Scharer, Martin (Ed.) (07 - 1995) Symposium Museum and Community II
Scharer, Martin (Ed.) (07 - 1995) Symposium Museum and Community II
,,'-'tori..... F_ _ _ v....,IS_""
CONTENTS
Introduction
99
107
115
123
125
9
17
21
29
37
43
57
67
73
83
89
95
127
133
139
153
169
171
177
Per-Uno Agren Nordic Museums and the Nordic Museology some introductory remarks
Marc Maure La fabrication d'un patrimoine national - Ie cas de la
Norvege
Randi Bartvedt An Industrial Community and its Heritage
John Aage Gjestrum Norwegian experiences in the field of
ecomuseums and museum decentralisation
201
V ICOFOM LAM
213
215
Authors
ICOFOM Study Series
219
220
179
187
195
This very important topic was chosen as the theme for the 1995 ICOM Triennial Conference in
Stavanger, Norway.
In connection with this, ICOFOM organized two symposia, one within its 1994 Annual
Conference in Beijing, China, the second one in Stavanger in 1995 . ICOFOM Study Series 24
published the papers of the first symposium.
This volume presents the contributions to the second part, including the analytical summaries
that were presented at the beginning of each session and a final summary and appreciation of
the very lively discussions .
ISS 25 also contains the papers of the joint sessions with MINOM (Mouvernent international
pour une nouvelle rnuseologie) and with ICTOP (International Committee for the Training of
Personnel) as well as those given to the Seminar on Museums and Museology in Norway and
Scandinavia. A report of ICOFOM-LAM, our regional organization for Latin America and the
Caribbean, concludes this publication .
Our warmest thanks go to John Aage Gjestrum who organized an excellent meeting in
Stavanger.
Martin R.Scharer
President oflCOFOM
I
SYMPOSIUM MUSEUM AND COMMUNITY, Part II
A n a 1 y sin g
sum mar Y
Ivo Maroevic
Having received the letter of Martin Schaerer
to be one of two persons who will summarize the
papers presented
at the
ICOFOM Symposium
in
Stavanger. during the General Conference of ICOM.
under the ambiguous title
'Museum and Communities'.
I was aware of the fact that it will not be the easy
task . The first
half of the
papers had been
discussed and summarized by John Aage GjestruB and
Danien ~atteyne in
Beijing last September and
I
have received the other half as preprints of ICOFOM
STUDY SERIES 25. In Beijing there were 7 papers from
the North and South America. Central.
North and
Western
Europe.
Asia and East Africa.
and for
Stavanger meeting 11 papers are being prepared. It
is interesting to say that these papers are from
South. Western and North Europe.
South and North
America (the majority of papers) and from Africa.
Again. almost from allover the world.
My handicap has been. in fact. that I cannot
read French.
so I
could
summarize the papers in
French only according to the English summaries. So.
in this summary the authors and the papers written
in French are no put in the equal position to those
written in English.
I feel I
have to apologize to
these authors .
First of all I want to summarize the Beijing
ICOFOM meeting experience in this topic. There was a
great difference between the European.
American.
Asian and African approaches . Most European and one
American paper considered the problem of museums and
community as a problem of museum essence and
its
social function. trying to define the community as a
special social and/or cultural group.
The Asian and
African approaches are considering the role of
museums. the possibility of alienation and aiming to
fulfil some of cultural needs of obvious diversities
among different communities.
Special approach was
made by the Chinese participants who explained the
structure of the museum work and policy in China
stressing the relation to the
social
role of
museums.
The Beijing meeting showed us the differences
between the English term 'community' and French term
'communaute'. The French term is more precise and
religious,
identifies the social.
professional.
while the
cultural,
language or minority group.
10
heritage as
co mmunity appropriati on,
with the
differentiation between
' national '
and
' global '
heritage ( R. Montpetit ), and als o to the elaboration
of the
idea of museum and of the conce pt of
community ( T . C. Sheiner ) . This approa ch shows that
there can be no consensus in defining 'community ' or
'museum ' either. The only common point appears to be
the diversity of meanings and
the wide scope of
problems which can arise in relati on to the concepts
of museum and community.
Very different approaches are established in
the papers in which the authors try to support their
theoretical statements with the real practice.
On
one side there is the universal question of power by
which museums can control mental territories and
play the important role in maintaining the identity
of the community as interpreted by M. Horta by some
actual examples taken from the southern region of
Brazil, while on the other side there is a close and
strict European analysis of H.
Vieregg who on the
basis of W.
von Humboldt's theory,
analyses
the
possibilities of the representation of contemporary
history in museums using the term community in th e
sense of audience .
The African problem is raised very clearly, It
could be summarized in the
questions:
is the
European model of museum adequate for African needs
and are the existing museums in Africa able to
realize the possibility of close connection with
their communities,
Let us very shortly give the essentials of the
Stavanger papers starting with the theoretical and
ending with the particular examples from various
countries.
Eurydice
An tzoula tou-Retsila
from
Ionian
University in Greece,
in her paper
' Museums and
Communities: Coping with Dilemmas.
Or: Between
Huseomania and Museotherapy '
accentuates that the
awareness of the social role of museums has changed
from the
1vory tower '
mentality to the sharing
power with segments of a larger civic whole . Putting
many questions about the role of museums in the
society she states that museums have to shift from
' monologue to conversation'.
She insists on a deep
professional devotion of museum people and "a clear
sense of responsibility to their communities" aiming
to understand
the nature
and flexibility
of
individual and group identities.
Bellaigue
from Laboratoire
de
Hathilde
recherche des musees de France in her paper "Which
which
communities?" explains
the
museums for
development of museums in Europe and states that
11
12
in
his
paper
'Museums
13
and
cultural
communities in Quebec:
the case of the Musee d'art
de Saint-Laurent' stresses the problem of francophon
population in Quebec , Ethni c communities in Montreal
have little interest for museums and museums have no
time nor resources to reach the potential public , On
the example of Ville Saint-Laurent and Musee d ' art
de Saint-Laurent , he explains the new approach , The
feasibility study for
a more
suitable museum
building provoked the idea to transform the museum
into a laboratory to discover Quebec culture and
identity and to establish closer links with the
social environment,
14
15
Ivo Haroevi~
University of Zagreb
Croatia
of
Nicola Ladkin
Huseums and Communities: An Ecological Approach
presents an interesting approach. Nicola sees the museums
and
museology as parts of a bigger whole. Echological concepts have been
applied to study the functioning of museums as parts of a
l~rger
system holding the 'community as synonymous with ecosystem'.
Nicola
further goes on to explain how application of ecological concepts to
museological thought can explain the relationships between museums and
also its place in the totality of the entire human environment. Nicola
also emphasizes the need for museums to emphasize the diversity of
human communities as a necessary phenomena in the existence and
stability of mankind itself. Just as nature itself supports and
nutures diversity so also museums must in her words "interpret the
physical
environment, create communality; contribute to shared life
experiences and interests, advocate the importance of diversity and
tolerance;
and explore the importance of the past with respect to
17
today".
social
museums
as
She ~rites about t~o other community based programmes ~hich ~ere
equally succ~ssful. She strongly holds that involvement of the people
concerned is an important aspect in making the museum a successful
social institution.
She says that "museology,
in its most basic
principles and practice, must be a tool for "empo~ering" peopl e in
their daily fight for survival, not only physically and materially,
but normally and psychologically".
"Uhich Museums
for ~hich Communities" : Mathilde Bellaigue in her
paper
speaks
about,
the present
problems
of
accultration,
transculturation,
melting pot and about the groups of uneducated and
unemployed
people
strayina a~ay from the mainstream
of
the
population. Ho~ can museums relate to these excluded aroups of people
~ho
need immediate attention. She quetions, "Are there ne~ forms
of
museal action to imagine?".
Hildegrad Vieregg in her paper 'The life Itself Provides The Topics'
also deals ~ith the aspect of museum proarammes ~ith the community .
She ~rites about ho~ museums through their exhibits could reach out
into the community takina up historical
events
in their
true
perspectives and impressing upon the visitors the serious mistakes of
the past and sensitize them. She holds that the
'mission of the
institution (museums)
is to memoralize the past by educating a ne~
generation in the hope of transforming the future sensitizing those
~ho ~ill shape it. 'She further emphasizes the educational function
of
the museum in its relation to the community in order to
establish
peace and harmony among mankind.
Paivi Mar jut in her paper 'Regional Art Museums and challenges of
Community Orientation
A Case Study'
gives a
frank report on
the relationship of the regional museum ~ith the Finnish COlllmunity at!
a ~hole . She points ho~ the museum programmes are carried out studying
the needs and interests of the community treating the visitors as a
homogeneous group.
18
Dr.
Eurydice in the paper 'Museums and Commuities : Coping with
Dilemmas'
also holds museums as "socially significant
institutions
responsible
for responding sensitively to the messages
emmitted by
post modern society." Dr. Eurydice holds that museums hold a key
position in the articulation of identities of the various communities.
Museums as social institutions shoulder the responsibility of exposing
its audience to other communities to create 'mutual respect.
goodwill
and intentions ..... This requires 'effective tools' that is. a stong
theoritical museological
base which can develop well
developed
strategies
for the museum to be successful in its social mission of
integration of diverse cultures.
Grazyna Zaucha gives a detailed account of the present
prevailing in African Museums and stresses the need
for
museum
proarammes
and
African trained
museum
personnel,
situation
practical
who
are
19
8tat~
20
The fact that in the period between August 1989 and July 1995 the topic "Museums and
Communitites" has attracted -more than once- the attention of museum professionals as
a special subject to be elaborated in conferences 1 is a very eloquent indication of the
interests and concerns characterizing the contemporary world of museums.
Inserting in debates concerning social issues has been considered ontologically crucial by
museums, justifying in this way their existence. Yet, despite the enrichment
In
perspectives, attitudes and practices such a line of reasoning can provide, it certainly
brings museums in the center of an intellectual -and not only- turmoil, leaving them often
exposed to various claims and accusations.
In this fact one could recognize the results of the civil rights and war protest movements
of the 1960's and 1970's through which every institution -of the cultural, educational or
governmental field- considered to hold power has been open to question, with "change"
as the ultimate postulate.
21
For museums this would mean -among others- exceeding the "ivory tower" mentality and
the assumption that the expertise of museum scholars and professionals is the only
parameter to define what should be included in museums, or what the audiences should
know; it would also demand the sharing of "power" with segments of a larger civic whole.
Museums, indeed, have shown an increasing concern over their publics'expectations and
needs 3, being convinced that they cannot survive without public attention. Educational
activities, often tailored to the publics' requirements, have been a paramount expression
of thi s attitude of extending democratically the arm towards the surrounding
consti tuencies.
Presently, however, various segments of the public go further: they demand to affirm their
point of view in the basic museum activities, raise questions about the treatment of topics
worked out by museums, require that the exhibitions reflect contemporary issues and
present- day realities, among which the articulation of identity holds a key position.
It seems that the mosaic of communities which constitute a museums' public, seeks to
influence and - to an extent- to control the way museums act or analyze and represent
facts 4 .
Obviously it is the changes in the society outside the museums that provide the material
for such requests and feed the battle for equal opportunity in the cultural field .
Forcommunities it seems that this kind of stuggle is fundamental for their existence and
acknowledgment by the museum of their opinions contributes to the process of according
social space to them.
At the same time, this very fact demonstrates the museuums' hierarchical position among
other social institutions and apparatuses which provide the contexts within which people
work out essential intellectual elements of living like beliefs, ideas and values.
22
decontextualized from their original dynamic environment reveal the various versions of
the politics of cultural patrimony.
Assuming
relevant, responsible and up to date through brave and innovative endeavors, as some
recent examples from the international era illustrate. Yet, these efforts have provoked
criticism and wrathful attacks 5 from the pUblic.
Hence, the arising of dilemmas and the interrogation how to cope with them becomes a
key concern.
Under the present debate about diversity and the new perspectives of the cyberspace,
inquiries like the following arise:
Who has the right to articulate a point of view and who is to speak for whom?
Is the taste and expertise of museum professionals and scholars the only parameter
for shaping the authority of truth?
Who decides about what is central or marginal, valid or useless especially when
dealing with identity issues?
What happens if the up-dated exhibitions -through their vigorous depictions of
history and culture- dynamite social and intellectual structures?
How many possibilities are there left to avoid taking sides in the struggle of
communities over identity-ethnic, national. cultural- and public recognition? Or.
should museums apply a strategy of sympathy and engagement?
What will the proper solution be when the claims of one community persecute
another one? And who judges the validity of requests?
23
Given the fact that museums have an important place in cultural history, but they
are also critical places for the politics of history6, should they leave the cultural
and political agendas to shape the body of matters they study?
Museums are expected to provide education, spectacle, entertainment, relief. In their long
history, coping with issues and dilemmas has been an inspiring challenge for them. Amost
characteristic example has been their response to the political and intellectual turmoil of
late 1960's in France, through the development of the ecomuseum movement, which has
opened new paths in museologicalthinking.
treatment of key notions like what is good and bad, superior and inferior, differences
and similarities, can be of positive consequence, given the influence of museums as
valorizing institutions.
In this same context can be inscribed the striving for consensus and the exclusion of any
imposition of identity, as well as the abstention from overditerminated views.
24
This means to be able to find a balance even in the case of contradictory pressures
exercised by some who try to establish group identities -through the manipulation of
artifacts- and by others who attempt to destabilize them. Apparently these matters imply
heavy political issues.
-to forge a national identity, or to celebrate diverse identities - some basic principles as
encouragement of interaction, mutual respect, good will and intentions combined with
careful planning and well-developed strategies can serve as the effective tools which a
solid and healthily-rooted professionalism can provide.
NOTES
1.
"Museums and their Communities; An, Ethnography and Interpretation". Salzburg Seminar, Session
277. August 1989; "Museums and Communities: The Politics of Public Culture", Conference held at the
International Center of the Smithsonian Institution. 21-23 March 1990; "Museums and Societies in a
Europe of Different Cultures". European Conference of Ethnological and Social History Museums.
Paris, 22-24 February 1993; "Museums and Communities", 17th General Conference ofICOM . Stavanger,
2.
Ivan Karp. Christine Mullen Kreamer and Steven D. Lavine (eds.), Museums and Commum"[jes: The
Politics of Public
3.
'The museums and the needs of people". ICOM/CECA Annual Conference. Jerusalem, Israel. 15-22
October 1991.
4.
Over the past fifteen years the author has had firsthand, really valuable, experiences of these issues
through her extensive involvement in a considerable number of museum -planning projects developed
25
5.
6.
Germain Bazin, The Museum All" (New York: Universe Books, 1%7), p. 194-195, 224; John MA.
Thompson (ed.), Manual of Curacorship : A Guide to Museum Praaice (London: Butterworths,
1984), p. 55.
26
Dans une peri ode de "deconstruction cultureUe", pendant laqueUe, pourtant, on constate
une vraie "museomanie", les musees -en tant que depots de connaissances, valeurs et
gout- sont provoqu.;s de proposer leur antidotes et de formuler une "therapeutique".
Leur insertion aux debats autour des problemes sociaux a eu une signification presque
ontologique pour eux; pourtant, malgre I'enrichissement en perspectives, attirudes et
pratiques qu 'eUe leur apporte, eUe les situe, en meme temps, au centre d'un tumulte
inteUecruel et les laisse exposes
Les communautes qUI constituent les publics des musees contemporains, exigent
aujourd'hui une participation plus efficace et une influence sur les decisions et les
activites.
A cause des debats autour la diversite culturelle et I'identite, les musees affrontent des
dilemmes com me:
Qui a Ie droit de I'articulation des points de vue?
Est-ce que la "verite" est formulee uniquement par les experts?
Qui valorise ce qui est central on marginal, surtout dans les themes d'identite?
Comment traiter les problemes crees des agendas politiques et culturelles?
27
IIOS
differences,
Toute reference
termes musee et
groupe et que la notion d'identite 1 soit activee. Idealement Ie musee recueille, conserve, etuelie et met
en valeur les temoignages d'une societe, quelle qu'en soit la climension. Les objets ne valent que par ce
qu'ils representent de son histoire, de sa memoire, de son identite. L'exposition de ces objets en fait
l'apanage de tout Ie groupe et plus seulement des inelividus qui en ont ete les createurs ou les
detenteurs. Le musee de ce fait serait automatiquement "communautaire" .
Si nos racines sont locales, notre patrimoine par contre est universeI en tant que nous
appartenons a Ia communaute hwnaine
que I'UNESCO donne au "patrimoine monelial de l'hwnanite". Car si nous avons une identite
historiquement et geographiquement situees, nollS avons aussi des entites culturelles fondatrices
universelles, celles que nous retrouvons eventuellement dans de grands mythes parfois sirnilaires,
dans des valeurs religieuses ou morales communes, dans des monwnents dont la grandeur et la
renommee nous donnent en quelque sorte un sentiment d'appartenance. Tout cela est fondateur d'un
patrimoine collectif, plut6t que communautaire. Mais ce n'est malheureusement pas parce que ces
choses leur sont communes qu'elles creent des liens entre les hommes.
Musees, publics
L'histoire, et i'histoire des musees tout
particuli~rement,
nous est commun ou collectif ou communautaire. En France Ie musee se met a exister vraiment (c'esta-dire publiquement) avec la Revolution, quand on decide de faire des biens de quelques-uns Ie
1 Isaac Chiva donne Ia definition suivante de l'identite : "Capacite que possMe chacun d'entre nous de rester
conscient de Ia continuite de sa vie II travers changements, crises et ruptures. Elle se traduit en une interaction
entre individus et en un sentiment de conformite ou de non-conformite avec Ie reste du groupe qui propose II
l'individu des regles de componement., valeurs, normes, buts et modeles communs".
29
"pauimoine" de tous.
n s'agit
a la collectivite
grace a une propriete morale commune, une propriete publique. De trois grands musees europeens. Ie
Musee de Dresde (1746) , Ie Britisb Museum (1753), Ie Louvre (1791 ), Jean-Louis Deone dit qu' "ils
sont en effet indissociables de \'idee de la communaute qu'ont pu developper les trois societes. On ne
les distinguera pas tant au niveau de la presentation des collections qu'a celui des discours qui ont ete
tenus sur eux pratiquement des leurs origines [... J Les musees europeens, et c'est ce qui les distingue
des collections privees, rendant les oeuvres au public, furent a I'origine de la constitution du public.
celui des amateurs d'art comme de l'homme quelconque." Le musee doit s'appliquer a "produire de la
cornmunaute". II rappelle que l'Europe des Lurnieres etait deja une communaute partageaot les
sciences et les arts, s'instituant en Republique europeenoe des Lenres.
Le XIXe siecle voit la naissance de quelques grands musees europeens ou americains (1830,
Berlin : l'I1e des musees ; 1838, Londres : la National Gallery ; 1869, New York : Ie Metropolitan
Museum). En 1846, apparah en Angleterre la notion de "folk lore" ou cuJture populaire et avec elle
naissent les musees de ce type. La fin du siecle verra se creer en Suede Ie Nordiska Museet et Ie
premier musee de plein air (Skaosen, 1891).
Au XXe siecle on voit peu 11 peu s'etendre la notion de pauimoine a tous les domaines, dans un
souci d'exhaustivite du recensement des biens cuJturels : ainsi, entre les deux guerres en France, puis
sous l'impuJsion du Front popuJaire, on cree a Paris en moyenoe un musee par an : musees d'art
modeme, de l'homme, de la France d'outre-mer, des arts et traditions popuJaires, des colonies, des
travaux publics, Palais de la Decouverte. Pendant ce temps, en AlIemagne, sous Ie lIe Reich,
apparaissent les Heimatrnuseen qui seront deux mille 11 la fin du me Reich, cuJtivant Ie goOt du terroir
et de la petite communaute ethnique protegeant son pauimoine et sa propre integrite.
Arrive la seconde guerre mondiale et avec elle, comme avec toutes les guerres, les etemels
transferts de biens cuJturels par pillage, puis leur retention illegitime. Nous vivons encore les
difficuJtes du retour de ces biens a leurs proprietaires legitimes (cf. en particuJier les pourparlers entre
l'AlIemagne et la Russie). Des communautes se sentent alors a juste titre depouillees. Et ce sentiment
renforce ou exacerbe celui d'appartenance identitaire.
L'apres-guerre, puis les annees soixaote, et particuJierement Ie mouvement de 68, ouvrent une
ere nouvelle dans Ie domaine cuJturel : mouvements de cuJture popuJaire (Maison pour tous, Peuple et
CuJture ... ), de cuJture ouvriere (et les syodicats ont joue la un rme important), des ecomusees (ailleurs
denommes musees "cornmunautaires"), de l'archeologie indusuielle, de la "memoire de l'entreprise",
centres de cuJture scientifique et technique dans les anoees 70. II Y eut, dans Ie desarroi qui preceda
les evenements de 1968, un ferment propre 11 faire surgir Ie mouvement des musees communautaires
et des ecomusees : une partie du constat concemait l'absence de vie communautaire et l'uniformisation
des modes de vie . A l'encontre de cela jaillissait Ie besoin d'identifier ses racines et de raviver son
histoire, entre autres en s'appuyant sur des objets ou les temoignages des anciens. Dans cene nouvelle
generation de musees. les objets prenaient un sens plus fort.
