning and
implementing activities that reveal, inspire and stimulate the users
to appreciate the value of traditional culture and intangible heritage
embedded in them. Thus the intangible heritage and traditional
culture associated with the tangible objects of museums could
complement the latter and enhance its value and utility. Future
policies, approaches and objectives of museums should include the
intangible heritage of objects.
Traditional Culture and Intangible Heritage associated with the
tangible objects, would only complement the latter and enhance its
value and utility.
Rha
Sun Hwa
University Museum. Ewha
University, Seoul, Korea
museum@ewha.ac.kr
Examples of Museum Programs for developing Intangible
Heritage
Abstract: After a large-scale pottery kiln dating from the eighth to
ninth century was unearthed from Gurim-village, Ewha Womans
University Museum came to plan an academic seminar that would
establish the pottery history of Korea as centering around the
village and preserve its cultural environment.
There is an old junior high school building in Gurim-village that is
no longer in use. The building is located at the very front of the
village and it plays a role as the town entrance and exit. As the
school building played pivotal role in the village, it was important
to preserve the existent structure of the school as well as the
surrounding environment of the village. With this thought in mind,
the Museum proposed that Yeongam-gun, the local administrator,
renovate the school building. It was successfully reopened as The
Yeongam Pottery Culture Center in 1999 to establish the historic
value and artistry of Korean pottery, and the groundwork to
preserve Gurim-maeul(village) as a traditional village of Korea was
laid out.
The Yeongam Pottery Culture Center was built as a multicultural
space for the exhibition, performance, and production of traditional
pottery. It also aims to function as a cultural infrastructure facility
helping local arts to advance by interchanging the past and present
within a traditional village where Confucianism, Korea's
philosophical foundation, is still being practiced.
Through a modern art festival with a theme of clay, and a special
exhibition to propose the everyday use of earthenware, the
Yeongam Pottery Culture Center aims to spread the history of
Korean pottery, the true hero of Korean ceramics history, and share
the traditional value and beauty of Gurim-maeul.
For the preservation and advancement of Korean intangible culture,
the Yeongam Pottery Culture Center holds gukak(Korean classical
music) performances, as well as gatherings of traditional sihoe and
chahoe as a part of exhibition performance to highlight the Korean
Confucian culture that has been forgotten by the youth of today.
The Center also welcomes tourists and village residents to
participate in the traditional cultural performance with joy. We
would like to take this moment to introduce some of our tangible
cultural programs.
Shim
Jae Seok
A picture and a visual artefact
University Museum,
Yeungnam University,
Korea
wired@yumail.ac.kr
Abstract: This paper will focus on how to reconstruct the
intangible heritage through the lens. Although many photographers
are keen to record the various intangible heritages such as mask
dance, shaman practices and so forth. Those pieces of work could
be extraordinary in terms of art. However, if a curator is try to
accommodate those pictures as an exhibition purpose, the curator
might be fall into dilemma, because some or exact cultural element
is missing or vague in the picture. The perspective of looking at the
image is quite different to the photographer and curator. Not all
photographs can be a cultural document or visual artifact. Under the
well organized plan should be a mandatory prior to the recording
intangible heritage. The producer (curator) should be aware of the
process of the ritual and a videographer as well. I am going to show
the images made both a photographer and a curator and try to
compare what is missing and what should be in the picture to
become a visual artifact.
Simpson
Andrew
Intangible Heritage of University Earth Science Collections:
Some Considerations for Significance Assessment
Division of Environmental
and Life Sciences,
Macquarie University NSW
2109 AUSTRALIA
asimpson@els.mq.edu.au
Abstract: The nature of scientific research in the Earth Sciences
has changed markedly in the last couple of decades with a drift
away from traditional specimen based investigations. This parallels
a similar decline in taxonomic research in the biological sciences.
Universities face the task of planning alternative futures for
collections that are no longer considered part of their strategic
framework for future research.
Specimens from previously vigorous research programs need
careful assessment to avoid the possibility of losing the material
basis of much scientific knowledge through hasty reactions to
financial constraints. This should be the responsibility of the host
institution and represents an investment in the integrity of research
carried out in the university's name.