30
En 1972 se succectent la Table ronde de Santiago du Chili et Ie colloque ICOM de BordeauxIstres-Lourmarin ("Ie musee est une institution au service de la communaute"), puis les colloques
intemationaux du Creusot, sous une impulsion et dans un contexte museaux (patrimoine industriel et
societe contemporaine, 1976 ; Proletariat et militantisme ouvrier, 1977). Des mots surgissem alors
qu'on n'avait jamais entendus dans Ie domaine museal : identite, territorialite, volontariat,
participation, communaute, formation, developpement. Ds som ensuite repris un peu partout dans Ie
monde mais plus particulierement dans les pays emergeant d'annees de colonialisme, ou de dictature,
ou en developpement (Afrique, Amerique laline, plus tard "pays de l'Est" ... ) ou pays a tradition
communautaire (Scandinavie, Canada) : les Declarations du Quebec et d'Oaxaca (1984) s'inscrivent
dans la mouvance de la nouvelle museologie. La France a ete pilote dans ce mouvement et nombreux
sont ceux venus puiser leur inspiration
la premiere fois s'est developpee it partir de I'institution myseale une action culturelle participative
d'envergure.
Mais au milieu des annees 1980, en France (et, curieusement, sous un regime de gaucbe), ces
experiences pionnieres qui reposaient en grande partie sur Ie volontariat d'un public partenaire, des
moyens financiers modestes, un investissemem considerable de la part de leurs responsables, se
trouvent depbasees par rapport it une politique culturelle nouvelle qui veut que la culture desorrnais se
rentabilise et que, si possible, elle soit productrice d'argent. Cela va peu it peu colncider avec Ie declin
d'un certain nombre de bassins industriels oil se developpait ce type d'experience, et l'emergence de
preoccupations d'un autre ordre.
Paradoxalement on construit de nombreux musees nouveaux et l'on n!amenage bon nombre de
musees existants. L'accent est mis sur Ie batiment, une arcbitecture de prestige, soit dans la
rebabilitation de batiments anciens, soit dans la construction d'edifices ultramodemes et
spectaculaires, souvent devolus it I'exposition de I'art contemporain. La notion de patrimoine penetre
peu it peu les menta1ites mais parallelement la memoire est vulgarisee, "trafiquee" c'est-a-dire
exploitee par la publicite commerciale, et finalement desactivee. En France l'ere des "grands travaux"
marque I'importance et Ie prestige de la culture mais en meme temps rien n'est plus eloigne de I'idee
de communaute ... 11 moins que cela ne devienne justement Ie signe prestigieux d'une identite culturelle
francaise.
Seules des occasions comme un anni versaire majeur rassemblent pour la rememoration : ces
derniers temps, 11 I'occasion du cinquantenaire de la fin de la deuxieme guerre mondiale, se multiplient
en France les expressions des memoires collectives des differentes communautes qui ont participe
cene guerre, afi.n de se souvenir ensemble d'une experience commune (a Paris on peut citer par
exemple Ie tout nouveau Musee Jean Moulin et I'exposition actuellement presentee au Musee
d'histoire contemporaine et intitulee "La deportation, Ie systeme concentrationnaire nazi") . En meme
temps demeure dans la penombre la mauvaise conscience de la part de collaboration, bonte dOni la
memoire francaise reste troublee.
31
On voil bien tout au long de cene histoire quels ont pu etre les interlocuteurs des musees : de la
nation, au sens fon du terrne, au lendemain de la Revolution, en passant par des groupes tenitoriaux
tres concernes et actifs avec les ecomusees, puis
nouveaux musees aux arcrutectures de prestige que nous connaissons en France depuis une decennie.
Mais qu'en est-il reellement aujourd'hui, alors que la mondialisation des moyens de transpon et
de communication donne l'impression qu'il n'y a plus d'espaces, plus d'objets
a decouvrir,
alors que
des tenitoires sont eclares, que s'exacerbent des nationalismes et que de petits pays se referrnent
autour d'une identite cberement payee? Alors que la mise en place de communautes nouvelles telle
I'Europe, devrait nous faire eprouver une multitude d'appartenances et un sentiment d'interdependance,
l'indifference pounant
disparai't peu a peu. Combien de fois ne faisons-nous que reclamer sans intervenir Ie respect des droits
de l'homme, Ie droit d'un peuple aparler sa langue, Ie droit a sa culture , iI son heritage?
Par rappon
acet etat de choses contradictoires, comment situer Ie musee ? A qui lui faut-il alors
a l'objet
reconsideree. Les grands musees nationaux d'art et d'archeologie ont ete constitues d'anciennes
collections royales ou princieres, de tresors, des fondements de la prerustoire ou de l'archoologie, de
donations de grands collectionneurs ou d'artistes. Dans Ie domaine de l'etbnograprue "exotique", Ie
colonialisme avait "permis" -Ia creation des plus impOItants musees des anciens pays colonisateurs.
Les musees d'etbnograprue locale ont ete pourvus sur la base des notions de terroir ou de tenitoire .
L'aventure industrielle du XIXe siecle et l'industrialisation ont fonde les musees des techniques.
L'essor de l'archeologie industrielle, colncidant rapidement avec la crise des annees 1980 dans les
grands secteurs metallurgiques, textiles et miniers europeens, a fait que sites, usines, puits de mine,
materiels techniques etc. sont devenus des temoins patrimoniaux privilegies.
Nous savons bien que l'objet qui entre au musee change, de plusieurs manieres : physiquement
deja, puisque restaure, fige dans un etat que nous pouvons juger "ideal" (?) ; mais aussi, du fait de son
deplacement, nous Ie voyons changer de
f~on
celui qui a vecu l'evenement ou Ie moment represente, devient pour nous Ie temoin de ce qui nous a
precedes, simple image alors, ou signe, ou symbole, ou monument. Pour ce qui est de l'ecomusee, les
objets qui y entrent sont en quelque sone animes, documentes, temoignes par ceux qui les ont utilises,
ils y sont ferment d'echange entre les gens. Par contre les innombrables objets deracines, delocalises,
expatries "ne peuvent plus instituer la moindre communaute" (Doone, 1994). - Faut-il donc avoir vecu
ensemble pour avoir des choses en commun ?
32
Ne dirait-on pas que dans nos societes occidentales les modes de vie ont change au point
d'inverser la relation des personnes (ou des communautes ?) au patrimoine dans Ie domaine museal ?
Autrefois la vie du groupe secretait ses biens materiels (habitat, outillage, biens fongibles) necessaires
a la
survie de chacun et de tous. Fa90nnes pour la cornmunaute, dans la difficulte d'un travail
totalement manuel, ils etaient en meme temps Ie signe et Ie symbole de son existence, traversant Ie
temps en etant successivement utilises, puis preserves comme memoire d'une experience commune.
Car, bien avant d'entrer un jour au musee, ils faisaient l'objet de soins anentifs : vetements et
instruments de celebrations, de ceremonies religieuses ou rituelles, mais aussi outils du travail qui se
voyaient longtemps entretenus, "prolonges" par reparations successives. Puis venait parfois l'entree au
musee2 La "cbafne" alors n'etait pas coupee. C'est toujours vrai dans bien des musees de
communaute, un exemple-type etant les musees d'art ou d'bistoire juifs qui existent dans Ie quartier
juif de certaines grandes villes (Vienne, Prague, Amsterdam, Paris bienti'lt) , et ont la possibilite d'etre
relies un groupe encore tres vivant culturellement (d'autant plus dans Ie cas de minorites).
Ce lien ancien entre des bommes et des choses se materialisait aussi par Ie fait que les musees
s'etablissaient au milieu de la communaute, alors qu'aujourd'bui nous voyons des musees s'elever dans
des lieux isoles, tout au moins decentres du fait de la disparition de l'activite ou du groupe en
question, Iieux qu'on juge pourtant representatifs : c'estle cas des musees ruraux, fermes etc ... Ce fut
d'ailleurs, depuis 1891 (Skansen) , ce qui se produisit avec les musees de plein air dans lesquels on
avait transplante des batirnents. Le plus souvent on essaie d'integrer Ie paysage, I'environnement, Ie
site ("musees de site"). Mais comment alors ne pas donner une vision idealisee de la vie passee ?
C'est Ie plus souvent l'inverse de la relation groupe-objets decrite plus haUl qui s'opere : une
communaute se cree autour d'objets, de bati.lllents ou de sites dont elle pense, sait, se souvient qu'ils
o!lt ete temoins de son bistoire et des generations qui l'ont precectee. C'est ainsi que beaucoup de
musees surgissent sur les mines d'une activite dont ne subsistent que des vestiges materiels et parfois
plus de temoins vivants : musees d'une activite rurale, artisanale ou industrielle desintegree, anirnes
par une association qui se rassemble autour d'une activite de colleCle et de recherche. Parfois
nostalgiques - il est vrai - ces musees se sont souvent vu taxer de "passeistes".
Des questions se posent a notre epoque de revolution electronique : la "communication" et tous
ses media se substituent au vivre ensemble. Avons-nous alors encore une experience cornmunautaire
dont temoigner ? Qu'advient-i1 de notre memoire ? Y a-t-il d'autres moyens de temoigner et I'acteur
n'est-il pas reJaye par un "parleur" ?
2 Quand un ~comus~e integre ce type d'obje~ ce n'esl qu'avec ia cooration de son propri~taire-utilisaleur
donaleur (l'objel n'esl pas anonyme), c'esl-a-dire comme un el~ment de l'experienee communautaire el d'une
globalitt de vie bien identifi~es. C'est peut-etre ce qui failia difference essentielle entre la demarche
~comus~e elles nombreuses petileS initiatives qui se reclament des ~comus~s el dans lesquelles on grappille
a gauche el a droile des objets qui bien souvent sont dissoci~s de leurs utilisaleurs, ou les uns des autres, el que
seuls r~unissenL Ie hasard elle d~sir de constiluer une collection mais en dehors de louie demarche scientifique
rerieuse.
33
I'organisent et se chargent a notre place de la transmettre. C'est ce que decele J.-L.Oeolte : ".. .til. glt Ie
paradoxe, les evenements ont ete enregistres, cinematographies, photographies, decrits . Mais ont-ils
a laqueUe ? Est-ce
- peut donner lieu a des
Transposee par J.-L. Owlte a notre epoque de mediatisation bautement technicisee, il s'agit en
fait d'une interrogation proche de celie qui rassembla en 1987 a Leiden Ie Comite d'ethnographie de
I'ICOM (JCME) autour du !berne "Presentation des cultures", soit I'etbique du musee d'ethnographie.
Ce coUoque posait des questions de premiere importance: de quel droit representer la culture d'autrui
a sa place ? Que montrer et comment? Ne faut-it pas plut6t aider les gens
"a
presenter" (Ie
museologue etant Ie mediateur - on retrouve la demarche ecomuseale) ? Question finale : les gens qui
vivent vraiment leur culture (ceci est a defmir, disons grossierement qu'it s'agit de groupes encore
autonomes par rapport au modele de la societe de consommation occidentale), ont-its besoin de
musees ?
Nouveaux musees, nouvelles communautes ?
Nous ne faisons pas ici Ie "deuil" des communautes auxqueUes peuvent particulierement se
destiner des musees. Simplement, on ne peut s'empecber de souligner fortement l'existence
aujourd'bui de nouveUes communautes. Ainsi les musees doivent-its s'ouvrir au milieu scolaire, celuici
commen~ant
troisieme ftge.
a sortir de ses murs ; au tourisme dont une des composantes importantes est Ie
n n'est pas certain qu'it s'agisse la de communautes, il faudrait plut6t parler de groupes
lies par l'habitude, la facilite, ou Ie plaisr d'etre ensemble, mais surtout par l'organisation meme de la
. societe. O'autres communautes se defmissent malbeureusement en fonction de ceux qui en sont
exclus. Pour celles-Ia, it faudrait beaucoup inventer, imaginer quelque cbose qui ne s'appellerait
probablement pas "musee" mais qui aurait a lui emprunter lorsqu'j] se fait experimental, lorsqu'j]
accepte de "coUer" a son terrain, a se mettre vraiment au service de sa "communaute" justement, au
risque d'oser etre une alternative a l'ecole, a un instrument de formation, d'integration.
La premiere communaute est ceUe du savoir. Car I'on voit comment les ilIettres sont exclus de
la societe, marginalises dans des ghettos de misere : des favellas latino-americaines aux bidonviUes
occidentaux .. . n n'est pas vain que des regimes de gaucbe meltent l'accent sur l'education, la culture et
la recherche, de meme qu'j] n'est pas innocent que des regimes dictatoriaux les confisquent. Les objets
patrimoniaux des musees peuvent etre Ie complement sensible indispensable et l'outil alternatif de
l'ecole.
La deuxieme communaute, liee evidemment a la precedente, est celie qui marginalise les
immigres lorsque leur rassemblement dense dans certains quartiers peripberiques des villes fait par
trop ressembler nos banlieues a des ghettos .
34
La troisieme communaute - qui aujourd'hui apparaft avec tant de force - est celie du travail car
ceux qui en sont prives souffrent d'une exclusion au moins aussi grande que les precectentes et en tout
cas plus complexe puisqu'elle touche tous les niveaux sociaux et culturels.
Face it ces situations, Ie r61e du musee reste it inventer au cas par cas et avec beaucoup
d'imagination. Probablement ne peut-il etre Ie fait que d'initiatives petites, locales et experimentales,
s'appliquant de maniere tres specifique au terrain et
a la population concernee.
avril 1995
Bibliographie
CRACAP-Informations 213, Le Creusot, 1976
Kennetb Hudson - Museums of Influence. Cambridge University Press, 1987
ICME Conference "Presentation of Culture" - Leiden, 1987
ICOFOM Conference "Musees et pays en developpement. Aide ou manipulation ?" - lnde, 1988.
ISS n 14.
La Museologie selon Georges Henri Riviere. Paris, Dunod, 1989
Jean-Louis Deotte - Oubliez ! Les ruines, I'Europe, Ie musee. Paris, L'Harmattan, 1994
Matbilde Bellaigue, Michel Menu - L'objet ideal existe-t-i1 ? TECHNE 2. Paris, LRMF, 1995
35
Mathilde Bellaigue
Laboratoire de recbercbe des musees de France, Paris
Ab s tract
From the XVIIIth century in Europe, the history of museums sbows how their audience was
borne and bow it evolved until now. In France, the left government of 1936, then the Second World
War and, last but not least, the events of 1968 opened the way to various education folk movements.
The wave of French ecomuseums and foreign community museums came out from there. New words
were brought forth in the museum field, such as identity, territory, participation, community. Such
experiences were taken up in the world, especially in countries recently free from colonialism or
dictatorship. But, in the eighties, the Frencb cultural policy shifted, introducing the notion of
producing money and necessary rentability of the museums. Together with the industrial crisis in
textile, steel , and coal, industrial archaeology appeared, involving both the museologists and the
ancient actors of sucb activities and extending the notion of beritage to their materials. Sorts of
memory communities were issued from there.
In France, during the eighties, the accent was put upon prestigious architectural projects of
museums and the necessity for cultural organisations to produce thier own financial resources. The
.notion of community was no longer put forward.
To-day, worldwide communication leaves no more spaces, no more things to be discovered. We
must re-consider the role of artefacts in museums as much as our own attitude towards them.
Traditional communities bave split, individualism has got stronger. Are there new museums for new
communities (scbools, tourism, old people) ? Looking at the exclusion phenomena, we find new
groups : illiterates are standing out of the community of educated people, as well as immigrated
people are rejected by the nationals, and unemployed people remain out of the working community ...
How can museums cope with that situation? Are there new forms of museal action to imagine?
April 1995
36
All coherent cultural policies should try to rescue the deep sense of
development which takes into consideration the capacity of each human group to
be informed, to learn and to communicate its experiences, showing the evolution
of values and ideologies as well as the various lines of thought which have
prevailed at different times in history.
It is essential for mankind's creative activity and for the complete
development of the individual and of society as a whole that there exists a wide
dissemination of ideas and knowledge. Nowadays, we live in a globalized world
where most of the interests have become international, sustained by blocs of
nations and transnational corporations, but the global economy badly needs
qualified workers. The fact of recognizing distinctive spiritual, intellectual and
material features which characterize other social groups permits to distinguish
values, make options and even feel ethically committed.
The museum , which is closely related to a physical, social and cultural
space, gathers different expressions of culture and has an enormous potential to
implement actions which join towards improving mankind's quality of life in
relation to his natural and cultural environment. It is no longer limited to the static
presentation of traces of a prestigious past, but also to a past which made up
daily life and which, committed to the present, is projected into the future .
Its role is to recreate reality in an authentic, integral manner through its
different expressions; to present and develop the community's cultural forms
which have historically remained in oblivion; to accept the coexistence of ethnic
groups of the same origin, sometimes with overlapping cultures; to help in the
development of regional cultures; to respect the rights of mankind within an
interdisciplinary framework and to understand the continuity and changes which
take place in the cultural sphere. Therefore, it is a valuable instrument to achieve
an integral outlook of the contents of material and immaterial testimonies which
are mankind's cultural and natural heritage and abstractly gathers the plurality
and uncertainty of our nations, which are going through a process of quick
transformation.
37
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
39
40
''The museum must openly embrace the plurality and uncertainty of our nations
which are going through a process of transformation. .. When the contemporary
movements which make up culture are taken into consideration, from the
multidirectional migrations to the transnationalization of communications, the
concept of a nation loses its abstract nature ... .. 2
2 Bonfil Castro, Garcia Canciini et al; Memorias del Simposio: Patrimonio, Museo y Participaci6n
Sociat, Colecci6n Cientifica, Instituto Nacional de Antropologia e Historia, Mexico, 1990.
41
BIBLIOGRAPHY
Bonfil Castro, Ramon ; Garcia Canclini, Nestor et a/; Memorias del Simposio: Patrimonio,
Museos y Participaci6n Social; INAH; Mexico; 1990.
Braudel , Fernand; ECrits sur I'Histoire; Flammarion; Paris; 1969.
Cassirer, Ernst; Antropologia Filos6fica ; Fondo de Cultura Economica;Mexico; 1975.
--------------; Las Ciencias de la Cultura; Fondo de Cultura Economica S.A. de C.V. ;
Mexico; 1993.
Daly, Henman and Cobb Jr., John B.; For the Common Good - Redirecting the Economy
Toward Community, the Environment and a Sustainable Future.
Desvallees, Andre et al; Vagues - Une Anthologie de la Nouvelle Museologie, VoLl ;
Editions W .M.N.E.S.; Paris; 1992.
Harvey, David; Urbanismo y Desigualdad Social; Siglo XXI Editores de Espana SA ;
Madrid ; Espana; 1979.
42
possible to find in this equation the reason for the conflict which is
spreading all over the world : the conflict is not between "cultures"
(indigenous and not indigenous), but between dominant and nondominant cultures, between the concepts of culture and nation, between
national cultures and national states. The conflict is, in fact, a conflict of
Power. What kind of "power" is this? The power of wealth, the power of
possessions, the power to decide what is going to happen, when and how.
Quoting again the introductory text in the Conference's booklet, we find
that "cultural heritage and the past itself seem to be the focus for warfare.
The aim is not only physical destruction. The fight is also about the
ownership of history and hence the right to obliterate the adversary's
historic presence in the disputed territories". The ownership of history is
the ownership of the past, the right to the land, and as such the right to
the ownership of the present and of the future: the final word upon the
world. The possession of the land is the possession of its richness, the
control of its goods and products, of the production process, of all
economical and political processes. Iuri Lotman, in his typology of
cultures, says that there are cultures which are past oriented, as well as
others that are future oriented. Those which enhance the past as the
basis of its legitimacy, consider that a culture with no past is a culture
with no origins, and thus, with no existence, or whit no rights to exist.
Cultural heritage, monuments, ruins, historical facts, are proofs for the
primeval origins of these cultures, and support their claims of superiority
in relation to more "recent cultures". National pride feeds the quest for
national power, or derives from it.
What do museums have to do with all that? In every speech of the
Conference's opening day, we will find this explicit or implicit question:
what is the role of museums in this particular political process, what
challenges and new challenges do they have to face? "Museums and
historic monuments", says the author of the introductory text, "may have
important roles to play in these developments: for better or for worse" ...
and he continues, "they have traditionally functioned as symbols of
national identity, often even of national pride" . If we take this statement
in the worst sense, we should ask what kind of role have museums
traditionally played in these developments? What kind of "national pride"
have they been fostering, for centuries? In the same document, further
down, we find the explanation for the reason of young nations wanting
to build up and to stress national unity ... "this may express a wish to
transform formerly more or less independent groups into valued variants
within an all-embracing national culture". How far and for how long
44
have many of the great museums adopted this same attitude in relation to
the cultures represented in their collections? How frequently have they
ignored the subtle differences between groups whose cultural heritage
they have been collecting, and showing or representing in a simplistic
way? How many times have they accepted artificial political boundaries,
and considered different cultures within a simplistic all-embracing view?
How far have they crashed national prides in the way they show other
people's cultures, and have fostered feelings of superiority in the minds of
their dominant public?
The awareness of this responsibility is now spreading throughout
museum's professional world, and changing attitudes and behaviours. In
the ICOFOM annual meeting of 1988, in India, we have dealt with the
theme of museology in developing countries, on help or manipulation . It
is time now to discuss the question of museology in "developed"
countries: how far it has helped to develop the present crisis, and for how
long the great museums, and even not so great ones, have been fostering
the national pride of the dominant nations, through the exposure of their
wealth and richness, built upon the control and manipulation of other
cultures? I am not entitled to discuss this point here and now, even if I
have written a whole thesis on the "semiotics of the Museum language",
exploring the power and the responsibility of our institutions in building
up "models of the world". This discussion would lead us further into the
problem of representation, and of the presentation of cultures on the
Museum stage.