This paper discusses a range of strategies for assessing the
significance of these specialised collections to ensure that their
intangible heritage is not lost to future researchers. Apart from
traditional elements in significance assessment such as rarity and
the accessibility of collecting localities, other less tangible elements
such as the impact on scientific understanding that specimens
provided through their utilisation in a research program also needs
consideration. The task of this form of significance assessment
therefore requires specialised knowledge (curatorial and scientific)
in the earth science disciplines.
Sun
Il
The Importance of Visual References and University Museums
Curator, University
Museum, Seoul National
University
docufoto@snu.ac.kr
Abstract: Museums traditionally played a role of collecting,
conserving and exhibiting cultural assets. But recently its role
expanded widely. In addition to those traditional roles, scholarly
survey and public education are also highlighted now and museums
even became a place of enjoyment.
With all these changes, the importance of visual references is
growing more and more. Visual references including photographs,
video clips, maps or plans are closely related with works and
sometimes help to get the critical information we couldn't get from
the object itself. For example, glass plate photographs of Seoul
National University Museum collection are the one and only source
to visually witness a village of Gaesung Dukmulsan Sansangdong
and the shamanistic ritual happened there called Dodang-gut.
Furthermore, the expansion of museums' roles and the growth of
the importance of visual references reflect a change of the
fundamental concept of 'museum'. As far as collection,
conservation or exhibition is concerned, it was a historic work itself
that was emphasized so far. But now when investigation and
education are critical, we can put the information about a work in
our focus. Therefore searching, surveying and delivering
information will be of consequence ever more.
Especially. university museums have a purpose of academic study
and education, so they should never overlook the change of
paradigm and try to adapt themselves fast enough. They also have
to take this flow as a desirable opportunity and succeed in
constructing archives including visual references in focus as well as
historic works. With this efforts, they will be able to give a boost to
their role of academic survey and public education.
Tirrell
Peter B.
Sam Noble Oklahoma
Museum of Natural History,
University of Oklahoma,
2401 Chautauqua, Norman,
Oklahoma 73072, USA
pbtirrell@ou.edu
A Proposal for an International Museum Assessment Program
for University Museums
Abstract: This paper proposes an international museum assessment
program for university museums. The aim of the program is to help
the museums devise new strategies to meet and survive the
challenges of governance, management, public dimension, support,
and collections. The keystones of the proposal are self-study and
assessment, on-site peer review, analysis and consultation, and online distance learning and training programs.
Since 1981, the SNOMNH and thousands of other museums in the
US have improved themselves by participating in the Museum
Assessment Program (MAP), developed and managed by the
American Association of Museums (AAM). All the museums have
benefited from participation in some combination of self-study and
peer review.
AAM and the MAP Advisory Committee are just beginning to
explore the feasibility of international MAP assessments. Should
UMAC lend its support and seek a leadership role and partnership?
Should UMAC develop its own program? Based on my experience,
the development of an international museum assessment program is
critical for university museums. With it, UMAC can:
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Improve our ability to respond to the worldwide crisis that
threatens loss of university museums and collections
Work collaboratively to establish a program of assessment
with action steps and strategies to strengthen ties with
governance, increase the public dimension, illustrate the
value of research and teaching, and improve the standards
and practices.
Develop technology-based resources such as on-line
conferences, and distance learning through already
established on-line museum studies programs.
Increase the inclusiveness by providing opportunities for all
university museums to unify and share their common
strengths and solutions.
The potential challenges to the program may be: language
and cultural barriers; critique and constructive criticism; the
need for knowledgeable peer reviewers; differences or
levels of technology, and international travel.
Weber
Cornelia
Humboldt-Universität zu
Berlin Hermann von
Helmholtz-Zentrum für
Kulturtechnik,
Geschäftsleitung, Unter den
Linden 6, 10099 Berlin
weber@mathematik.huberlin.de
University Collections as Custodians of Oral Heritage - Some
Examples from Germany
Full Text (Word document, 56 K)
Abstract: At present the UMAC Worldwide Database of
University Museums and Collections contains information about
five archives that preserve historic sound storage media in
Germany: the Phonetic Collection of the Martin-Luther-University
Halle-Wittenberg, the Audio-Visual Archive of the Catholic
University Eichstätt-Ingolstadt, the Hoerburger Collection of the
University of Regensburg, the Sound Archive and the Archive of
Animal Sounds of the Humboldt University of Berlin. These
different holdings have in the past played an important role in the
development of specific academic disciplines, particularly in the
fields of phonetics, musicology, ethnology, and zoology.
The paper describes the sound archives as historic and cultural
testimonies, based on the relationship between the collections and
the corresponding disciplines. The main focus will be on the special
character of these collections and their importance as research
sources in past and present.
Wilder
Gabriela Suzana
Museu de Arte
Contemporânea da
Universidade de São Paulo
gswilder@usp.br
POSTER: The 20th Century Visual Arts As A Weltanschaung
And An Exercise In Diversity. Cultural Inclusion: A Mission Of
Contemporary Art Museums
Full text (Word document, 30 K)
Abstract: To begin with, I would like to make some remarks about
the city I live and work in: São Paulo (Brazil). With 10.5 million
inhabitants its population is mostly descendant from the Portuguese
who colonized our country, Africans who were brought as slaves
and, especially during the last one hundred years, from European
immigrants (mainly from Italy, but after World War II, from almost
all European countries), and a great number from Japan and lately,
from Bolivia and Korea. Although circa 80% of these people
declare themselves Roman Catholics, there are about 30 different
religions or sects registered by our census. In my city alone there
are 1.2 million children 0 to 6 years of age. In short, São Paulo is a
megalopolis that breathes cultural diversity.
In Brazil prejudice is not an issue that is discussed openly. It
surfaces most crudely not against different nationalities, races or
skin colors, not even between different religions or genders, but
between different social classes and their inherent cultural diversity.
Due to our colonial heritage and present economic situation, one of
the most serious problem presently is the great number of deprived
children who, with little or no educational opportunities, are
brought up with no chances of developing a readiness to learn, and
a knowledge to solve problems, much needed skills to keep in touch
with ever changing professional demands. For this population the
access to public universities - that are free and only accept good
students - is most of the time an unreachable dream.
I am very apprehensive about the lack of future for these socially
and culturally discriminated children of the poor families. As a
museum worker, until recently active in a museum of contemporary
art within one of the most important public universities of Brazil São Paulo University - I think it is the work, or better, the mission
of public university museums to create programs that put the
intangible heritage, represented by the museum's collection, to work
as a device in the process of social inclusion.
Therefore I created and executed during 8 years a program that uses
in its core the immense immaterial patrimony that is the sum of all
the dreams, thoughts, poetic imagery of the artists' creative power. I
imagine that we all agree that the varied cultural heritage that
permeates the collection of an art museum, the product of the sum
of the combined artists' creativity, portrays a creativity that
nourishes itself on imagery based on models deeply rooted in their
childhood, their families' myths and stories, the ethnic practices and
religious beliefs from the surrounding environment. In short, works
of art are rooted in and emerge from the memory of these
experiences, and their related weltanschaung. The creative energy
of art, its capacity to encapsulate imageries based on different
referents, has the power to act as a means for the preservation of
cultural identities.
Bearing this in mind, the program is constructed of several stages
that lead the participants to a satisfactory relationship to the
museum experience. These stages aim at developing a critical
conscience by teaching visual arts as a language that expresses our
present world and its multicultural characteristics, thus making
them aware of the relevance of arts in the education of young
children, as well as of cultural identity in times of globalization.
The evaluation of the results of the program showed that a
contemporary art museum can be welcoming and enticing for
audiences that generally do not consider museums of any interest to
their lives. It also showed that carefully conceived programs can
bring about a change in attitudes in relation to the importance of
arts in learning and an awareness of matters related to cultural
identity, self-esteem and critical thinking. However, the comments
made by the participants revealed that the fact that it was developed
within a museum inside the campus of the São Paulo University
was an unreachable dream come true.
© UMAC 2016 · Page printed 2016/02/09 · URL: http://publicus.culture.huberlin.de/umac/2004/pdf04/rayaprolu.doc