The main point proposed for discussion here is the relationship between
Museums and the Communities which they serve. I haven't touched this
matter yet, or better, I think I have done it, when I've stressed what I
consider to be the heart of the matter: the problem of Power, and of
Power balance in today's world. Power does not mean only the control
of national boundaries and territories. In the sense of the Museum x
Communities relationship, power means who takes the control of mental
territories, of knowledge territories, of cultural boundaries, of defining
what is valuable and important in the cultural field, of what is worth
showing or not. Who takes the control of "history" and of the "discourse
on history", whose voice is predominant in Museum speeches and in the
relationship itself?
I will thus approach this question as it can be envisaged against the
reality of my own country : Brazil. A country as wide as a whole
continent, with as many cultural variants as one could find in another
45
first immigrant housing. The first question made when the work was
finished has been: what should be done with the house? The first answer,
naturally, was: let's do a museum! I have been invited to come and help
the municipality in this project, together with the Office of National
Heritage in the area . What kind of museum, with what objects, could one
propose for the house? There were no objects, no staff, no public money
available. There was yet a group of people, the Friends of Old Hamburg,
who had been fighting since 20 years for the preservation of their old
quarter and the big park, a vast area of land soon to be bought for the
construction of another big hotel to host the shoes' dealers. In the empty
house where I met the local association, the only thing they had in hands
was the reproduction of a famous painting by a local artist, representing
the interior of that house, the first shop settled in the area by one of the
founders of New Hamburg: John Schmitt; a little shop where the
community used to meet to buy primary goods and to discuss the latest
news from the capital of the Province. The symbolic meaning of the
house, in its original use as a community centre, gave the group the first
idea of what should be done with the house: to reconstruct its original
function, as a shop where one could meet and exchange again real goods,
news, family links, and all sort of symbolic goods existing in the fabric of
th4t particular community. The project of a community based museum
was born, as a perfect tool for the strengthening of people's sense of
identity, of community links and values, and for the protection of their
original environment. It is impossible to describe here how the whole
work developed, run by this group of people, formed by all kinds of
professionals, housewives, widowers, old teachers, young architects and
photographers, university teachers, local businessmen. The strategies, the
obstacles, the conflicts, the discussions, the whole process in itself are
worth of study and exploration. The reality now, after nearly three years
since it was inaugurated as the "Schmitt-Presser" house, is a little "shopmuseum", run by the people of Old Hamburg, nearby the big park
where another preservation project is being developed. What kind of
museology took place in this project?. . a very "popular" kind of practice,
from the identification of things people had at home, from the listing and
temporary borrowing of these things, from a campaign of recollection and
registration, to photographing and cleaning of the materials, to the
installation of the old shop furniture, of an exhibition on Old Hamburg
life, of a photographic competition, of reports in local newspapers, of the
writing of administrative rules and statutes, of donations and
contributions of all sorts. All the problems and tasks of a true museum
have been faced and tackled by people with no museological experience,
with the help of half a dozen museum professionals, and with the
47
enthusiasm of those who find out a reason for pride and satisfaction in
taking their heritage with their own hands, with their own hearts, with
their own capacities and good will, and who made of this process and this
achievement a tool for self-assurance, for the defence of their own rights,
for the realisation of their dreams. For this people, a "museum" IS no
mystery anymore, it is actually a simple thing, a good thing to do.
2. The "IDENTITY PROJECT" of the 4th Colony
This project started in the far west of the region, high upon the hills, in
an area encompassing 9 municipalities, or "neighbourhoods", today
defined as one of the "Reserves of the Biosphere" by UNESCO. A place
where there are no museums, no theatres, no libraries, no shopping
centres, but only potato fields and forests, and a working system very
similar to those of medieval times. The project started very modestly, by
the initiative of the local cultural officer of one of the poorest villages in
the area, named Silveira Martins (in honour of a famous political leader
who interfered in the settlement of Italian immigrants in the 19th c.). The
village was going into an irreversible process of death ... no resources for
development in the economical, political or social sense, the youngsters
escaping from the fields in search of the great urban centres and a better
quality of life. The parents growing old, and fighting to survive. What to
do to recover the pace of development, when people did not wanted to
remember the shadows of their difficult past and the failure of their
settlements, when comparing their own history with those of more
successful communities, becoming rich with commerce and the industry
of wine. When I first came to the area, as a consultant for the Heritage
Office, I was impressed by the helpless situation of these people, and by
the syndrome of "identity amnesia" they were suffering from, by their lack
of self-esteem and of hope. This was surely a case for a social psychologist,
I have thought. Together with the local officer, who had already started a
program of annual "forums", getting together all the rural districts of the
region, we started a systematic program of what we call "heritage
education", a sort of "heritage literacy" program. All the work was based
on children and teachers, who could more directly involve the parents
and the whole community. The strategy was to work with their own
reality, objects and working tools, in a process of observation, of
questioning the function and meaning of each element or thing, starting
with their own houses, linking these elements to the history and the
cultural traditions of people, "rediscovering" their memories, their
tragedies, and the values of their lives. We could only work between
seasons, since children, teachers and parents are on the fields in
48
BIBLIOGRAPHY:
* * *
Lotman, Iuri - 1981 . 'The modelling value of the concepts of 'end' and
of 'beginning' (1970), in Ensaios de Semiotica
Sovietica, Livros Horizonte, Lisboa.231-236
Freire, Paulo and Macedo, Donaldo. 1990. Literacy, reading the world
and the word. Ed.Paz e Terra, Rio de Janeiro.
50
51
ICOFOM Presentation
Maria de Lourdes Horta
During the last ten years I have been involved in Heritage Projects in Brazil,
chiefly in the South of the country. I could thus realise through these experiences
the different levels of relationship that may be established between museums and
communities, the diversity of the work that may arise from these relationships,
and the role of museology in the development of different kinds of projects, some
of which do not take a museum as a starting point nor consider a museum as a
necessary end in itself. Before I can present some different case studies or
situations, I would like to list some of the basic premises, or conclusions that help
me to clarify and guide my work as a museologist and the complex process of
working with communities, every time a new project presents itself. A work based
on "Heritage Education" and "popular museology" .
I. Adults are not like children, who pay attention to things by natural curiosity,
free of any interest;
2. adults get involved with things as far as they think they are worth paying
attention to;
3. adults want to know why it is worthwhile to get involved with something, and
how far getting involved will attend to their needs;
4. in order to get involved with a museum, adults and communities need to know
how far a museum can be useful to them;
5. communities will get involved and will approach a museum as far as the
museum will respond to their needs and demands;
6. communities will create and sustain a museum as far as this museum may be a
tool for reaching their goals;
.7. communities will not approach or get involved with a museum once this
museum does not reflect their own interests, ideas, feelings and needs;
8. communities will not recognise a museum that does not recognises its nearby
communities;
9. a community x museum relationship will only start as far as there is a problem
or a crisis to which the museum may bring something useful, and as far as the
community will see in the museum a possible way out of the problem or crisis.
The best time to start action is thus the moment of a crisis, as Hugues de
Varine states.
IO.museums can not impose themselves to a community, in any given model.
They must be able to find out the right time to act and to present themselves
appropriately as a useful tool in the service of these communities;
11. without a real exchange of interests there can be no interaction and
partnership. As far as museum interests are not those of the communities,
there can be no interaction or exchange;
12.What kind of needs, int~r~sts and demands may be exchanged between
museums and communities?
53
initiative
Museum
versus
Communities
action
approximation
identification
valorisation
dessacralization
time period
6 month-I year
regular programs
Specific
neighbour hood
Community German origin
Heritage Officers
. dialogue
. analysis of
expectation
and projects
. definition of
strategy
. basic support
to action
I to 2 years
(background
process 10 years)
3. Local
municipality
authorities
local
communities
local authorities
diagnosis
1st phase
I to 2 years
Italian origin
(9
municipalities)
teachers
children
context of relationship
heterogeneous
1. Traditional
community
Museum
urban centre
groups
(300.000
population)
2.Historic house
--+
communitary
museum.
Urban centre in
rapid
development.
museum
professionals
+
- educators
+
Community
leaders
+
museum experts/
educators
long term
programme
-+
Heritage
Education
programme
- territory-rural
areas
rural/urban area
permanent
process
since 9 years
implementation
- expansion
environment
experts
4.Eletric
Enterprise
&
Heritage Officers
strategies of
action
local
communities
+
organised
groups
10 municipalities
government
projects rules
Enterprise
versus
communities
Heritage officers
mediation
55
long term
programme
structuration
identification
involvement
discussion
negotiation
training
Heritage
Education
different
programs
2 to 5 year
(background
process 10 years)
57
examines the dynamic interactions between policy, politics, and the environment
(Somma,1993). Museum ecology, as defined here, examines the relationship between
museums, community ecosystems, and the global, natural environment. It is based on
the application of ecological concepts to museological thought, and examines the
relationships among museums and the global, natural environment.
This investigation is based on the hypothesis that museums are a necessary part of any
community and critical to a community that has resources available to apply to its own
development and perpetration. The is not to impose a rigid system on museological
inquiry, but more to explore the mechanism by which a museologist can observe any
given museum in any given community and benefit from an enhanced understanding
of the forces operating therein. Once museologists understand the processes operating
in community ecosystems, they can apply this knowledge towards understanding the
processes within their own internal communities, to interpreting their own function in
their communities, and to interpreting for the public the function of the entire
community ecosystem. Thus museologists are developing new ways of thinking and
new tools with which to approach change in their communities. They can more easily
change their modes of operation if they understand the reasons behind this change.
58
An ecosystem is a discrete unit consisting of living and non-living parts that interact tu
form a stable system. Museums can be seen as highly complex species, tied in a great
web of diverse spatial, physical, and communal interrelationships. Museums are many
things to many poeple, including: the providers of unique, lifelong learning
experiences; an alternative sphere to that of business and profit; a laboratory in which to
experiment with aesthetics, and a place to view the universe from differing
perspectives. Museums also: share community with local inhabitants and visitors;
interpret the physical environment; create communality; contribute to shared life
experiences and interests, advocate the importance of diversity and tolerance; and
explore the importance of the past with respect to today. Museums use resources in the
form of their employees, spatial location, and in the very act of collecting and research.
They occupy a niche that no other entity can. Cultural forces such as history, politics,
law, and transferal of knowledge operate within community ecosystems in the same
way that environmental forces such as climate, erosion, evolution and equilibrium do.
These forces also can interact with, support, and impact one another.
Evolution produces change with continuity in successive generations, or descent with
modification (Darwin, 1859). Humankind inhabits a world that essentially is
unfinished, in terms of the processes at work on, above, and below its surface
(Simmons, 1989; Baccini and Brunner, 1991). Within this unfinished, evolving world,
museums are unfinished institutions, inasmuch as they cannot have finished end
products (Ladkin, 1993). The principles of ecology and evolution dictate that
communities and environments are dynamic, and that they will change through time
(S~ons, 1989). Museums are reflective institutions. They proceed in their business at
a rate that can be measured in months, years, human lifetimes, and beyond. These
changes are an important part of this process, and cannot be rushed or forced since
there is the threat of a system failure inherent in attempts to over-manage complex
systems. Staff turnover, where a new employee represents a new generation with new
genetics, is the process that best equates with genetic evolution that occurs within a
museum.
Change through cultural evolution can occur more rapidly than through genetic
evolution. While museums are artifacts of society (Ames, 1992) and are shaped by the
culture that produced them, they also reflect that culture. Cultures evolve, change and
develop through time and the institutions associated with them change also (Karp,
1992). Museums are informed of the need for change by the cultural and environmental
59
climate around them, and once this need is recognised, they then can advocate it.
Museum institutions face the problem of responding slowly to changes in the
infrastructure that supports them, yet through their exhibits they have proved to be
reflectors of change that can also take a proactive approach (Johnson, 1992; Kulik, 1992).
It could be argued that museum professionals are not specifically qualified to suggest
how individuals, cultures, or nations should behave. However, research carried out in
museums, the collections on which this research is based, and the production of
education programs and exhibits that are the vehicle for this presentation of this
knowledge contradict this argument (Ladkin, 1993).
Adaptations are adjustments that occur in species with respect to environmental forces,
producing an adaptive response. These adaptations can be made genetically, as in
natural selection, culturally, or environmentally. Museums can change their behaviour
to better operate in their communities. They have, for example, adapted to the need for
greater public accountability by devising and adhering to codes of ethics. They also
have increased visitor numbers through the production of attractive public
programmes.
A niche is a functional position of a species in an environment, that includes habitat,
timeframe of occurrence and resources gathered there. Museums have the unique role
of holding collections and making them public through exhibit and research. Other
entities, such as royal families and religious institutions, may hold collections, but may
not necessarily make them publicly available, . Niches also can overlap somewhat in a
4iverse community, so museums may share niches with other species having similar
functions, such as those relating to education, public policy, tourism and development,
aesthetic appreciation, intellectual stimulation, and political empowerment.
Diversity is the measurement of the richness of a community or area. A high level of
diversity is associated with stable climax communities that have undergone
uninterrupted development. Diversity produces stability because the community
ecosystem has relatively little dependence on any single element. Diversity of both
representation and appeal currently is strongly urged by the museum community (Karp
and Lavine, 1991: Rice, 1993). Museums are both evidence of a diverse community with
attendant stability, and its advocate.
60
Competition can occur within species or between species that interact at the same
trophic level of an ecosystem. In competition, one or all species are affected.
Competition is the force that produces an adaptive response where one species is
replaced by another or is modified by way of adopting small behavioural differences. It
also results in niche separation and the separation of closely related species, spatially,
temporally or ecologically. That a species survives competition can be seen as a
measure of its success and its necessity within the community. Museums therefore are
species with proven value.
Carrying capacity is calculated based on availability of resources and is the measure of
the maximum population of a given organism within a species that a particular
environment can sustain. For example, an increased number of museums is beneficial
for the museum species. However, an increased number of museums within a
particular community is only beneficial for the community ecosystem as a whole if the
carrying capacity of the community can adequately support an increased number of
museums.
Museologists take great pains to regulate the internal museum environment to best
conserve the items held therein. Through intelligent use of environmental control, it is
possible to prevent much degradation occurring within a museum environment, and
conservation procedures can be reduced to a set of routine, manageable maintenance
measures. Thus, the control of an environment can be managed in a closed system. It is
important to recognise however, that the external environment cannot be controlled in
thi~ way. Not only is it much more difficult to control the physical factors in the global
environmental equation, but there exists a multitude of other factors, all of which exert
their own particular pressures within the community ecosystem.
Positive feedback in an ecosystem is a process that favours repetition and acceleration of
procedures that lead ultimately to the failure of the system. Negative feedback is a
process that has internal limitations and which favours maintenance of the equilibrium
in a system. Such ecological concepts are useful in predicting possible scenarios. A
period of economic prosperity may foster the establishment of many museums more
than the community ecosystem can usually support. However, if this prosperity
declines, those museums are left without support and ultimately will fail (Anders, et al.,
1988).
61
the environment is not new (Glacken, 1967). T~e current perception that it is imperative
for the human species to adopt an environmentally sustainable way of life (World
Commission for Environment and Development, 1985; Redclift, 1987; Simmons, 1989)
can effectively be interpreted by museums as they can best illustrate how cultural
environments are elements within larger natural environments that interrelate
(Sullivan,1992). Museums can interpret such imperatives through their research and
public programmes (Insley, 1991; Garfield, 1992; Ladkin, 1993), and by setting an
appropriate example through use of new organizational structures, such as
.ecomuseums (Fuller, 1992). For humanity to relinquish the perception that it is the
supreme species at the top of the environmental tree, and to understand how this past
perception has contributed to human-induced environmental degradation, constitutes a
major ideological change. Museums have a reputation for being effective educators
with a consistent record of raising public awareness (Kulik, 1992; Doering, 1992). They
increasingly are being expected to playa role in the environmental debate (Sullivan,
1992), with notable success (Doering, 1992: Ladkin, 1993).
The theoretical examination presented here illustrates that there is knowledge to be
gained for the discipline of museology from systematic observation and critical analysis
of community ecosystems. The choice of ecological concepts and models is appropriate,
since both ecology and museums seek to understand complex interactions in open
systems with constantly changing variables. By defining museum ecology, an attempt
62
References
Allaby, Michael
1994 Allaby, Michael (ed.), The Concise Oxford Dictionary of Ecology, Oxford University Press,
Oxford, UK.
Ames, Michael M
1992 Cannibal Tours and Glass Boxes. University of British Columbia Press, Vancouver.
AJ:Iders, Cindy, Mark Gerson, Maura Reynolds, Geoffrey Maslen, Christina Bonasegna,
Jacqueline Guigui, Janet Koplos, Isabel de la Cruz, and Kathy Curnow Nasara.
1988 Museums: A Global View. Museum News, 67(1):22-47.
Baccini, Peter and Paul H. Brunner
1991 Metabolism of the Anthrosphere. Springer-Verlag, Berlin, Germany
Bennett, John W
1876 The Ecological Transition. Pergamon Press, New York.
Darwin, Charles Robert
1859 On the Origin of Species by Means of Natural Selection, John Murray, London, UK.
Doering, Zahava D
1992 Environmental Impact. Museum News, 71(2):50-52.
63
Fuller, Nancy J
1992 The Museum as a Vehicle for Community Empowerment: The Ak-Chin Indian
Community Ecomuseum Project. In: Karp, Ivan, Christine Mullen Kreamer, and Steven
D. Lavine (eds.), Museums and Communities, pp. 327-365. Smithsonian Institution Press.
Washington DC.
Garfield, Donald
1992 Darkened Waters: Profile of an Oil Spill. Museum News, 71(2):24-25.
Glacken, Clarence
1967
Insley, Jane
1991 Environment versus Technology. Museums Journal, 91(9):16.
Johnson, William H
1992 The Strange Case of the Disappearing Moose. Museum News, 71 (2):56-58.
Karp, Ivan
1992 Introduction. In: Karp, Ivan, Christine Mullen Kreamer, and Steven D. Lavine (eds.),
Museums and Communities, pp. 1-17. Smithsonian Institution Press. Washington DC.
Karp, Ivan and Steven D. Lavine
1991 Exhibiting Cultures, Smithsonian Press, Washington DC.
Kulik, Linda
1992 Disputed Territory. Museum News, 71(2):53-55.
Ladkin, Nicola
1993 Museums: Reflecting and Innovating the Environmental Debate. Unpublished
Master's thesis, Texas Tech University, Lubbock.
Matilsky, Barbara
1992 Art and Ecology. Museum News, 71(2):46-49.
Redcllit, Michael
1987
Rice, Danielle
1993 The Cross-Cultural Mediator. Museum News, 72(1):38-41.
Simmons, Ian Gordon
1989
Somma,Mark
1993 Theory Building in Political Ecology. Social Science Information, 32(3):371-385.
Sullivan, Robert
1992 Trouble in Paradigms. Museum News, 71(2):40-44.
World Commission on Environment and Development
1985
Mandate for Change: Key Issues, Strategies, and Workp/an , World Commission on
64
Nicola Ladkin
Directrice des collections - Anthropologie
Museum of Texas Tech University, Lubbock, Texas. 79409-3193 USA
Du point de vue historique, les museologues ont surtou t examine leurs liens avec les
communautes qu'ils servaient a partir d'une perspective cu1turelle. Cette approche ignore
toutefois Ie fait que les musees peuvent etre indus a I'interieur d'une communaute beaucoup
plus vaste, c'est a dire I'environnement naturel et global. D'un point de vue tMorique, il s'agit ici
de considerer la terminologie existante en ecologie et les modeJes qui servent a expliquer les
processus en jeu dans I' environnement naturel, comme pouvant deinir les mecanismes operant
a I'interieur des musees. Le concept d'ecologie des musees, telle qu'utilise id, considere les
musees comme une espece faisant partie de l' environnement nature!, alors que communaute est
synonyme d'ecosysteme.
Les musees representent une espece complexe se trouvant a I'interieur de communautes
nature1les qui sont a la fois globales et diverses. De plus, ces communautes sont generalement en
equilibre avec leur environnement. Ainsi, l' existence des musees permet une evaluation quant au
bien-etre de ces communautes et leur presence est primordiale quant a leurs stabilites. De plus,
les musees occupent une niche a I'interieur de ces communautes, alors qu'ils ont evolue, se sont
adaptes et entres en competition avec d'autres especes pour Ie partage des ressources
disponibles. Dans ce sens, les musees entretiennent des interactions symbiotiques mutuelles
avec d'autres especes. Les musees sont dependants de la capadte de soutien des communautes
alors qu'ils maintiennent un nombre d'institutions. Leur presence, par ailleurs, est un bon
indicateur quant a la disponibilite des ressources qui servent au maintien et a la perpetuation de
l' ecosysteme et des especes qui y sont rattacMes. Ainsi, des communautes sous stress auront
65
Lynn Maranda
The nature of museums
There are many ways to view the nature of a museum and one illustrative way to examine the
museum's character is to ascertain what community the museum serves. It can be argued that
all museums do serve a community and that museums come into existence because of that fact .
The service which a museum gives a population is one that unites a community by supplying
it with a sense of history. Museums are another in a list of institutions which try to answer the
questions of existence which the human race is continually asking. The questions of "Who are
we?" and "Where did we come from?" are asked in probing rhetoric to help define the purpose
of our living and to shape the direction of our ambition. It is this sense of a community or
population curious to know its beginnings and wanting to know its future that the museum
ful.fils its role in the social order. Museums themselves have undergone evolution with the
change of social conditions and their own progression from private 'cabinets of curiosities' to
monolithic public institutions can be readily traced. What are separate histories accommodated
within a private collection or within a monolithic public institution are histories nonetheless
which make a commitment to the understanding of community: one commitment extremely
small, yet deemed of great value, the other large and providing a wide opinion to assist in the
understanding of a national population.
Hist0IY
A museum is a house in which history is stored. If the purpose of history is to write the story
depicting the evolution of a peoples from the beginning of a determined epoch to the present,
then the present circumstance of a community or a people is the major gravitational intellectual
force which determines the attitude of written histories. It is by this respect that histories serve
communities and museums, the warehouse of historical physical materials, serve up the
evidence of given stated historical positions. The reason such purposes are required by humans
is that when histories tell stories of evolution, they at the same time give special social meaning
to the very readers of the evolution. Histories explain the existence of a people and even if the
depicted histories do not directly retell the particular story of a given population, the very
outlook and fact of a population's existence is supported through the act of writing. For
example, even the writers of history from the Victorian era can expound on subjects other than
their own society as an indirect reinforcement of their own social conditions. It is known that
these museums which collected materials from around the world and displayed much of its
findings in support of notions of "savagery" and "racial" types endorsed the European self
67
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
The Finances
The flow of money is a detenninant in most human endeavour and is cenainly a major
parameter in shaping the purpose and structure of museums. Most museums are dependent
upon tax dollars and as such these institutions feel obligated to serve the broadest tax pacing
public that is possible. With nations that have a strong cultural identity, this identity would be
fostered by a national museum giving purpose to the existence of a national type and that form
of visual and tangible history that museum collections offer. Where nations have old defined
national cultural attributes, the expenditure of tax dollars can be easily justified in promoting
those national cultures through heritage collections.
interest groups assemble their own private money and spend it promoting the materials which
give meaning to their causes. In the same vein, private collectors who have amassed dollars and
collections which reflect their personal tastes have opened museums to exhibit their treasures
and these have obvious credentials for their existence. The flow of money is a strong
determinant in the organization and life of museums and with the pressures to sustain a variety
of collection perspectives, to serve a variety of publics, and to acquire funds which have
realized an increase in demand, it is not surprising that many museums are looking towards
user-defined operations. A user-defined institution sets its objectives as a common goal for a
known public and is supported by the public through donations and admissions. It therefore
gratifies the user-public with information and meaning with the objective of ensuring its
financial stability.
Responsive to community needs
It is a relatively new phenomenon where museums undertake to test the public's wants and
needs with surveys and market analysis to discover what an institution's relation with its
community is and/or should be. This phenomenon, most probably, is an offshoot of institution's
desires to become financially independent and to set their foundations on a user-defined basis.
Many museums are spending money and time to conduct studies to gauge public reactions,
sentiment and desire, to chart future courses under the heading of being responsive to
community needs. In fact, businesses have sprung up in response to this need to locate and
secure a permanent financial footing and to be perceived as being community-responsive, thus
creating a class of museum consultants whose expertise is sought after on these professional
matters ..
Charging and Value
Museums are responding to a heightened social notion that value is equated with cost and that
therefore if you pay little for an item or for admission or for the use of a service, then it could
have little value. Hence, those items which have the greatest cost have the greatest value and
museums are increasingly becoming caught up in this entrepreneurial spiral and are charging
70
fees for services and admissions in an attempt to increase the notion of their value. As such,
the larger notions of nationalism and abstract notions such as democracy and evolution have
a more difficult time in aligning paths of historical truth of the display of their material.
This drive behind the museum-community interface has created changes to the financial bases
of museum, where museums are now actively soliciting funds, charging higher and higher
admissions and memberships and becoming special-public oriented; it has created a political
demand from the community which is wanting to have the museum reflect a particular public's
concerns and notions of historical truth; it has created a marketplace atmosphere where value
and service are determined through a kind of auctioning process. The reactive/responsive
contemporary museum has both gained and given power in its newly defined role with the
community. Because of the museum's visibility, it is seen to be a focal place for ideas, and this
gathers status and influence for the institution, while on the other hand, the community's use
of the museum has gained for itself a power base from which it can disseminate its messages.
Tourism
The financial dependence of museums on communities is readily seen in the tourism industry
where the tourist anticipation of what objects they would be willing to pay admission to see
determine the size and content of museological display, and in a very real sense, the tourist is
a nomadic community which strongly influence museums as points of destination. Millions of
people travel the world to visit specific locations which are providing known collections of
objects which have been advertised as being available for tourist consumption.
Anticipation and Reality
Many museums are having to reconcile their museological objectives which may have, for
example, academic, ethnographic, or archaeological quests for education or discovery, and are
having to modify these intellectual ambitions with the "real" demands from various public
communities.
It is also noted that the world's populations are desiring more to be entertained rather than
educated; they are being accustomed to mass entertainment models and expect the same from
their institutions which portray their history; and that people, more and more, are desiring
interactive rather than passive displays.
The museum will continue to be a house where history is stored though the stories depicting
the evolution of peoples will continue to change as the social fabric of the community evolves.
14 March 1995
a I'evolution
collectivites et leur patrimoine, pour montrer qU 'aujourd 'hui , dans les societes
postindustrielles, c'est seulement par une interpretation active que les choses du
passe peuvent etre appropriees et devenir un patrimoine pour une communaute
elargie . Pour ce faire, je decrirai quatre figures ou IHats du patrimoine dans
I'evolution des societes, et j'en enoncerai les caracteristiques.
- 1 - Le patrimoine vivant des cultures traditionnelles.
- 2 - Le patrimoine merveilleux des collections d'antiquaires.
- 3 - Le patrimoine museologique des Etats modernes.
Le patrimoine concerne la communaute de diverses facons. Toute crise de I'idee de
tradition et de nation , toute crise des ideologies et de la culture a des effets sur les
rapports qu'une collectivite entretient avec Ie passe. Pour finir, examen est fait de ce
qui caracterise la phase actuelle du patrimoine, celie des societes postindustrielles.
- 4 - Les ressources patrimoniales des societes postindustrielles.
La phase actuelle du patrimoine me semble marquee par une hesitation, entre deux
de ses figures : nous jouons encore avec I'idee d'un patrlmolne national ,
conforme a celui des Etats-nations du Xlxe siecle. Mais, il s'avere que cela n'est ni
possible ni souhaitable, en particulier
cultures qu'un tel patrimoine postulait. Conscients de cette difficulte, nous cherchons
alors a changer Ie rapport au patrimoine, a lui faire prendre un tournant economiste,
qui se fonde moins sur ses contenus que sur ses usages, et voit Ie patrimoine avant
tout comme une ressource recreative. Nous nous comportons, a I'egard du passe
historique, - non plus seulement de notre passe , mais bien d'un passe global comme une communaute floue de zappeurs televisuels , I'usage que nous en
faisons en etant un de regard distancil et d'attention ludique et participatoire. Un
nouveau rapport ludique de consommation, unit de plus en plus, une communaute
mondialisee a un patrimoine distant, qu 'elle s'approprie par la visite touristique et
I'acces informatique. Les musees et les sites jouent un role majeur dans la
generalisation de ce type de rapport au patrimoine, caracteristique de la relation
qu 'une societe democratique et mondiale peut entretenir avec ses heritages.
73
a travers
comment il opere dans la coliectivite. Je voudrais, dans les propos qui suivent,
reflechir
a I'evolution
montrer qu'aujourd'hui , dans les societes postindustrielles, c'est seulement par une
interpretation active que les choses du passe peuvent etre appropriees et devenir un
patrimoine pour une communaute. Pour ce faire je decrirai quatre figures ou etats
du patrimoine dans I'evolution des societes, et j'en enoncerai les caracteristiques.
1 - Le patrlmoine vivant des cultures traditionnelles.
Les societes dites traditionnelies, se perpetuent par la reproduction du meme. Toute
I'organisation sociale, les croyances et les roles de chacun, sont un heritage fixe, vecu
comme immuable et dicte par une auto rite supra humaine.
generation
La reprise d'une
Les membres de la communaute subissent cet ordre, car Ie domaine symbolicoculturel de la TRADITION est essentiel et contraignant pour la coliectivite : c'est lui qui
assure sa stabilite et sa reproduction dans Ie temps.
'Dans ces cultures, les objets conserves prennent place dans la vie de la collectivite.
Objets et sites sont moins valorises pour eux-memes, que pour les fonctions
religieuses qui leur incombent, dans les systemes rituels. Tous connaissent la
signification des objets et leur pouvoir, tous respectent les tresors et leur symbolique,
et distinguent les objets sacres
vivante, Ie patrimoine n'apparait pas comme tel , mais se transmet au sein d'une
culture vecue et partagee. La materialite des objets est traversee par une vi see autre,
celie d'une symbolique partagee de tous. Resumant, je dirais 1 Que regime d'un tel
patrimoine est la croyance et la contrainte. 2 Que la nature des objets est celie de
I'anonyme et de I'unanime. 3 Que Ie public concerne est la collectivite entiere. 4
Des exemples de ce type de patrimoine : les objets rituels
74
a caractere religieux.
partir des annees 1550. La collection se deli nit alors comme tout ensemble d'objets
naturels ou artificiels, maintenus hors du circuit d'activites economiques, soumis
protection speciale dans un lieu clos amenage
a une
a la vue de tous,
publics accessibles.
3 - Le patrlmolne mus6ologlaue des Etats modernes
Sorti du monde restreint des erudits, Ie patrimoine devient public, collectif, mais pas
comme iI I'etait dans les cultures traditionnelles. En effet, c'est en grande partie parce
que la transmission par tradition vivante n'est plus au fondement des societes
modernes, que celles-ci amenagent des lieux publics specifiques de conservation
du patrimolne. Ces lieux tentent de pallier cette non transmission generalisee, pour
maintenir dans la communaute, une certaine presence des heritages.
1 Krzysztof Pomian, Collectionneurs, amateurs et curieux. Paris, Venise : XVIe-XVllle
si.kle, nrf Gallimard, Paris, 1987, p. 18
75
a la
phase ou Ie patrimoine
a la collectivite.
Nous
enleve au passe son role d'assise de toute legitimite. La modernlte consiste, pour
une bonne part,
a cette
Ie seul qu'autorise Ie
contexte museal , subissent des changements profonds : n'etant plus un heritage actif,
ils deviennent des genres de signifiants flottants, disponibles pour les interpretations
diverses qu'en
tont
taut
liens entre la communaute et ces choses du passe, car elle seule est capable de
provoquer I'appropriatlon patrimoniale maintenant requise. Ce patrimoine resulte
donc d'un type nouveau de rapport que I'ere moderne instaure avec les traces qui
lui restent du passe : ce rapport en est un de mise a distance critique, puis
d'appropriation libre au moyen d'une pedagogie des objets... Qu'est-ce que I'idee
de patrimoine, demande Dominique Poulot, sinon I'alternative moderne, - c'est-a-dire
historicisee et libre - a la culture pensee comme tradition ? .. 2
2 Dominique Poulot, Le Louvre imaginaire, in Historical Reflections, Retlexions historigues, vol 17, no. 2, Spring 1991, p. 198.
76
a la
a la construction
des
a savoir :
une oeuvre creee de la main de I'homme et ediMe dans Ie but precis de conserver
toujours present et vivant dans la conscience des generations futures Ie souvenir de
telle action ou telle destinee. 3 Plaques commemoratives, sites historiques,
musees sont tous des formes, plus ou moins elaborees, de ces monuments
intentionnels, ils sont des elements dans la strategie de gestion de la memoire.
Cette troisieme figure est celie d'un patrlmolne
muselfh~,
identitaires, exposes et interpretes dans des lieux et des circonstances qui stimulent la
fierte nationale. 1 Le regime de ce type de patrimoine : celui de I'education populaire
et de I'ideologie. 2 La nature des objets : exemplaires, chefs-d'oeuvre, creations des
genies-inventeurs et objets des heros. 3 Le public : Ie grand public. 4 Exemples :
commemorations nationales, monuments, musees et sites.
L'histoire des types de patrimoine que je viens d'evoquer montre que celui-ci
concerne la communaute de diverses facons selon la forme qu'iI prend. Toute crise
de I'idee de nation, toute crise des Ideologies et de la culture a des effets sur les
formes que Ie passe peut prendre dans notre societe. Or il y a bien presentement,
dans les societes postindustrielles, crises,
la culture. Examinons pour finir, ce qui caracterise la phase du patrimoine qui est
celie de ces societes.
4 - Les ressources patrlmonlales des socletes "postlndustrlelles
La phase actuelle du patrimoine me semble marquee par une hesitation , entre deux
etats du patrimoine. - O'un cote, nous jouons encore avec I'idee d'un patrimoine
national, avec la tentation de maintenir un type de PATRIMOINE conforme
3 AloYs Riegl, Le culte moderne des monuments, Seuil, Paris 1984, p. 35 .
77
a celui
des Etats-nations du Xlxe siecle. Mais, il s'avere que cela n'est ni possible ni
souhaitable, en particulier
a. cause de la conception
qu 'un tel patrimoine postulait. Conscients de cette difficulte, - nous cherchons alors,
d'un autre cote, a. changer la mission et la nature du patrimoine,
tournant econom iste, qui se fonde moins sur des contenus que sur des usages, et
voit Ie patrimoine avant tout comme une ressource. Un mot de ces trois aspects.
1 - La nation. L'idee meme de nation perd aujourd'hui de sa pertinence, au profit de
reseaux d'echanges plus large et devant la montee des droits individuels :
La nation est aujourd'hui doublement atteinte : a. I'exterieur, par les limitations
de sa souverainete que tracent I'internationalisation des echanges et
I'interdependance des economies; a. I'interieur, par I'ideologie productiviste
qui exalte I'individu et ses interets. 4
Parce que Ie patrimoine s'est defini en grande partie au Xlxe et dans une dynamique
national ou meme nationaliste, ce bouleversement du statut de la nation , comme
reference culturelle, en cette epoque de globalisation, affecte sa nature et son role.
2 - L'ideologie. Avec la crise de la nation, vient aussi celie des ideologies qui en
faisaient I'eloge. Une grande partie des patrimoines nationaux incarnaient des visees
. d'empire, des exclusions et des rapports de domination entre les etats collectionneurs
et les cultures collectionnees. Aussi sommes-nous entrer dans une periode de
revisionnisme historique : voulons-nous encore celebrer tel haut fait , tel butin ou
bataille historique,
d~nt
a. I'egard de
78
d'anclennete repose sur la visible etrangete de ce qui est ancien , sur I'usure
apparente de ce qui est vieux, et que meme une personne sans savoir historique
peut constater et ressentir. Mais elle n'est guere porteuse de contenu specifique.
3 - Troisieme crise, culture et technologie. Nous voyons aujourd 'hui a I'oeuvre une
mediation genera lisee , qui assure une large diffusion a certains patrimoines :
cela leur donne Ie statut d'icone mondialement reconnue.
De Van Goth a
79
des courants tres divers dans leur provenance et dans leur logique. Deja McLuhan
parlait de la culture mosarcale du journal ; la mosarque s'est elle-meme multipliee,
ses cases statiques sont devenues variables et dynamiques, dans les menus
interactifs qui reunissent des communautes virtuelles .
Le rapport que no us
entretenons maintenant avec nos patrimoines est bien relie a cette position de
spectateur, a ce qui se forge dans cette relation de zapping . Nous nous
comportons, a I'egard du passe historique, - non plus seulement de notre passe ,
mais bien d'un passe global - comme des zappeurs televisuels, I'usage que nous
en faisons en est un de regard distancie et d'attention ludique et particlpatolre.
Comment decrire ce nouvel etat du patrimoine ? Je dirais qu'il s'agit d'un patrimoine
gere, d'un patrimoine ressource, mis en marche et au service de I'economie. Ses
objets et lieux sont penses : - comme un spectacle offert aux touristes; et deja, comme une banque de donnes sur I'inforoute. Le plus souvent, I'acces, touristique ou
informatique, est payant et genere des revenus. Ce patrimoine est presente comme
recreatif, iI offre moins des objets specifiques, que des environnements globaux, dans
lesquels s'immerger et se perdre . 1 Son regime : Ie divertissement et la
consommation . 2 La nature des objets : des attractions, I'interactivite, la simulation,
I'informatique. 3 Son public : les touristes et les zappeurs. 4 Des exemples : les
parcs thematiques, les CD Rom.
'Ce qui nous attire vers les musees et sites historiques, ce n'est plus tellement la
puissance rituelle des objets, ni I'etude, ni notre attachement a un Etat-nation, mais
bien, notre desir d'entrer dans I'ecran, et de nous procurer une experience
personnelie, imaginaire, ludique et memorable.
80
C'est pourquoi les elements du passe qui peuvent etre des ressources pour une
mise en marche, concernent un peu Ie savoir , un peu I'identite, plus regionale et
communautaire maintenant que nationale, et beaucoup I'experience.
Pour les lieux qui peuvent esperer une frequentation importante et disposer d'une
infrastructure considerable, une telle mixite forte d'experiences memorables est
requise; pour les plus petits, I'experience devra emprunter des moyens plus reduits.
Mais tous doivent placer I'experience des visiteurs au centre de leur action envers
eux. Nous sommes plus que jamais conscients que Ia memoire sociale n'existe que
parce qu'elle fait sens pour Ie groupe qui se souvient 6 Pour la plupart de nos
visiteurs, Ie passe qui compte vraiment Ie plus n'est pas, en definitive, celui qui fOt
jadis , celui dont traite Ie lieu vi site, mais bien ce passe, tres variable, qu'ils
emportent avec eux, comme souvenirs personnels de leur sejour agreable au
musee. Ce passe est rapidement reinvesti dans la sociabilite de chacun et contribue
au sentiment communautaire d'etre de ceux qui ont fait telle experience.
La democratie postindustrielle est
autre type que celles qui ne reposaient que sur la geographie et la territorialite : no us
avons aussi conscience d'appartenir
partagent des
referenc~s
Raymond Montpetit
Directeur,
Maitrise en Museologie
Universite du Quebec
a Montreal
mars 1995
6 - Social memory exists because it has meaning for the group that remembers it. Voir James
Fentress et Chris Wickham, Social Memory, Blackwell, Oxford, 1992, p. 87 .
81
8~
Museum
social need.
as
institutions
were
born
out
of
sheer
community is vital.
Inquisitiveness
of human mind on
will
require
the
accumulated
knowledge
and
and
Art-gallaries
provide
them
with
an
unique
The
service
to
the
community
is
therefore
the
natural
function
heritage.
of
collection.
activity
of
collection,
museum
The
well
museums,
must
socio-cultural
communi ty.
Thus
Yet,
and
the
revolve
based
economic
socio-cultural
around
thought
therefore
museums
all
out
the
museum
and
purposeful
on
these
respective
be
aimed
requirements
to
of
meet
the
and
83
infact
frequently
inaccessible
appointment.
one
function
the
by
and
rarely
of
invaded
public
sanctuaries,
except
of
the
through
museum
is
to
special
show
its
can
be
socio-cultural
means
of
communicating
achievements
of
other
ideas
about
peoples,
about
The
for
example
Indian
society
and
economy,
as
population
Independence
Era
of
has
India
more
presented
mobile.
before
us
The
totally
post
new
fulfilment
of
people's
84
needs
and
aspirations.
The
old
social
scientific
and
values,
norms
technological
and
traditions
development
due
are
to
changing
fast.
Network,
All
India
creating more
people.
Radio,
social
Hence the
Films
and
cultural
and
crowds
large
the
awareness
of
people
Press
are
among
the
of
age
all
and
their
art
gallaries
past
heritage.
everyday
It
is
to know
making
something
the
job
of
in
its
various
segments.
There
are
reserve
reference
and
published
gallaries,
by
photographs
research
of
works.
providing
objects
The
as
second
necessary
well
as
the
category
of
supplement
their
of
casual
village
visitors,
folks,
who
poors,
the
mostly
tribals,
who
the
have
85
today
are
clientile,
the
v isitors,
museum
the
Thus
diversified,
more
much
so-called
the
illite~ate
by sheer dint of
Al though,
of
the museum
to
help
written
the
words
educated
and
visitors,
information
will
form the
yet
no
prove
amount
of
helpful
to
population.
The
change
social
structure,
economy,
ancient
Can
restricted
functions,
challenges?
the
age
the
old
traditional
meet
museums
these
new
with
their
socio-economic
of
culture
which
constitutes
arising
out of
new
change?
socio-cultural
It
is
for
this
86
has
become
scholars
Certain
"Communityll.
term
to
define
the
define
the
term
important
equally
common
traditions,
concerns
and
the
suitable
interest,
originally
for
the
the
of
and
irrespective of any
urban
growth
values
institution
the
is
community.
It
not
is
common
socio-cul tural
functions
co-operation
and
active
unless there is a
participation
of
all
our
museums.
The
new
models
be made
of
fully
museology
aware
of
and
the
87
involve
programmes,
them
emotionally
in
museum
policies
and
programmes
not
only
to
preserve
the
cultural
but also to
around
community.
within
the
geographical
heritage
bounds
of
the
will
be
working
as
powerful
tool
for
the
To
involve
people
emotionally,
the
communi ty
reviveing
the
old
legends,
fairs
and
festivals,
because
it
will
provide
continuity
It is
to
the
technology
for
an
overall
development
of
the
community.
ADD RES 5:
ANUPAMA NIGAM
l3-6-463/A/9, Ashok Vihar,
Post: Kulsumpura,
HYDERABAD - 500 267.
(A.P.) INDIA.
ANUPAMA NIGAM
(Research Scholar
in Museology)
HYDERABAD - INDIA.
88
Paivi-Marjut Raippalinna
89
90
91
into the region, to people living out of the center, and tried
actively to create new ways to reach their undefined audience.
circulating exhibitions took works of art out of the temples of
art to ordinary people. Art was to be accessed in sub-libraries,
schools, kindergartens, municipal halls. In the vanguaard of
these activities also the idea of art education became a
conscious part of the Finnish art museum activities.
The new regional activities were adressed to a common man man
living anywhere in the country. But nobody asked after or was
even interested in, who was this ordinary man and what he liked,
needed or appreciated. The target group for the new activities
was considered homogenous in terms of national identity,
although, we have a Swedish speaking minority on the southern
and western coast, Saame-people living up to the North,
karelians settled after World War Two or a small number of
gypsies. Since those days we have got an additional group of
minorities, refugees, whose position in our society is very
vague. Anyhow the guestion of ethnic minorities or the current
splitting up of the nation into A and B citizens due to the
harsh figures of unemployment doesn't even today figure in our
museums, even in regional museums.
The community for regional museum in Finland is still, if
differentiated at all, rather a mixture of people of different
ages living in a certain area, rather than people with different
interests or identities. The only explicated target group ever
concerned within the regional art museum system has been the
age-group of potential museum visitors - children - to be
educated through art to art!
We have got the system, but there is neither knowledge nor will,
I'm afraid, to turn our regional museums into true community
museums. Another factor is that the time, when also museums are
measured only in terms of production and accountability - more
institutional merits with less money, is not favourable to the
idea of community museum.
..
2.
3.
Regional art auseu.s activities were started as an ewperl.ent and the first reqlonal art
92
ISSM 1103-8152.
SUMMAR Y
L'ACTIVITE DES MUSEES REGIONAUX ET LES DEF IS DE CO~~ U N AU T E CASE STUDY
Pendant une vingtaine d'annees on a construit en Finlande un
systeme regional de musees et de musees d'art, qui comprend 1 3
musees d'art regionaux, dont Ie but est:
-fair connaitre les arts plastiques et l'oeuvre des artistes de
la region
-organiser des expositions nationales dans la region
- distribuer de l'information concernant les arts plastiques
- developper de la cooperation entre des musees
- s'occuper des collections d'art regionales et de leur
augmentation
- faire naitre l'activite artistique des communes et ameliorer
leur disposition aux expositions
- creer de nouvelles formes d'activite a repondre aux besoins
des groupes differents.
Tout se passait bien jusqu'au deput des annees 90, ou la crise
economique rendait l'activite regional vraiment menacee. Au
cours des annees on avait cree un systeme regional important
bien qu'insuffisant qui voulait, selon les ideales de la
politique culturelle et de l'Etat-Providence des annees 70 que
l ' art et la culture soient mis a la disposition de tous. Les
museologues ont ete joints par un groupe tout nouveau, les
chercheurs de musees d'art reglonaux, dont la formation
professionelle etait aussi defecteuse que de leurs
predecesseurs.
Le probleme etait encore, malgre les nouvelles ideales et les
nouveaux buts sociaux, la tradition de l'ideologie des musees et
de la formation. La societe donna it les moyens avec lesquels on
s'orientait en dehors des murs du musee, on transportait des
ex.posi tions et des connaissance en province entre certaines
limites geografiques. Le but de tout cela etait de cultiver un
peuple, que l'on imaginait relativement homogene, a l'art par
l'art. Personne ne demandait, ni montrait un vrai interet a
savoir quel etait ce peuple, de qui il se composait et quelles
communautes ou quels individus Ie forment.
93
The aim of ICOFOM is to study and investigate Museology as a scientific discipline. With
such purpose we have been developing a task of sistematization of terms where concepts such as
those of Museum, Community, Object and Heritage are constantly under exam . This work has
resulted in the development of a theoretical and methodological basis that is presently recognized
as museum theory.
Museum theory, it is said , enhances knowledge about the Museum as a unity of study in all
its aspects, functions, purposes and relations with reality. It helps building knowledge about
museums and their role in society, as a tool for understanding the past and shaping a beller future .
But in what consists museological knowledge? How can museum theory investigate, for example,
the relationship between Museum and Communities from a truly scientific point of view?
Let us start from the beginning , pulling under exam ...
a) THE IDEA OF MUSEUM
It is known that, although actualized, the official definition of Museum does not fit the
necessities of theoretical study, being unable to encompass the plurality of initiatives presently
recognized as 'museums' - not only in the practical field but also in the field of ideas. Twenty years
, of systematic study on theoretical Museology have not clarified this question.
This has been one of the main problems of ICOFOM, since most papers on museum theory still
refer to specific functions or characteristics of the Museum, without making clear what idea of
Museum lies behind the words. For this reason, it has been difficult to establish the chains of
relationships between one paper to the other, and consequently to develop a critical analysis of the
annual production of ICOFOM conceming the specific themes under exam .
Since we are now invited to analyse the relationship between Museum and Communities, a
first question arises: what are we referring to?
Having in mind that the Museum is a phenomenon, and that the different forms of
museums are nothing more than representations (or expressions) of such phenomenon in different
times and spaces, according to the characteristics of each social group, we may understand
Museology not as a science that investigates the museum institution or the "museological facf' ,
but as a scientific discipline that investigates the idea of Museum developed by each
society, in each time, through its applications to reality. That is made possible through the
investigation of the different forms of relationship between man and reality, that is, of the
relationships between man, culture and the natural environment.
95
Such relationships are better explained under the conceptual frame of the the holistic
paradigm, according to which the universe is understood as a relative system , where man is a
mere element, not the centre. Under such frame it becomes clear that the museum is not
concemed only with man and the cultural production , but to nature in all its diversity and to the
universe as a whole . That is what we understand as the total environment, or the total heritage of
humanity. The first two basic characteristics of the Museum are thus understood: its intrinsic
relationship with nature and culture; and its plurality.
Understanding the museum as a phenomenon, it is easy to accept that it assumes different
expressions in space and time. That is, Museum is not one thing - it is a generic concept that
encompasses a wide range of places, institutions, mental attitudes, cultural initiatives.
Different societies develop different conceptions of the universe - and the idea of museum is one
of the expressions of the world vision of each social group, in a specific time and situation . We are
so used to our own conceptual models of museum, specific of the occidental society, that little
attention is given to the difference. ICOFOM has barely investigated, for example, what is the
dominant idea of museum in each region of the world, or which local significances does this term
assume within specific communities. The same concept (Ecomuseum, for example) may have
several significances, according to the cultural identity of the group that is referring to it. Some
societies do not even develop an idea of museum.
But once we understand that the Museum (phenomenon) is not the same as one museum
(limited expression of such phenomenon), we are able to identify which idea of museum is present
in which community or social group. Museum may thus be understood as:
an institution;
a physical space (territory, area or building) wich contains movable and inmovable
parcels of heritage;
a physical space for the exploration , investigation and experimentation of the new;
a space for the preservation of memory of mankind and of the planet earth;
a special relationship between man and the environment;
an intellectual space of creativity and production of culture (herein included the
imaginary spaces of human mind - those called' the inner museum' );
the biosphere.
Museological activity is thus possible not only in those places traditionally recognized as
museums, but also in every site or intellectual sphere where Man and Nature have integrated so as
to create culture and knowledge. That includes those rare sites in our planet barely touched or still
untouched by Man, where natural processes remain completely or almost preserved . That goes
within ourselves, towards the "inner museum" where the complicated processes of our mind shape
a very specific mental and emotional heritage" . That goes beyond what is known as the biosphere
- towards the universe.
Within this immense framework, we need to identify which specific representations of the
museum phenomenon are we dealing with, in a specific society, time and situation - as our main
working tool.
The following step is to define what to do and how. WlJat to do may be explained by the
political and cultural approach of Museology - which aims and actions must refer to the group under
study. How to do relates to Museography - the instrumentalization of museology itself, i.e., the
practical support that makes possible to apply to reality concepts and philosophies of action
designed for each museum. One of the great mistakes of museum professionals is to imagine that
it is possible to develop museums making plain use of museum techniques - not taking into
account that museography is not and end in itself, it is a tool , a process through which
museology is implemented. We still see museums that deal only with objects subtracted from their
96
original environment - as if it was possible to represent, through those fragments, the original
context as a whole. We still see exhibits where such fragments are enumerated (with sofisticated
design) under codes of rationality that do not correspond to the scientific paradigms of the XXth
century.
We see preservation and restauration works that pretend to serve the whole society, but
that are nothing more than an opportunity of imposing aesthetic values and cultural codes of
hegemonic groups.
The responsability of the museum in the present days is to be an active agent of social
change, offering support to programs of cultural development. And this is possible because, as an
intellectual space for creativity, it produces knowledge. But, being aware of that, museum
professionals become responsible for promoting development in an open and democratic way,
enabling the participation of wide segments of society. Those are the segments we perceive as
communities. Which brings us to another problem, that is:
As the Museum, Community is a concept. Under the title' community" we usually refer
to several representations of human society - from the global community, which includes all of us
inhabitants of planet Earth , to the nuclear family as community core. But we must not forget the so
called' biological communities , formed of parcels of living beings with common characteristics.
The plants in a forest, the fish in a river or a colony of microbes are communities as well - and as
such , pertain to the museum sphere . We museum professionals are also a community. As we see ,
there is an immense diversity of communities. Biological communities. Cultural communities.
Social communities .... Shouldn't the planets or our galaxy be also considered a community?
Since we consider communities in their diversity, it becames clear that the relationship
between Museum and Community is only possible when community and museum are previously
identified. We have seen through the years the development of an opportunist discourse that has
led to several mistakes such as:
the idea that Museum is a place called 'museum';
the idea that Community is a group of people not identified with the hegemonic strata
of a society - preferably belonging to minority groups or to countries undergoing
development;
the idea that museums should work with the community (whatever that means) .
... To which community are we referring, when proposing museological action?
Considering the different connections between Museum and Community, we should then
identify:
what we believe a museum is;
what we believe a community is;
what museum and what community are we referring to , in each specific situation;
what is expected of the interaction between Museum and Community;
the several possible approaches to the matter;
the expected consequences of the interaction.
Some options will be possible :
97
Everything , as we see , is relative. Community and Museum are relative concepts. The
world itself changes everyday - which means our perception of the world is also relative. Since
nothing its absolute, what possible means do we have of making the museum promote knowledge?
The first attitude is to promote the capacity of the museological community: it is
fundamental that those who work with museums be prepared to make museology. On a second
basis, it must be understood that the changing role of the museum does not apply to reality throuhg
isolated activities, labelled as educationar - which means that working with or for communities
(specially in the social shpere) is an attitude of life, requiring a high degree of participation on all
sides and where arrogance and prejudice are not welcome. Third - elements that will promote
generation of knowledge must be searched in the communities themselves. They may relate to the
exchange of energies, to the understanding of the processes of life and nature ... or to the
acceptance of the common knowledge of some communities (not the imposition of our own
knowledge).
It also refers to the recognition of museums and communities not previously
imagined as such, in an attitude of nupture from traditional and old-fashioned pattems of
knowledge, towards new dimensions, new fonns of perception that until yesterday may have been
called' non-scientific' or unorthodox. What better field of action than a sience under constnuction such as Museology?
98
par
Jean Trudel
professeur agrege
et directeur du programme de maitrise en museologie
a l'Universite de Montreal
preparer un
referendum sur la souverainete nationale et au un vaste debat s'est engage sur cette
question qui met en cause la survivance
a long
de
99
1993 aupres de la
la
a interesser les
diverses
100
De plus, Ie recensement
municipal de septembre 1993 nous apprend que les langues parlees II la maison sont Ie
fran<;:ais pour 39% de la population et I'anglais pour 29% de la population .
Pour Ie
reste (32% de la population), les langues parlees II la maison sont tres diverses avec
une dominance de I'arabe (8% de la population) , du chinois (5%) et du grec (3%).
En 1861, les Clercs de Sainte-Croix fondent Ie College de Saint-Laurent,
un college classique affilie en 1880 II I'Universite Laval.
101
a long
prestige 1O.
La collection permanente du musee est la plus interessante et la plus
considerable de la region de Montreal pour I'etude et la connaissance de la culture
traditionnelle du Quebec.
relies
a la
pratique des arts et metiers traditionnels ainsi que d'oeuvres, objets d'art et
objets quotidiens realises par des artistes et artisans au cours des XVllle et XIXe
siecles et au debut du XXe siecle .
appartiennent au Cegep et Ie reste est soit prete ou en depot. Les informations sur la
collection ont ete informatisees et font partie depuis 1993 de la banque de donnees du
Reseau canadien d'information sur Ie patrimoine .
Preoccupe par I'avenir de l'institution dont Ie personnel est reduit
employes
a trois
a des
a 5506
visiteurs en
consultants la realisation
102
Une des priorites du Comite de developpement eta it Ie role du musee vis-avis son public immediat, c'est a dire celui de Ville Saint-Laurent.
Un enquete
fran~aise
au
103
Saint-Laurent pourrait constituer sous cet aspect un musee-Iaboratoire dont taus les
musees de la region de Montreal pourraient tirer profit des experiences.
Pour ce faire , Ie Musee d'art de Saint-Laurent devrait maintenir et
renforcer sa mission actuelle qui est la mise en valeur du patrimoine culturel
quebecois
a se
a viser
a frequenter
a long terme .
Travailler en
etroite collaboration avec les elus municipaux pour les convaincre du bien-fonde du
projet, se gagner I'entiere collaboration des commissions scolaires pour que les
groupes scolaires visitent regulierement Ie musee, former des guides benevoles en
provenance des diverses communautes culturelles, developper des guides pedagogiques
sous I'angle des communautes. Somme toute, repenser toutes les actions du musee de
I'extarieur,
a partir
de la culture
dominante.
II est evident que pour arriver
a atteindre ces
d'art de Saint-Laurent des fonds publics considerables: des fonds d'immobilisation pour
constru ire une annexe repondant
fonctionnement lui permettant d'exercer une action aupres des diverses communautes
culturelles. En ces temps d'hysterie collective face aux deficits gouvernementaux, cela
peut paraitre totalement illusoire, mais la survivance d'une identite nationale au
Quebec est en jeu.
104
Jean Trudel
fevrier 1995
105
Resume
MUSEUMS AND CULTURAL COMMUNITIES IN QUEBEC:
THE CASE OF THE MUS~E D'ART DE SAINT-LAURENT
by Jean Trudel
Professor, Universite de Montreal
While the Parti Quebecois government is presently preparing a
referendum on Quebec sovereignty and the Canadian government's multiculuralism
policy is being publicly challenged, it is time to question the role of museums in the
development and survival of Quebec cultural identity. The demographic evolution in
Quebec is leading rapidly to in-depth changes in the socio-cultural composition of the
population of Montreal, its most populated region. Recent studies demonstrate that
from 63% of the population in 1986, francophones will constitute less than 50% in
2021. Other studies demonstrate that ethnic communities in Montreal have little
interest for museums and that museums have neither the time or the human
ressources to try to reach this important segment of their potential public.
Located in Ville Saint-Laurent, on the island of Montreal, the Musee d'art
de Saint-Laurent founded in 1962 preserves a collection of 6 000 works of art and
artefacts of great quality and interest linked to the traditional culture of Quebec from
the eighteenth to the beginning of the twentieth century. On the other hand, Ville
Saint-Laurent, founded under the French Regime in the first half of the eignteenth
century, is now rapidly evolving into an industrial city of more than 70 000
inhabitants. The original population of French ascent is now reduced to 30% of the
total population, and more than 30 000 inhabitants are immigrants from around the
world.
A recent feasibility study (1993) demonstrates that, in order to conserve
its collection to acceptable museological norms and answer its needs for space, the
museum will have to relocate in a more suitable building. While the study expresses
the need for the museum to address itself to Ville Saint-Laurent's different ethnic
communities, it does not insist that the museum redefine its mission with the
orientation toward developping new ways and means of reaching these ethnics
communities.
The Musee d'art de Saint-Laurent could be transformed into a
laboratory, an experimental museum where the encounter between the diversity of
ethnic communities and the discovery of Quebec culture and identity is facilitated
through the instrument of its collection . All museums of the Montreal region would
benefit from such an experimental institution, and perhaps maintain, in the future ,
the level of frequentation they have now.
If it were possible for the Musee d'art de Saint-Laurent to redefine its
mission, to find enough public funds to accomodate and relocate it in a more suitable
building, it could play a unique and vital role in changing the mentality of Quebec's
museums administrators and personnel cognizant of the fundamental sociodemographic changes taking place while insuring that museums are institutions at the
service of a society's development.
106
Hildegard Yieregg
Preliminary statement
In the statutes of the International Council of Museum museology is determined as a discipline
coming to an understanding with the history of museums, their role in society, their special
methods of research, documentation. choosing, education, organization as weB as with the
correlations of this institution to the social circumstances." I The "Braunschweig-Studie" of
Prognos in BaseV Switzerland focusses museums being efficiently with regard to the
community. Thereby museology is appropriated to precise fixings of a target, 0 initiate
productive processes with regard to the museums 2 Even more exactly the "Declaration of
Quebec"(1984) explains to detail how the traditional tasks of museums should be performed
today; panicularly the questions are the interrelating staning-points, modem methods of
communication, the relations of "ecomuseology, community, museology,,3 , and also the shapes
of an "active museology" . Referred to the museums, the scopes of social development and its
own communicative presence in mind are affected especially, and, about that, the
contemporary history by the "position finding present time"4 as well as the museum-visitor in
the structure between museum and community - included all the modem mediums of
communication.
Basis in "museum and community" by Wilhelm von Humboldt in view of the present time
Wilhelm von Humboldt was one of the first in developing theories of museology under the
guiding principle: " The life itself provides the themes" .
The reflexion of Humboldt's basis-idea gives also reasons for his philosophy of museums with
the anthropological, esthetical and linguistic basics. Thereby he is being close by the modem
culture- anthropology and the social sciences, but also immediately to interdisciplinary and
inter- social concepts. Essentially museum concerns to contemporary history als "the sum of
first passed events relating to contemporaries immediately"S as well as the beginning of that
what has an effect to our future. This orientation already involved into Humboldt's theory of
education has also to be made up into the processes of reasoning in our time related to
museum and community6 In all the documents and essays of Humboldt as well as in his ability
to grasp ideas of anthropology, theory of education. linguistic philosophy and esthetics
International Council of Museums. ZIt. at: Rojas. Roberto! Crespan. Jose
2
3
luiS
Collate: Allieldt Helk: Verlust der Stadt. Documenwion 10 the Symposium 82. Henry\'an..dc Velde..QesellschafL Hagen 1982.
pp. I\o.
IXclarlllion orQudx:~ . Qucba:. October, I] 1984. In; m~um. UNESCO. 1'0. 148. Paris 198' , p.201 .
Jackel. Eberhard - Begriffund Funk-tion der uitgeschichtc. In: Jackel. EbcrhmV Weymar. Ernst (Eds.): Die Funktion der Gcschichtc
Ul unscrr i.ell. Stuugan 1975.
Schulz.. Gerhard. Bemerl..ungen zur Zeltgescruchtc. In. Saeculum 21 (1970). S. 300. ZiL in: Jiickd. E.: Begriffund Funktlon der
7..cltgcscruchte. p. 172.
\\"ilhdm v. Humboldt's theo~ of education was explamed by Eduard Spranger, Theodor LitL H.B. Heydom and Ch:mt!l1S Menze.
I-Icrmann Lobbc has first OI.X'Upled With to the I.5Oth d:l.y of Humboldt's death with thiS theme relatmg to museums: "Wilhclm voo
Ilumholdt unci dlc Musealislerung dcr Kunst". Vgl. da7u Schlcrath, Fkmfned (1 Irsg.): Wilhelm v. Ilumholdt. \'onrags7)'klus rum
1.50. T odestag. &-rltn 1986. p. 169-183
107
Humboldt's uncommon practical sense is generally noticed. This vital near is also to be
required of museums related to communities. The man. Humboldt remarks. is looking "after so
much world as possible grasping up, and also connecting with himself as he is able "r
In this respect he is also actual today: Surely, this statement in the present time isn't related to
the "education-elite", but rather it's about the museum will become opened to all social groups
within the meaning ofa "democratic tnission" .
Therby he emphasizes the "most independent interaction" among the man's susce~tibility and
his self-acting, among the person and the world, the individual and the universe." By this
interaction culture is not only be "conserved", but, because it is belonging to the determination
of man, it has to be involved into his way of life. It serves for his further development and
human perfection but is be done by the education.
Defining factors in this relation are the occupation with art and history as well as performance
and function oflanguage. Also significantly concerning is for Humboldt the independent but
finally also the common education 9 Humboldt's metaphor about education is held in the
greatest respect : He remarks the state of education being in hannony as a principle of
organization, and related to the aspect of a practical point, an emotional and intentional
education of the individual cultural influences by museum and community being obliged.
In the scope of museology it seems to be actually to focus one's attention on the contemporary
history, and, in this gurpose of Humboldt to step on to "thoughts occured to oneself in an
independent way." I
Connected with this idea of Humboldt I'll try to introduce another one - in a figurative sense
related to museum and community, and also to society in view ofleisure and tourism: "The
world except oneself" II Because of his energy man needs a subject of training. It means
nothing else than museums should their visitors of all social groups enable to practise into
historical and in a far-reaching sense into cultural coherences. The museum well informed of
community would have the real chance in particular to come up to a correlation among
individual interests, grasping, realizing and efficiency to the intellectual activity of the man. and
to affect the senses of community. That means also a challenge to the museums in connection
with its science and contents: Only in a synopsis with a visitor-related, didactic concept the
objects are able to be taken in by the visitors, accordingly.
Not only the chronology, but also a "red thread" correlated with the scopes would be helpful.
This challenge to the museums proceeds from the individuality of the museum-visitor
respectively coming from different social groups and their levels of education. This, as a
museum-visitor, should be able to approach to the objects of his individual contemplation more
intensively and - with the diction of Humboldt - " to engrave the shape of his own mind into
these objects." 12 Education of the man applied to the posibilities of museums would say
accordingly a "regular proceed" and "very good and new-looking courses" 13 - compared with
the common relations of present time ..Nevertheless, we shouldn't forget to continue with the
starting-points able to support our efforts, and to find structures: The great variety of the
original basis-ideas of Humboldt scarcely is to be restored. Even some examples show the
fields of subjects he was engaged with: publicity of museums, integrations of different social
groups, communication, architecture, nature and art closely together l4 , especially in
consideration of the historic dimension, and, regarding the objects related to structures,
7
8
!O
11
12
13
14
Leitzmam. Albert (llrsg.): Wilhelm von Humboldts Werke. l:.rster Band. 1785-1795. Berlin 1903. S. 283 .
v. Hurnholdt. Wilhelm : Gesammelte Werke I, I\bschnitt 7 (=OS I, 7) I Theone dcr Rildung des Menschen. Rruchst'O.ck
fusg. v. d. Wiss..:nschafllichcn Bucbgcsclbc:baft. Dann.stadt. 3. Aull. 1980. S. 283.
\lg! . dazu : Hau,1. Dirk S,: BiJdung - zur Problcma.tik cines soziologischen Bc::grifIS.
In: ElIwcan. Thl GroothofI. H.H.! Rauschenberger. H.I Roth. H. (Hrsg.): ErzichungswtSSen'>Chaftlicbes Handbuch. Teil ll . Bd. 3.
Psychologjc und S07joiogie. lkrIin 1975. S. 330-:\32.
OS l. 7 Theone der Bildung des Mcnschen. S. 385 .
108
presentation of development all along the line. synopsis of scopes with a focal point and of the
real life 15, illustrative material in the museum, vividness of history by analogy and
simultaneousness. 16
Implicated in the same way should be the principle of "language" (speech) in its own and in a
rendered sense, with the objects of past as "a basis for an integrative construction of historical
completeness." 17
Out of this great diversity of possibilities, I have in my mind as a purpose to select only two
categories, namely the rank of the historic dimension in view of common problems of
museums, and in contrast to it the basi cal idea of" scopes of the real life" as well as their actual
reflexion in museums and memorial sites and document-centers of contemporary history.
Democratic Museum
Setting a strong light to the present museum position face to face with the community today,
museums are generally characterized to have to be democratic. " A democratic museum isn't
one that writes chronicles of wars in golden capitals or one that stylizes the powerfuls to
supermen. Rather it informs about the history of people, about the social-history of average-
15
16
17
OS IV, 2. S. 47.
Bann. Stephen: Poetik des Musewn - Lenoir und du Sonunerard. In: RUsen. J J E.rru.t . W.I GrOner, H.Th. Gescillcht.e sehen. Beitrag.;:
18
19
s.
109
men ,,20 Beyond it in a democratic museum all fields oflife should be brought to the right
point of view, "by the side of second-class manifestations of art (painting, ceramics, textiles,
music-instruments), but especially the first-class presuppositions of this art as well as
artifacts .. " simple dishes, clothes, technical mediums, and, in the same way laws and norms of
administration regulated and also at the present time are regulating and arranging the life.,,21
Taking the example on the new-founded "Museum of German History" in Berlin has been
outspoken that the concept of establishing history was contrasted with an alternative in the
kind of permanent varying exhibitions from different perspectives and points of view in the
present time: History, especially the German History, would be unable to be established. It
would only be grasped out of always more and new interrogations as a subject of permanent
controverse discussion in always new exhibitions b1' different groups who meet with the past
out of their individual interest at the present time." 2
Subsequently some examples are to be called upon affording an insight into the close
correlation of relating to social and museal fields; finally, these are inalienable for a democratic
and political education.
22
23
24
110
These observations reprooving to the contemporary history elucidate the political actuality and
the challenge to the museum-responsibilities.
An only "museal" consideration wouldn't deal with the different aspects of the scope, but
otherwise it can't also be enough, that museum-visitors more or less walk over similar on a
promenade.
The most important document for the belonging of these memorial places with the original
relicts, the memorials and document centres - they are them elves a mirror of the conception
and interpretation of history and museum of that time they came into being - are the statutes of
the International Council of Museum, where we are reading in the 2nd article:
"In addition to institutions designated as "museums" the following qualifY as museums fur the
purposes of this definition: " ... ethnographic monuments and historical monuments and sites of
a museum nature that acquire, conserve and communicate material evidence of people and
their environment. ,,25
Under this regard is also to see an arrangement with the title "From the School of Violence to
a Place ofLeaming Dachau" managed by Mr. 19naz Bubis, master of "Zentralrat der Juden in
Deutschland" . The special significance of "Memorials for the victims of Holocaust" related to
our community is, that compared with the events in the "Drittes Reich" in the last 500 years
nothing comparible in the German History came to pass.
So it isn't possible for memorial places to keep only remembrance. Rather it must be of value
from the sides of museums to support the reflecting-points of visitors and to respect the
following testimony of a witness: " Everybody shouldn't only remember the past, but engage
himself offensively in civil-courage therefore such things occured in the past don't repeat in
future ."
"Holocaust-Museum" and "Museum of Tolerance"
The "United States Holocaust Memorial Museum" in the meaning of their founders "is
dedicated to presenting the history of the persecution and murder of six milliion Jews and
millions of other victims of Nazi tyranny from 1933 to 1945 . The museum's primary mission is
to inform Americans about this unprecedented tragedy, to remember those who suffered, and
to inspire visitors to contemplate the moral implications of their choices and responsibilities as
citizens in an independent world . "26
The museum, just opened in April 1993 , has integrated this premise in view of its visitors as a
permanent message in all of its departments. After the declaration of the museum the
presentation is able to be visited by young visitors already from eleven years on. In its
methodical kind it has been created and installed "narratively", because it really narrates the
history of Holocaust by artifacts, fotos, films and in testimonies. "Daniel's story" is prepared
25
26
111
for visitors from eight years on: It's reporting a human tragedy. the stOry of the Jewish boy
Daniel and his family. who was living in Germany before and in the time of Nationalsocialism.
and what happpened to them during the Holocaust. This is a "hands-on-museum" and
encourages to interactive participations. Also the "Wall ofRememberance" commemorates of
the children who where victims of the tragedy of Holocaust.
How this museums is corresponding with the community the following is showing: As an
actual response to the "Holocaust" American pupils from all over the country were producing
3000 ceramic tiles. now put together to a huge commemorate tablet - an impressing memorial
from children to children.
These annotations give only a small flash-point to the great conception of the "HolocaustMuseum" and to its stages. Also houses in the museum the United States Holocaust Research
Institute with archives. the Holocaust Library. the national register of Holocaust-survivors and
the Wexner Learning Center: With the help of key-words the visitor can find out the traces of
Holocaust and by the documents gain insights in a deepened manner.
"The World Must Know" - this thesis is a similar to the "Holocaust-Museum" located near the
National Mall in Washington and the "Museum of Tolerance" (MOT) in the area of SimonWiesenthal-Center in Los Angeles. The first-called museum is characterized as "a skillfully
organized and clearly told account of the German Holocaust that consumes. with unparalleled
malevolence, 6 million Jews and millions of innocent others - Protestants, Catholics. Poles.
Russians, Gypsies, the handicapped, and so many others. adults and children. "27
Most interesting is also the intention, written in the introduction of the museum-guide. It says
"related to an event, an institution, and a mission. The event is the Holocaust - the systematic
state-sponsored murder of six million Jews by the Nazis and their collaborators during World
War ll; as night descended, millions of others were killed in its wake. The institution is the
United States Holocaust Memorial Museum, charged to be a living memorial to the victims of
the Holocaust by telling the story of their deaths - and their lives - to the American people. The
mission of the institution is to memoralize the past by educating a new generation in the hope
of transforming the future sensitizing those who will shape it. "28
This message - to my mind - is valid for both museums - the Holocaust-Museum" and the
. "Museum of Tolerance", although the MOT is putting the topics on the stage in a very
different kind, but also most impressing.
Ideas
With the claim of planning ahead culture for all people to support political education by
museums, and in the view of future, one of the objects is to make museums of contemporary
history more attractive. In the place into the foreground isn't the material comfort but much
more the needs of the "democratic education" in according to different target groups. In this
context it's an important task even in museums of contemporary history and KZ-Memorial sites
the not -easy-objects make a clear to the visitors; these must be explained in the context; the
surroundings have to be commented supplementary by authorities.
Even in KZ-memorial sites included the museal documentation certain principles schould be
considered; I'll try to expose only two perspectives:
"The principle of stations"
The term "station" is neutral, but even one easily understood. In a memorial of such a kind we
only find "stations of suffering" of KZ-prisoners. Each circuit is performing this way after -
27
2"
Chaim Potok. author of The Chosen and The Promise. in: Berenbaum. Michael:
The World MuS( Mow. The History of the Holocaust as lold in the United States Holocaust Memorial Museum. Washington J993 .
Ikr<!T\baum, M.: The World ~'luS1 MO't4 . p. 1.
112
geographically and by the contents 2 9 A publication shortly be brought out will deal with the
aspects of a synoptical starting-point.
29
113
Hildegard Vieregg
114
In five years time a new millenium will be<Jin for most of us. The
time comes therefore to make up the balance of what have we
achieved until now. Notwithstanding some progress made in recent
years, the picture which Africa presents to the outside world is
not
particularly
flattering.
A continent
of
disasters,
dictatorial regimes, civil wars and hunger. The international
co..unity is not only viewing the course of events from a
distance but is also deeply involved in what is happening.
International observers are called in to assist in transition to
democracy. International peace talks and peace keeping forces
attempt to reconcile fighting fractions. The people from allover
the world contribute voluntarily towards relief from hunger
caused by humans or by nature. But contrary to this rather
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p ..
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Africanization
-------_.
or
_ ___ _
aft i nAd
mnmAntum _ mU,,"AUm,,"
.. _ - - - _ . - - - - - - _ . . . . . . . -
":
-.1---
...... _ _ .. .. .. . .
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.... Jl
121
lR7.5-
122
FINAL REMARKS
(Mathilde Bellaigue)
The core of the problem was to explore the threefold relation between the communjty (to
define), our heritage which, whether in the museum or related to it, acts as a medium for that relation,
and the museum itself.
The community
The museum
The museum is altogether a place, a tool and a symbol for the preservation and restoration of
the memory. History gives birth to material and immaterial heritage. Museology helps us to manage
the burden of the past in museums.
Through the different museal stages, the objects acquire successive and different meanings.
Objects of to-day are supposed to represent the present truth. At every moment we can change the
construction, not only of the museum, but of history. but of memory. The museum has not to "take
the colour of the community". For true relations lie upon alterity which is the base of dignity.
123
Conclusion
In the relation community-heritage-museum. we can have no model but only some basic
principles. Knowledge is a power. that's true. but one has to acknowledge one's own ability (the
chance of gifts. education. training) and the science one has acquired to share it with the community.
In that optic. museums exist to render that sharing easier. The ideal motto of museologists in their
action could be "know thyself'. which means help the community to become self-governing on its
way towards its culture.
Our power regarding the community is primarily RESPONSIBILITY.
But other questions remains. and one among them: we don't have to cope only with existing
things. We also have to foster creation. So what is our position concerning art and the art-museums
which. at first view. do not seem direcUy community-oriented as ethnography museums?
This will be the theme of our next symposium in Rio. in 1996.
124
II
MUSEUM AND COMMUNITY
MUSEOLOGY AND NEW MUSEOLOGY
RHETORICS OR REALITIES
Marc Maure
conservateur
Norsk Landbruksmuseum
1432 As, Norvege
127
QU'est-ce-que Ia museologie?
Pour pouvoir arriver it une definition de la nouvelle museologie, il faut d'abord avoir une
definition de la museologie. Le fait est qu'il n'existe pas de definition de la museologie qui
soit veritablement etablie . .rutilise donc rna definition personnelle:
La museoZogie est une science qui a pour objet l'etude du role du musee dans les
phenomenes de fabrication et de representation d'un patrimoine.
C'est une definition basee sur une perspective theorique mettant I'accent sur Ie role du
musee co=e expression et instrument de processus d'identification.
n existe evidenment d'autres fa~ons de definir la museologie, mais ce n'est pas mon
objectif d'en discuter. L'idee principale it retenir est que la museologie est une science,
et que c'est une science sociale.
La question que I'on pe ut se poser est de savoir si la museologie est - par nature et par
definition - une science pure, ou si au contraire elle est une science appliquee? C'est une
question a laquelle il est difficile de repondre, mais qui est importante et meriterai t d'etre
I'objet de plus amples retlexions. On peut toutefois remarquer que la recherche
museologique existante a essentiellement - a mon avis - un caractere de science
appliquee.
En ce qui concerne la nouvelle museologie, on peut sans aucun doute la definir comme
une museologie d'action.
La democratie culturelle
Dans Ia perspective de la nouvelle museologie, la fonction essentielle du musee est
d'etre un instrument de developpement social et culturel au service d'une societe
democratique. Dans cette perspective, il apparait essen tiel que se developpe un
"nouveau musee" caracterise par d'autres objectifs et pratiques que Ie "musee
traditionnel".
Pour la nouvelle museologie "Ie musee traditionnel" - c'est-a-dire Ie modele cree dans
Ie monde occidental au 1ge siecIe et devenu ensuite partout la norme pour Ie
developpement de I'institution museale - est profondement marque par Ie projet de
construction d'une culture nationale basee sur Ie mythe de l'homogeneite culturelle.
Une culture dominante est selectionnee et elevee au satut de La Culture au detriment
de la variete des cultures existant ou ayant existe sur Ie territoire national.
La culture des "laisses-pour-compte" , "oublies" et "opprimes" devient Ie domaine de
choix des "nouveaux musees". Leur objectif etant que tous les groupes existant dans
.Ie cadre de I'etat-nation aient les memes droits et possibilites a preserver, mettre en
valeur, utiliser et diffuser leur propre culture.
Un nouveau paradigme
. De la monodisciplinarite a Ia pluridisciplinarite:
Le musee traditionnel construit ses activites sur une approche monodisciplinaire heritee
de la constitution de disciplines scientifiques autonomes au 1ge siecle (histoire de I'art,
archeologie, ethnologie, sciences naturelles, etc). Le nouveau musee priorite I'approche
interdisciplinaire et ecologique; I'accent est mis sur les relations entre I'homme et son
environnement naturel et culture!.
. Du public a la communaute:
Le nouveau musee ne s'adresse pas a un public indetermine compose de visiteurs
anonymes. Sa raison d'etre est d'etre au service d'une communaute specifique. Le
musee devient acteur et outil de developpement culturel, social et economique d'un
groupe determine.
129
Du bfttiment au territoire:
Le musee traditionnel est, physiquement parlant, un bfttiment renfermant une
collection d'objets. Le champ d'action du nouveau musee devient Ie territoire de sa
co=unaute; territoire defini dans Ie sens d'entite geographique, politique, economique,
naturelle et culturelle. L'infrastructure museographique se decentralise, se fragmente
et investit Ie territoire au moyen d'equipements divers.
Ie musee traditionnel:
un batiment
une collection
un public
Ie nouveau musee:
un territoire
un patrimoine
+
+
(structure decentralisee)
(materiel et i=ateriel,
naturel et culture!)
une communaute
(developpement)
La conscientisation
societe
diffusion
musee
130
l+--tl~
Les differentes fonctions ne sont plus organises d'une fa~on lineaire, mais integrees
dynamiquement dans un processus circulaire et ouvert. ayant pour objet Ie patrimoine
de la communaure donnee.
Ie nouveau musee:
communaute
patrimoine
'~f-----------~~
diffUsion
Ceci implique un nouveau role pour Ie museologue professionnel. D s'agit pour lui de
fournir aux membres de la communaute les instruments conceptuels et materiels
leur permettant de prendre part aux processus de collecte, preservation, recherche
et diffusion dont leur patrimoine est l'objet.
Le museologue n'est pas dans cette perspective l'expert charge de delivrer la verite,
. mais un "catalysateur" au service des besoins de la communaute. Son objectif est de
se rendre peu a peu superflu, pour disparaitre lorsque la communaute peut de fa<;on
independante prendre en charge Ie processus qu'il a initie. C'est un role difficile ajouer,
car Ie museologue doit se garder de succomber au paternalisme, au missionnariat ou
au gout du pouvoir.
dialogue
131
Bibliographie
Alinsky, Saul. 1971. Rules for Radicals. New York
de Bary, Marie Odile, Andre Desvallees & Fran~oise Wasserman (ed.). 1992, 1994.
Vagues - une antfwlogie de La nouvelle musoologie (2 vol.). Macon, Editions W.MNES
Freire, Paulo. 1975. L'education: pratique de la liberte. Paris
Freire, Paulo. 1977. Pedagogie des oppnmes. Paris.
de Varine, Hugues. 1991. L'iniative communautaire; recherche et experimentation.
Macon, Editions W.MNES
132
Nine magpies, birds who can imitate any Idnd of sound, had sealed on the boughs, and were lamenting their
fate. As Minerva showed her surprise, the Muse explained: 'These, too, hove but recently joined the ranks of the
birds, as a result of being defeated in a competition. Their father lVl1S Pierus, a rich landowner of Pella. and
Euippe of Poeonia \VaS their mother. Nine times she called upon powerful Lucina to come to her assistance. for
nine times she found herself with child. Then the foolish band of sisters, swollen with pride in their number,
journeyed through the many cities of Haemonia and Achaeo, till they came to Helicon, where they issued this
challenge to us: "Stop imposing upon uneducated people, pretending 10 be sweet singers: if you have confidence
in your powers, divine daughters of 77zespis. enter into competition wilh us. We are not inferior to you in voice
or skill, we are your eqUllls in number. If you are defeated, you will leave the spring (... J; or else we, in our
tum sholl with draw beyond the plains of Macedon (... J. Let the nymphs judge our performance". Truly, it
shamed us to compete with them, but it seemed even more shameful to yield without struggle. Nymphs were
chosen, and sworn in by their rivers. Then they took tlreir seats on blocks of living rock. (... J The nymphs agreed
unanimously that tire goddesses of Helicon were tire victors. Our defeated opponents replied by hurling abuse at
us, until I exclaimed: "So, it is not enough thot you have deserved punishment by forcing this COnlest, but you
add insuit to in;ury ? Our patience is not unlimited: we shall follow where our anger prompts, and proceed to
punish you". The Macedonian women laughed and scorned my threats, but as they tried to speak, menacing us
with loud cn"es and wanton gestures, they saw feathers sprouting from their nails and plumage covering their
arms. They looked at each other, watching their faces narrow inlo horny beaks, as a flew addition was made to
the birds of the forest . When they tried to beal their breasts, the movement of their arms raised them, to hoVer in
the air. They had become magpies, the scandalmongers of the woods. Even now, as birds, they still retain their
original power of speech. They still chatter horshly and hove an insatinble desire to UJIK.
Describing the development of museological thinking this story as told by Ovid seems to
be an apt metaphor. Established positions are challenged. The ruling elite pretends to hold
the keys of Truth and Beauty. The contenders are put aside and accused of advocating
Untruth and Ugliness.
The purpose of this paper is not to identify the Muses and the magpies. The paper is an
attempt to describe the development of museological thinking - and in particular the
position of New Museology - from a dialectic perspective.
The history of the development of museology as (academic) discipline is very much
connected with the history of professionalization of the museum field'. This interaction
can be analysed from three different perspectives referring to three approaches as to the
purpose of museological understanding. They have been described as: the empirical-theoretical approach, the praxeological approach, the philosophical-critical approach. These
Ovid, Metamorphoses . Book V: The Pieri des transformed (290-678). The English tTanSlation is
taken from Mary M. Innes' edition as published by Penguin Books (1955) 1971, pp. 124-133.
2
P. van Mensch, 'Museo1ogy, museum training and the challenge of a new century', in: P.Dube &
M.C.Rocher eels., Museum training: practices and theories. Proceedings ICTOP 1992 (Quebec
1992 (1995)) 147-153.
133
Three approaches
The empirical-theoretical approach aims at 'substantial rationality', i.e. the ability to see
signifying relationships between different phenomena in reality. Its aim is mainly
descriptive. It tries to understand museological phenomena in their historical and
socio-cultural contexts . Its usefulness is primarily heuristic. The praxeological approach
focusses on ' functional rationality '. Functional rationality is the ability to develop adequate means (methods, techniques, procedures) to realize ends that have been defined
beforehand. Its aim is applicability. It should give very concrete answers to very concrete
questions.
The third approach towards museology concentrates on the development of a critical
social orientation. In this respect StranskY speaks of ' programme orientation' instead of
'cognitive orientation". It is often suggested that the prevailing attitude among museologists is one of non-commitment. This criticism concerns museums, the museum profession
as well as museological theory . Views as to a more active social role of museums
initiated some explicit opinions concerning the programme orientation. There are (were)
tWo main schools of thought: 'marxist-leninist museology' and 'new museology' . In
addition some approaches are published which could be described as 'critical museology' .
Marxist-leninist museology was a very normative approach, where axiological norms are
applied leading to a rather strict system of rules. New museology and critical museology
advocate an attitude rather than the application of rules . As it was stated at one MINOM
conference: 'there is not just one methodology in new museology, there are several
possibilities depending the prevalent conditions". Theorization should have the role of
The term 'museum revolution' was used first by Duncan Cameron to characterise the radical
changes during the 1950s and 1960s in the United States ('Museums and the world of today.
Museum reform in the 1950s and 1960s', [COM News 23, 1970, (2): 41-45). Other authors using
the term are, for example, Waldisa Russio (,Museu, museologia, museologos e formacao ', Revisla
de Muse%gia I , 1989, (I): 7-1 I) and Antun Bauer (in 1983 in his contribution to Muzeologicke
sesity 9).
Z.Z.StnlnskY , ' Museology: Deus ex Machina', in: V. Sotka ed., Museology and developing
coW/tries - help or manipulation? ICOFOM Study Series 1 (Stockholm 1988) 207-214.
Quoted in A.Desvalh!es, 'Basic paper' , in: V. Sntka ed., Museology and developing countries help or mnnipuliltion? ICOFOM Study Series 14 (Stockhnlm 1988) 129-136.
134
questioning, more than defining the frame for a systematic and systematizing work.
Museum revolutions
In the history of museum work we can recognize two 'revolutions'. The first took place
in the period 188011920, the second one in the period 196011980. The term revolution is
used to emphasize the radical changes that took place in rather short periods of time.
The first museum revolution has been referred to as 'museum modernization movement'.
Key to this movement is the notion that many of the practical problems are shared by all
kinds of museums. New concepts were introduced in connection with a strong educational
orientation in museum work. New ideas concerning the concept of museums brought
about an increasing interest in an umbrella discipline. Museology thus gradually became
recognized as a field of interest with its own identity.
Although the changes resulted from the synergy of the discussions on practical , theoretical
and critical levels the emphasis was on practical museum work. In the period 196011980
we see a similar synergy, but now the leading force is the wish to develop museums as
social institutions with political agendas. The break through of new thinking in both
periods was accompagnied by a new 'rhetoric'. The new rhetoric of the second museum
revolution has been referred to as 'new museology'.
New museology
The term 'new museology' has been introduced in museological literature at at least three
qifferent times at three different places. The use of the term is connected with the changing role of museums in education and in the society at large. Current museum practices
are considered obsolete and the whole attitude of the professional is criticized. The
profession is urged to renew itself in the perspective of a new social commitment. As
such the term 'new museology' was frrst introduced (without much effect) in the United
States at the end of the 1950s when the concept of the museum as educational institution
was brought to life again". The second time was at the end of the 1970s when in France
the social role of museums was re-defined by a new generation of progressive museologists? Finally, at the end of the 1980s the term appeared in the United Kingdom in
connection with a re-assessment of the educational and social role of museums in the
post-war periodS.
I n new museology the museological objectives are geared towards community develop-
In 1958 by the americans G. Mills and R. Grove in their contribution 10 S. De Borgbegyi 's book
The nwdem museum ami the community.
Introduced by
Andr~ Desvall~s
135
ment, hence the term 'community museology'. Presentation and preservation of the
heritage are considered within the context of social action and change. Heritage is a resource to be considered and developed within the context of community improvements .
The people of the community themselves have to take care of their own heritage , hence
the term ' popular museology'. Key-concept is the ' reappropiation du territoire , du
patrimoine, pour I 'autodeveloppement individuel et collectif. Characteristic is the view
that the concept of museum is not confined to a building. The museum can be anywhere ,
and is anywhere and everywhere within a specified territory. For this museum concept the
term ecomuseum has been coined, hence the term 'ecomuseology'.
It is the French concept of ' museologie nouvelle ' that gradually became recognized as one
of the main streams within museology. The term has been monopolized by two , related,
organizations: the Association ' Museologie Nouvelle et Experimentation Sociale'
(MNES)', and the Movement Internationale pour la Museologie Nouvelle (MINOM).
During the ICOFOM meetings in Mexico (1980) and Paris (1982) the position of
ecomuseums and new museology within the committee was discussed. A group of
members attempted to make new museology the focus of the committee's policy. As a
result the principles of ecomuseums were discussed during a special seminar at the 1983
conference in London. During the 1983 meeting the Canadian 'ecomuseologist' Pierre
Mayrand proposed forming a working group on 'museologie communautaire' . During its
first meeting the newly elected board 'decided to establish only function-oriented working
groups and not constitute any permanent working groups to deal with the different problems within the field of museological research'. Moreover, the board considered that ' in
a situation, where the principal matters concerning museology, as such , are still being
studied and discussed, and where the justification of museology - and consequently of
ICOFOM - is even called into question, constituting working groups for detailed mUSeDlogical matters, and especially for different "museologies " , could cause not only a split in
limited personnel resources but first of all interference in the committee's work in its
entirety'. Nevertheless, Mayrand was asked to establish a temporary working group to
prepare a special session on ecomuseums and new museology during the 1984 meeting of
ICOFOM wich was to take place in Canada.
The 1984 meeting of ICOFOM did not take place in Canada. Thus the temporary working
group had nothing to prepare, nor did it take any other initiatives regarding ICOFOM .
Instead something else happened. Disappointed by the lack of response during the 1983
meeting in London and by the failure to organize the committee's annual meeting in
Canada, the Canadian museologists organized the First International Workshop for
Ecomuseums and New Museology in Quebec. At this meeting a policy statement was
adopted, known as the 'Declaration of Quebec"o.
136
The 'Declaration of Quebec' expressed ' the will to establish an organizational basis for
joint reflection and experiments'. ICOM was requested to accept the creation of a special
international committee for ecomuseums. The creation of an international federation for
new museology was also proposed. The first request was rejected by ICOM. At the
second international meeting of this group (Lisbon, 1985) the Movement International de
Museologie Nouvelle (MINOM) was founded , an organization that was eventually
accepted by ICOM as affiliated organization.
Throughout the years new museology and ecomuseums kept a dominant position on the
agenda of the committee. For example, all French authors contributing to the ICOFOM
Buenos Aires 1986 symposium belonged to the new museology movement (Bellaigue,
Deloche, Desvallees, Evrard, Nicolas, De Varine). Special meetings on ecomuseums
were organized in connection with the ICOFOM conferences in Leiden (1984) and Zagreb
(1985) . In 1992, during the ICOM General Conference in Quebec, a JOint meeting was
organised between ICOFOM and MINOM , followed by a second meeting in 1995 in
Stavanger.
ICOFOM and new museology
Although new museology was often discussed within ICOFOM, it was always considered
as one possible approach rather than the main perspective. Each symposium is seen as an
open forum, with a free exchange of ideas. Conclusions are never considered as final
statements. Apart from matters concerning the aims and policy of ICOM, ICOFOM never
published 'official' statements, not even about the definition of museology. All contributions are taken seriously -and included in analyses and summaries. As chairman Sofka
wrote: 'The decisive contribution of the committee lies in its collecting function : it brings
museum workers and museum researchers together, and by providing an international
forum for discussion and a place for publication of ideas and opinions about museology , it
leads to systematic studies and deepening museological questions'''.
Nevertheless, it cannot be denied that the rhetoric of new museology has spread beyond
MINOM and similar organizations, and had become a dominant force within ICOFOM.
When we consider Deirdre Starn's description of new museology it seems to reflect the
opions of the majority of ICOFOM members: 'Theorists of The New Museology, who
regard museums as social institutions with political agendas because of inherent shared
biases and assumptions, advocate integrating museums more closely with the multicultural
social groups which these critics believe they should represent and serve. The New
Museology specifically questions traditional museum approaches to issues of value,
meaning, control , interpretation, authority and authenticity .. 2.
II
V. Sofka, 'ICOFOM : ten years of international search for the foundations of museology' , Papers in
D.C. Starn, 'The Informed Muse: the implications of "The New Museology" for museum practice',
Museum Management and Curatorship 12, 1993, (2) : 267-283.
137
With this 'new' perspective as driving force, ICOFOM should act as catalyst to generate
the synergy resulting from the interaction of theory, practice and attitude. Muses or magpies? or perhaps just nymphs? Let's descent from our Helicon and challenge the missions
and functions of museums before it is too late.
138
collectivites engages les pratiques sociales du patrimoine. Avec toutes les reserve
dues aux contraintes de temps, a I'absence de contextualisation et d'exemplification
concretes, a I'absence des references et des nuances d'usage, j'aimerais proposer
des elements d'approches conceptuelles et pratiques a la nouvelle museologie
comme action patrimoniale collective dans I'espace public.
Cette approche est issue d'une recherche empirique sur I'emergence de I'action
patrimoniale aupres d'une population francophone minoritaire de la cote Atlantique
du Canada , ma region d'origine. A travers les rapports chercheur-acteurs avec une
population , dans une contextualite socio-historique particuliere, j'y experimente et
construit un concept et une pratique de I'action patrimoniale. Dans un va-et-vient
exploratoire entre I'experience de terrain, les elaborations conceptuelles, les essais
methodologiques, dont la recherche-intervention non-directive, se constituent les
Voir les textes rassemb l es pa r Andre Desvallees .
Vagu es, une anthol ogie d e l a n o u vell e museol ogie , Macon,
edition W, M.N.E . S., vol. 1 , 1992 et vol. 2, 1995.
1
139
de la disparition de grandes
experience subjective, trans igeant tant du cote des traditions que du cotes des
nouveautes pour donner un sens
2
Touraine, A.
a la vie.
Fayard.
3, Melucci, A .
(1991) Qu'y a-t-il de nouveau dans les
nouveaux mouvements sociaux in L. Maheu et A. Sales (1991) La
recomposition du politique, Montreal, P.U . F., p. 129-162.
Dubet, F.
(1994)
Sociologie de 1 'experience,
Seuil.
140
Paris,
comph~mentarite
a mobiliser
a la fois de comprendre
a combiner ces
tendances et ces enjeux dans un projet patrimonial significatif dans I'espace public.
Les etudes empiriques qui envisageraient I'ensemble de ces enjeux dans Ie champ
du patrimoine sont
Melucci, A.
instrumentale de I'action fondee sur les besoins , les preferences et les interets
individuels et la conception expressive, ou les conditions et les positions sociales
determinent les possibilites d'action , il y a place pour une conception constitutive de
I'action : les individus developpement leurs representations et leurs capacites
personnelles en agissant dans Ie monde. Selon Gintis, Les objectifs, ne sont pas
donne d'avance, et les interactions sociales comportent un aspect constitutif : les
individus participent
,buts communs, mais egalement pour determiner qui ils sont et qui ils vont devenir
en tant qu'etre sociaux. ( .. .) la notion de devenir-par-I'action etablit que les
individus se constituent eux-meme, pour une part importante, dans Ie cadre de leurs
projets communs .8 Ce processus de devenir-par-I'action , ainsi que celui aparente
de la constitution de I'acteur dans I'action collective est au point tournant de la
demarche de reconceptualisation de la notion du patrimoine. lis pourraient servir
d'appuis conceptuel aux experiences et initiatives de nouvelle museologie.
Gintis, H. (1992) Pour une societe democratique postliberale, in G. Boismenu, P. Hamel et G. Labica. Les formes
modernes de la democratie, Montreal, P.U.M., 1992, p.266-267.
7
". Bowles, S. et H. Gintis (1988). La democratie postliberale, Paris , Editions La decouverte, p. 213-214.
142
10
143
avec des groupes scolaires et des groupes d'aines , mes tentatives de rallier un
organisme volontaire local existant avec qui mener une recherche action n'a pas
abouti (20 % de la population etant deja impliquee dans des associations sociorecreatives et des services communautaires, les disponibilites a s'investir dans de
nouveaux champs d'action s'averaient limitees). Une solution risquee fut de
convoquer des ateliers publics dans diverses localites, ou , de fayon non directive,
les conditions ont ete offertes a des individus interesses et curieux, 1) de se
rassembler et de participer; 2) de parler, dire et nommer leur patrimoine; 3) de
choisir des elements saillants mis en commun : paysages,
probh~mes
des plkhes,
traditions musicales, chomage des jeunes , d'en tracer les liens en creant I'idee d'un
recit, d'un scenario, d'un video; 4) de definir un projet d'actions realisables , les
possibilites et les obstacles ainsi que les moyens d'agir a court terme. Deux ans plus
tard , un bon nombre des personnes ayant participe aux ateliers sont impliquees
dans des activites patrimoniales communautaires, en milieu scolaire, aupres des
aines, et dans un regroupement qui organise des expositions animees qui attire et
rassemblent, a I'occasion de la semaine du patrimoine, Ie quart de la population
locale.
D'autre part, j'ai prepare et adresse un questionnaire a un echantillon des menages
et des etudiants portant sur les representations, les interiHs, les appartenances, les
projets des repondants (figure 4). Tenant compte des limites habituelles des
questionnaires ecrits, ce questionnaire releve les capacites des individus a I'action
. patrimoniale dans leur monde vecu, leurs representations, leurs interE"lts et attentes,
leurs appartenances et leurs reseaux d'insertion socio-culturelle, mediatique,
economique, leurs projets personnels et leurs volonte d'agir dans la collectivite. Quel
fut son impact aupres des repondants ? Peut-etre eut-il un effet de sensibilisation.
Peut-etre que la diffusion des resultats inspire les intervenants locaux. II n'y a certes
pas de liens directs entre la reponse au questionnaire et Ie passage a I'action.
Seules les experiences d'action commune dans I'espace public ont manifestement
entraine d'autres actions subsequentes .
Proposition 2 : Les acteurs, par I'action patrimoniale, produisent les conditions de
connaissance et de reconnaissance , de sauvegarde et de gestion des ressources ,
d'appropriation et creation du patrimoine comme projet collectif dans I'espace public.
Les individus ayant participe aux ateliers, non seulement ont exprime leurs
representations , leurs preferences et interets, leurs appartenances et leurs projets
individuels , ils ont construit ou reconstitue des relations entre eux et avec les
dimensions eparses de leur patrimoine, passe, present et futur, ils ont amorce la
144
a la culture et a la nature,
nouvelle museologie, comme mediation ou comme mediance entre les formes pures
de museologie, comme combinaison ou interconnexions, en de nouvelles
manifestations tangentielles par rapport aux orientations sociales dominantes.
Nous envisageons cette typologie virtue lie, vers les poles, I'autonomie croissante
des logiques de museologies fractionnees : museologie comme entreprise,
museologie comme experience de collection privee; museologie communautaire
integratrice , museologie d'avant-garde. Les interconnexions entre ces poles
representent les nouvelles museologies mediatrices possibles : museologie
conscientisante, museologie identitaire, museologie sociale, museologie innovatrice
critique. Et, eventuellement, dans une spirale , tendant
a la co-existence ou a la
145
a son meilleur,
146
Conclusions
Ces quelques dimensions d'une approche conceptuelle sur les rapports sousjacents aux actions patrimoniales suggerent la pluralite des manifestations reelles et
possibles des nouvelles museologies. Des recherches empiriques portant sur leurs
orientations et les pratiques plurielles, des relectures critiques des debats et des
recits d'experiences pionnieres, des debats sur les conditions d'emergences et Ie
sens des projets actuels , des presences actives
147
Figure 1
Logiques et enjeux de I'action sociale
rati.nalisati.n
strat:ie
int:rati.
c n:ement
s.li~'ts
inn. ati.n
suijectivati.n
148
Figure 2
Pratiques d'action patrimoniale
/
/
conservatIon
sauvegarde
149
. et collectif
Figure 3
Action collective: rapports entre les competences des acteurs
choisir
/~
participe
apprendre
ravailler
parler \ nommer
150
Figure 3
Action collective: rapports entre les competences des acteurs
choisir
/'
.~
participer
apprendre
ravailler
''0/
parler \ nommer
15 1
lCOFOM
L'idee generale que je voudrais developper ici est la suivante : la nouvelle museologie a ete un
precurseur potlr penser un certain nombre de situations dans lesqlle lles se trouvent aujotlrd 'hui
beaucoup de musees, c'est-a-dire des situations de changement qui sont elles-memes liees a des
I ransformations sociales. Par consequent. plutot que chercher a opposer nouvelle museologie et
museologie , je tenterai plutot, adoptant un point de vue sociologique, de montrer comment la
transformation des musees conduit la museologie dans son ensemble vers des positions
proches de celles developpees par la nouvelle museologie. Pour ce faire, j 'organiserai mon
propos aut our de cinq questions qui correspondent a cinq problemes rencontres par les mllsees
et qui suscilent des approches opposees I.
Une sixieme question , portant sur un etal de \'opposition entre museologie el nouvelle museologie afin de savoir si cette opposition est effective ou imaginaire, aurait pu venir en prealable
aux six autres mais comme ce point a deja fait I'objet de diverses discussions, elle sera indirectement abordee a travers les autres.
La premiere des questions est evidemment celie est la definition de la museologie. Sans entrer
dans une discussion de ce qU'est la museologie - discussion qui depasserait largement mon
propos et qui a d'ailleurs fait I'objet de nombreux travaux d'ICOFOM -,je voudrais simplement apporter tin ecIairage stir I'opposition qui me paratt se confirmer aujourd'hui entre deux
orientations de la museologie.
1. Jc remcrclc Ie MINOM dc m'a\'olr Im'itc a presentcr les rcflexlOns qUI SUI\cnl sur les relations enlre
museologie el nouvelle museologic. Les slluations concretes auxquelles il esl fait reference dans cc lc"(le sont
pour l'esscntJe\ empruOlees a 1a soclele rrJ.n~~use. Si les reflex Ions et les connaissances pellvcnl presenler un
intcret pour d'autres SOClelCS - ce quc j'esperc - , les analyses n'ont en re\'anche de bCn~ que dans leur contcxte
(approc he soclologlque oblige) . Par ai1leurs, lorsque les queslions e\'oquces lei ont deja fall I'objel de
publications spCcifiques de rna pan . je me pcnncnrai d'y rcn" oycr, consider.lJlt Ie present te\le commc lInc
presentation de hens entre ees lc\les, Pour cc qUI est de la nouvelle museologie. JC me rcrere princlpaiemenl au\
dcux volumes de VaK"es.' Vile al1lilnlogie de la /louvelle mUJeologie (1991 , 1995), spCcialcment a la
presentallon d'Andrc Dcsva1lces, amsi que , du memc auteur. le< ,"ersions succeSSi\'es (1969. 1989. 1993) de
l'ar1icle
( 1993).
153
ICOFOMIStavanger
La ligne de partage entre ces deux orientations est dessinee par la relation de la museologie au,
disciplines scientiliques exterieures, L'intervention de disciplines exterieures, aussi bien dans Ie
domaine de la pratique professionnelie que dans celui de la recherche et la production de sal'oir
sur les musees , constitue une situation nouvelle, Elle amene forcement un dialogue entre les
pratiques et la constitution de savoirs dans Ie musee (ou du moins dans Ie champ museal) et les
pratiques et la constitution de savoirs dans les domaines qui sont a la peripherie et a I'exterieur
du champ musea!. II s'agit- liI d'une situation qui est tout a fait emblematique de I'evolution du
monde des musees; a savoir un eclatement, une transformation , une disparition partielle des
frontieres entre Ie champ museal et Ie champ social dans lequel il s' inscrit.
Alin de mieux saisir comment cette intervention des disciplines exterieures conduit a une opposition entre deux orientations de la museologie, je me servirai du tableau suivant (Dal'allon,
1995),
Domaines de la museologie
Technologic tin muse('
(I)
(2)
Terhlliquesde
collecte. documf'nlation.
cOlIse,vmioll. ewdej de
puhlir, letiUJiques de
COmllllll1icalioll. de
gestiol1. etc.
CIC .
Physique el ('/limif!
appliquees ti la
ethnologie, physique,
conservariofl,
psychologie, sociologie.
sciences de l'ifl/ormoTion
et de la communication,
blologle. elc.
(3)
(4)
Sciences de /';Il!orI1Ul1iOIl
de 10 comlfuw;catioll,
el
allthropolo~ie, sociologie,
hisloire. cullurelle,
sciemes poliliques, elr.
didacliqlle, Iillguisliqlle,
marketing , .'wiellce.f de la
ge.flion, elc.
SCiences specifiques
com me sCiences de
reference
Sciences l1lobilisees au
service de /'ortivill till
mllsee rOfflme 'It" sciellces
jOIlCliolllle/les
museale
AI
Si I'on adopte un regard quelque peu exterieur sur la situation de la museologie , il apparalt que
celle-ci recouvre en fait, on Ie sait, deux choses: ce quej'appelle d ' une part une technologic du
musee et d'autre part une production de connaissances sur Ie musee, Du cote de 13 technologie,
on se situe plutot a I' interieur du musee , alors que du cote de la production de connaissances
sur Ie musee, on porte forcement un regard sur Ie musee et, de ce fait , on adopte forcement une position qui est, au moins partiellement, exterieur au musee, Mais cette premiere difference fondamentale se double d'une seconde qui est, nous allons Ie voir, encore plus impoTtante pour notre propos car elle est la marque de I'evolution don! je parlais plus haul.
154
ICOFOMIStavanger
Traditionnellement, la lechnologie du musee fait appel aux sc iences exterieures pour I' elude de
ces objets (colonne I du tabl ea u) : ce >ont donc des sciences de refere nce s" qui so nt spt'cifiques a chaque type de musee, comme par exemple I' hi stoire de ('art pour les musees d 'art. Ie,
sciences naturelles pour les musees d ' histoire naturelle s, I'ethnologie (Jour les musees d' arts el
traditions populaires, etc,2 Depui s quelques decennies, le s musees ont de plus en plus mobili ses des savoirs et des techniques afin d'optimi se r leur fonctionnement (et non pas pour etudier
leurs objets), empruntes a des sciences comm e la physique ou la chimie pouva nl servir a la
conservation des oeuvres , mais aussi la psychologie , la sociologic, les sciences de la gt:stion ,
elc .. pour les etudes de public , les techniques de communicalion. la gestion des collecli ons. des
personnes, des fonds, etc. On est donc ainsi passe, a I'interieur meme de la technologie du musee, des sciences de reference cenlrees sur les objets aux sciences fonctionnelles " servanl a
I'optimisation du fonctionneOlent de musee (colonne 2 du tableau). On s'esl depl ace de I'ohjet a
I'in stitulion .
Du cote de la production de connaissance sur Ie musee , nou s assistons a un deplacement d ' un
autre type, a la foi s plus n!Cenl el plu s complexe. Tradilionnellement, la di sc ipline exterieure
productrice de connaissance sur Ie musee est I' hi stoire, Mai s encore s'agissait-il d' une histoire
interne de I'in stitution~. La premiere construction d'un regard exterieur me semble etre venue
de I' interieur meme du monde des musees. Ce regard - cette renexion - a a insi pris la fomle
d'une philosophie qui produil un savoir sur Ie musee qui esl de type normatif el pragmalique.
charge de donner sens au mu see et a la museologie (colonne 3 du tableau). A quoi se rt Ie musee? Comment doit-il se meltre au service de ce qu'il sert ? On s'est alors preoccupe des mi ssions ou du role du musee , abordes soit de maniere pratique (ce qu 'i l convient de faire ), so il
sur un plan meta-theorique (ce qui fonde et legitime I'etre et I'essence du musee). Ce que I'on
voil apparailre aujourd'hui, c'est Ie recours systematique et raisonne ii d ' autres sciences, exterieures, pour elaborer un savoir sur les institutions museales; autrement dit, sur la relation que
Ie mus ~e entretient avec son environnement social et avec la societe dan s lequel il inshe
(colonne 4 du tableau).
C.ette double evolution de la museologie - en tant que tecnnologie et en tant que production de
savoir - ravive de maniere incessante la question de I'autonomie de la museologie par rapport
aux sciences qu'elle mobilise, Elle indique de ce point de vue que celte question concerne probablement moins I'usage technologique de ces sciences par la museologie , que les emprunts
methodologiques qui sont mobilisables pour produire, de maniere scientifiquemcnt val ide , du
savoir sur Ie musee. Pour Ie scientifique travaillant sur les institutions museales - et non Ie
professionnel travaillant dans Ie musee -, il ya Iii une grande interrogation. Ces institutions
museales sont-elles un terrain de recherche pour des disciplines ou bien peuvent -elles constituer
un objet scientifique ? Des n!ponses opposees existent dans Ie monde des musees , mais tout
autant chez les chercheurs des sciences sociales, Neanmoins, quoi qu ' il advienne de ces di scussions (dont I' issue lient probablement pour beaucoup iI I'e volution du monde des musees au
~. Celtc dlStlnCllon rCJolnllcs diSCUSSions cngagccs dans Ics au lrcs p<.1)S e ntre Ics SUbJC<.:l maller ul~clpIJnc ~
el Ie champ must'ologiquc (Mensch, J99~). Celie eolonnc me parall correspondrc preclscmenl "ces sub]eci
maIler dlscipilnes . Par conlrc, ayant decou vert rece mmcntl'artl clc de Peler van Mensch. JC nc "'U\ .. pas en
mt."'c;ure de pouvoir disculcr ici les probables corrcspondanccs CI di\'ergence... entre Ie.. nj\ cau\ qu'il .. tli slingu(' ('I
mes aUlres categories (sciences fonctionnelles , ~\'oir nonnatlf cl sa\'OIT c;cienlinquc "UT Ie muscc).
3. L'histOiTC sociale e1 a/orliar; !'histolre cullurcll c du muscc cst relatl\'cmcnt rccentc . Pour un pOint sur cenc
qucsllon,
\'OIT
PoulO! ( J992).
155
ICOFOMIStavanger
cours des annees 11 venir},I'evolution actuelle de la museo logie introduil une nouvelle approche
(professionnelle et theorique) du musee qui deborde Ie regard traditionnel forge 11 partir du
monde du musee lui -meme. CeUe recontextualisation sociale du musee, II la fois pratique el
scientifique, ne peut manquer d 'evoquer Ie projet de la nouvelle museologie.
Cesl au regard de ce contexte. disons de transformation des frontieres de la museologie que je
voudrais aborder les questions suivantes.
4, On peut obscrver d'ailleurs Ie mente processus pour !'UOI\CP.>lle. 11 ) aurall probablcment a rciaLI' iser Ie ...
affinnation<; qui precedent qui paraisscnt sunou l camcteri ser la periodc. au mOln<; en France. qUi a precede Ie
re\'ci l de annces lQ70 (qu'cn cst-il au steele dernicr ?). cl qUI ne s'app\!qucnl que de manlerc !negate au\.
dlrrcrenlS types de musees. Mais l'obJectir est de degager un Ideal-type du systeme muscal lrdllitlonnel. nnn lin
mooelcdescnptiL
156
ICOFOMIStavanger
Cette installation d'une interface ne pOllvait rester longtemps sa ns effet sur Ie systeme lui meme, Elle a forcement amene I'emergence d'un sous-systeme destine a en assurer la gestion,
c'est-a-direa la fois la production et Ie fonctionnemenl. D'alltant plus que I"interface en question a eu tendance it se developper, produisant des effets de structure bien connu en theorie des
organisations, Les nux entrant et sortant augmentant (publics, produits, argent), une partie de
I'orgnisation se specialise, D' un cote , certains professionnels des musees vont s'occuper de ce
secteur et acquenr de nouvelles competences; et d ' un autre cote, de nouvelles activites vont appara7tre it la periphene du monde des musees (cn:aleurs, promoleurs, marchands, etc,) augmentant Ie jeu des echanges entre inteneur et exteneur. Les professions liees aux expositions en
foumissent des exemples, un graphiste peut soit entrer comme permanent d' un musee , soit travailler pour un mu see it la demande; un scenographe travailler pour monter une exposition dan s
un musee, puis faire de la scenographie lheatrale, par exemple,
Ainsi , Ie centre de gravite de I'activite de I'institution se deplace-t-elle, en ayant pour effet une
autonomisation de I' interface, comme c'est Ie cas pour les grandes structures (pour prendre des
exemples extremes: expositions du Grand Palai s et production des objets par la Reunion des
musees nationaux en France); ou it I'inverse, une modification de I'institution pour indure I'interface et sa gestion dans Ie musee par une modification de son organsisation , de sa direction et
de ses activites, La logique de I'echange et de la gestion (une logique economique au sens restreint et non au sens d'une ecomonie des pratiques distinguant une economie economique
et une economie symbolique , tel qu'evoque plus haul) rend alors I'institution comptable de
ce qui entre et sort: biens, argent, personnes, Comptable de la bonne gestion des collections;
mai s aussi de la qualite des produits; de I'argent re~u et depense; du nombre de visiteurs, de la
qualite de la visite, etc, Par consequent, la recherche du controle de la relation de I'institution it
son environnementtend it faire ouvnr Ie systeme, Ce demier passe d'un dispositif restreint,
parce que limite et autonome, it un dispnsilijmu,wia/ e/argi, tendant a inclure dans sa definition
meme ses terrains patnmoniaux (la source des choses a conserver), son public (par la fidelisation), ses sources de financement (par une recherche d 'autofinancement partiel), etc..'
C;ette ouverture n'est pas sans evoquer I'ouverture de I'institution museale proposee par la
nouvelle museologie, Elle va en effet dans Ie sens d ' une redefinition du musee, d ' un elargissement des types d ' objets qu'il peut traiter, d ' une prise en compte du public, etc, 1\ s'en demarque tres certainement dans la conception des missions qu'elle donne au musee, dans la relation que celui-ci etablit avec Ie public, voire dans Ie rapport au patnmoine, Mais, comme je me
suis donne comme tache de faire appara7tre les parallelismes, je propose done de reexaminer
chacun de ces points (patrimoine, public, conception du musee) en cherchant a degager un peu
plus preci sement les consequences de cet elargissement du dispositif musea l.
5. Nous a\'uns abordc I'usagc ,.J'ctudcs de rcprcscnLatlons scion cc pOint de \ uc dans Da\allun ct Lc Marce (a
par.). Le tcrmc d'instlilltJOn mllscaic ~) que j'cmpiolc rcgulierement dcsignc cc dispositir muscal ciargl.
157
ICOFOMIStavanger
voyant au fait de savoi r de quoi traite Ie musee aujourdhui. La question de I'objet de musee ouvre a celie de I'objet du musee.
Traditionnellement. on considere que Ie musee traite de collections. Pourtant. cela fait deja assez longtemps , me semble-t-il , qu'il est desonnai s reconnu que ce tenne demande a etre singulierement revu , preciseet elargi dans la perspective d ' une definition plus scientifique de I'objet
de musee a la fois en tant qu'objet porteur d ' une infonnation (sa dimension documentaire) et
qU'objet de societe (sa dimen sion symbolique , aussi bien avant qu'apre s son entree au musee)6 Le tenne de collection condense, en une espece de tenne-valise, les operations de
collecte, de documentation , de recherche et de conservation. Mai s, la nouvelle museologie a
contribue a porter Ie debat plus loin, foryant la museologie dans son ensemble (pour peu qu'elle
accepte de s'interesser a d'autres musees que les musees d'art) a revenir sur Ie statut des objets
restant in situ, et donc a reprendre la discussion sur Ie deplacement de objets dan s Ie musee et
plus fondamentalement sur la nature meme de I'objet de musee (Desvallees, 1994). L'impact de
I'ecomusee, par exemple, en tant que dispositif museal elargi a la constitution de
collections hors les murs (pour ne citer que cet aspect) fut considerable surtoute I'evolution des musees dits de societe. L'objet, ne changeant ni d'espace social (n'etant pas retire de
I'espace de la vie quotidienne) ni de temps social (restant soumis aux aleas de I' histoire ou de la
memoire) , echappait au principe de mise en reserve. Inversement, cet espace et ce temps devenaient la matiere me me du musee7 . Ces choses sont connues, tout particulierement dan s cette
assemblee;je ne les mentionne donc ici que pour memoire, meme si elles peuvent ne pas etre
prises en compte dans des definitions du musee qui sont plus restrictives que celie de I'ICOM .
Dans ce contexte, il paralt interessant de porter attention a deux phenomenes. qui sont d 'ailleurs
souvent confondus: Ie premier est I'elargissement de la notion d'objet de musee , I'autre I'elargissement de celie de patrimoine. Ce qui caracterise les collections, c'est qu ' elles sont
constituees d'objets consideres par tout Ie monde comme des objets de musees, dont l'ensemble est reconnu constituer un patrimoine. Leur statut social est donc celui d'objet de patri moine. Cela a amene aoublier Ie fait que les objets qui sont dans les musees y etaient entres et
avaient ete transfonnes en patrimoine.
Faut-il rappeler que Ie premier enseignement de I'histoire des musees est l'extension progressive de ce statut a des objets qui ne l'avait pas auparavant : objets de nature, de technique, d' histoire, de folklore. d'ethnologie, d'art et tradition populaire. d'industrie, etc. De ce point de
vue I'ecomusee a montre, dans la pratique, que I'extension etait possible a des objets a la fois
illegitimes (disons, ordinaires ), immaterie1s (tels que la memoire) et de surcrolt hors les
murs. Bref, des objets qui etaient en realite d ' une tres grande complexite physique et systemique. Cetle complexite est encore plus netle dans Ie cas des parcs naturels qui conservent.
preservent, valorisent des ecosystemes. Mais Ie mouvement de redefinition des objets engage
par les ecomusees devient encore plus net et visible dans Ie cas de ces macro-objets que sont les
paysages, qui non seulement sont complexes mais, de plus, ouverts et en devenir. Leurs Ii mites, leur evolution - et disons leur destin - depend non seulement des specialistes de la
conservation, mais aussi tres directement de la population qui y vit (Davallon, Micoud et Tardy,
a par.). Dans ce demier cas, on objectera que 1'0n peut, ajuste titre, se demander si I'on est en -
6. Jc pense lei lo ut particulicrcmenl au:\ divers Lm\ aux d'ICOFOM sur ccUe question , spCclalcmcnt Ie recent
Symposium de Pekln en J 994.
158
ICOFOM/ Stavanger
core dans une logique de musee et s' il convienl encore de parler d'ohjcl de musec , Le paysage
n'est meme pas aprinri un objet de patrimoine, je vais y revenir dans quelques instants, Si
mettreun paysage comme tel dan s un musee n'a guere de sens,l'idee meme de Ie musealiser
appelle tout de suite des reserves: sauf 11 musealiser les gens qui vivent dans Ie paysage et 11
projeter de transformer la moitie d ' un pays en musee, on est bien oblige de penser autremenl Ie
traitement de cet objet particulier.
Les difficultes croissantes qui apparaissent pour penser ces objets au fur et a mesure que I'on
s'eloigne de I'objet de musee traditionnel vers des objets dont on sent Ie caractere patrimonial
tout en ayant une grande difficulte 11 les considerer comme des objets de musee, meritent de retenir toute notre attentionS, D'un point de vue pratique, elles posent la question de la maniere
dont ces objets peuvent etre traites et quelle institution peutles traiter. L'objet qui entre physi quement dans un musee , se trouve defini par les operations (conservation, recherche et de diffusion) dont il va etre I' objet; operations qui sont specifiques a ce type d'institution particulier
qu'esl un musee d'art, un musee d'histoire, un musee d'ethnologie, etc , II est musealise , En
etant en charge d' un ensemble d ' objets ou d'un objet complexe in xitu , I'ecomusee ou Ie parc
naturel operent une musealisation particuliere meme si elle n'est pas celie du musee tradi tionnel. Le cas du paysage est interessant car encore plus limite; en effet, s' il ne saurait etre un
objet de musee au sens c1assique, il n'empeche qu'il devient bien allssi I'objet d ' une instilution
particuliere (parc naturel , par exemple) qui va va avoir mission de susciter sa preservation, de la
recherche sur lui , ainsi que sa valorisation, II y a done bien, en ce cas, processus de tran sformation du paysage en objet d'une institution museale, Cependant, si I'on a de la difficulte 11 uti liser Ie terme de musealisation, c 'est que d ' une part I' institution museale impliqllee dan s I'affaire doit trouver des modalites de travail associantla popUlation, et d'autre part que Ie statut
patrimonial du paysage n 'est pas totalement etabli mais depend justement de la maniere dontla
population Ie considere et de son action sur lui,
Cela nous conduit 11 distinguer la museaiisatinn , qui correspond 11 une institutionnalisation de '
I'objet en tant qu'objet de musee (c'est-1I-dire, en tant qu 'objet des operations pratiques effectuees par Ie musee) , de la palrimnniaiisation qui est la reconnaissance d'un objet (un objet ordi n'aire) en tant qu'objet de patrimoine, II s' agit dans les deux cas d ' un cbangement de statut social de I 'objet, toutefois dans Ie premier, c 'est en tant qu'il devient, en pratique, I'objet d' une
institution; alors que dans Ie second, il est, en droit et en representation , I'objet d ' une reconnaissance par accord des membres d' un groupe social. II est certain que les deux changements
de statut sont lies, specialement dans Ie cas du musee traditionnel : ce qui est reconnu patrimoine est pris en charge par Ie musee et inversement ce qui entre dans Ie musee acquiert Ie statut de patrimoine, L'interet de la situation des paysages reside precisement dans Ie fait que leur
statut patrimonial est (hormis sa complexite) celui d'un patrimoine en devenir et qu'il attendent
une forme d'institution museale partiellement 11 inventer. De ce fait, cette situation fait apparaltre, en-deli'" de la question de leur musealisation , la modification de la conception meme que
nous nous faisons du patrimoine - modification 11 laquelle se trouvent aussi confrontes desormais les musees qui ont 11 prendre en charge ou qui ont simplement 11 faire avec ces nouveaux
patrimoines, comme certains musees qui assurent un conseil patrimonial aupres des acteurs du
patrimoine rural. Modification de la conception du patrimoine sur laquelle je propose de nou s
arreter quelques instants,
8, Ou plutoL que \'on y rcncnnc, dans la mesure a u la question de j'inadaptallon du lcnne mu sec a nombrc
tl'l nstl lutions. ct %rl;ori , de silualions ont deja ele maintcs 1'015 signalecs el dlscu[ccs.
159
ICOFOMIStavanger
L'exte nsion de la notion de patrimoinc it des objets qui n'etaient pas classes SOliS ce terme
(savoir-fai re, memoi re, nature, paysages, environnement, etc,) tend it fai re de celie notion une
categori e sociale qui couvre desormais tout un ensemble de choses " simpleme nt consideree
com me bonnes it garde r , Cette evolution va de pai r (entedez : est engagee dans une relati on de ca usalite circul ai re) avec une modifica ti on non seul ement de ce que recouvre la categori e
- ce q ue nous venons de voir -, mais encore avec un changement de la defini ti o n de la categori e, Un sociologue des prod uct ions symboliques com me Andre Mi coud ( 1995) distinguent
trois moments dans I' hi sto ire de la notion de patrimoine, Je reprends ci-desso us Ie tablea u q u' il
en donne lu i-meme 9
Petite hi stoire naturelle des Biens Commun s presentee sous forme de tableau synopt iq ue
De s
co ll e ction s
d ' obj e l s ",
Monuments
hlslonque ~,
hgurallon
Problcmatlsal lon
",\u lhenllfl ca ll on
LesembCmes
Le~
Lcs moyens
Vestiges
L'hlSloire (des
hommcs Cl dc ~
reU\'res ill USlrcs
Lc c1asscmenl
La gcogr.lphlc
Lc peri metre
sites
archCologiques
Lcs sites
Le cha,)!; pelnfic
(des siles
rcmarq uables)
cologlco-
geogmphi ques
Lcs arts cl Ics
trad itions
popula lres
dISCiplines
L 'oUli l rural
L 'ethnologic
(des modes de
L'ocomusec
Le v ivant ef
te mps
. . 8 UX e ntit es
co ll ec t ives
I.
Lc lemlOJre
natIOnal
lieu .. .
Le vhant a eu
Le Iableau de
iI faut en
In Fmncc*
Les ai res
c ulturellcs" ,
yie des ge ns
Lc
\'j'-anl
cst en
passe de
disparailre
ordinaires
Lcs milieux
naturc1s
Les eSpCces el
les genes
La lourbierc ou
Ics zones
humides
Le genome
BlOlogio el
genic ccologlque
donnees,
Les banques de
consef\'aloirc des
ressoufccs
gcneuques
Lc "i,'ant sans
fronticrcs
/I faul en
sauvegarder
les restes
Lc "i,'anl en
peril. , ,
il fau t en
preserver tes
pot entialit es,
I.
bi odiversit e
160
iCOFOM/Stavanger
Cette histoire. on Ie voit , porte pillS sur Ie patrimoine in silLi que sur Ie patrimoine du mllsec
traditionnel. Mais son interet est precisement de tendre a montrer que la figure du patrimoine
s' organise aujourd'hui autour du theme du vivant. All principe de conservation. se suhstituc
d 'abord celui de sauvegarde (2eme moment). Sauvegarder. rappelle Micoud. c'est. etymologi quement pari ant, garder " sauf , c'est -a-dire vivant. Or, il n' est pas sans interet pour notre
propos de remarquer que les institutions patrimoniales correspondant a cette conception de la
sauvegarde sont les ecomusees et les reserves, repondant au projet de garder vivant une culture
ou un ecosysteme. Mais aujourd'hui la societe serait confrontee a un probleme qui est indissociablement economique, symbolique et social: comment concilier la conservation des ressources et leur exploitation? La categorie du patrimoine, selon I' auteur, serait alors la figure
qui expose la maniere dont on peut resoudre cette contradiction, definissant un statuI aux objets
(des biens communs), aux sujets sociaux (ceux qui ont re~u ce qui a ete transmis et qui ont
charge de la transmettre) , qui sont de ce fait descendants . " solidaires mais aussi
,< comptables . Car, alors , Ie principe ne serait meme plus celui de la sauvegarde - et evi demment encore moins celui de la conservation - , mais ceilli de la ge.l'linn avec I'objectif de
preserver des potential ites I 0
Dans ces conditions, on comprend que Ie musee se trouve pris dans les rets de cette redefinition
et soit englobe dans un politique du patrimoine dont il ne foumit pas (ou plus) Ie modele sauf precisement a se repenser lui- meme, a elargir son champ d ' action , a revoir sa relation a la
communaute sociale comme I'y invite la nouvelle museologie.
L'engouement du public pour les musees est probablement un des phenomenes marquants de la
peri ode. Certains Ie regrettent; d'autres y voient un phenomene passager; d'autres enfin considerent eela comme un changement profond et durable. II n'est pas dans mon propos de prendre
position dans ce debat. Je voudrais simplement revenir sur I'opposition qui partage aujourd'hui
Ie monde des musees entre deux conceptions, I'une OU Ie musee est toume vers lui-meme et
I'ilUtre OU il I'est vers Ie public. CeUe opposition rejoint, par certains cotes, celles deja discutees. Elle nous amenera a examiner la question de la delinition du public ; ce qui est, a mon
sens, la question de fond sur ce point.
Le musee a ete longtemps majoritairement toume vers lui-meme. C'est un constat dont tout Ie
monde admet aujourd'hui I'evidence. Sous-entendu: Ie musee est aujourd'hui largement 011vert (a tous les sens du terme) aux publics. J'ai rappele plus haut la logique qui preside a la
cloture du musee traditionnel , qui tient au rait que la mission du musee est fondamentalement
liee aux objets. Ce sont eux qui sont au centre des activites de recherche, de conservation et de
diffusion. C'est a partir d 'eux que sont delinies et les formes de presentation ella place du vi siteur (au sens de ce que les semioticiens appellent Ie visiteur-modele ). \I reste au visiteur a
se conformer a cette place. Les expositions de sciences ne modilient pas fondamenlalemenl ce
modele, a ceci pres qu'elles remplacent I'objet par Ie savoir: c'est lui qui cornman de la mise en
exposition. Ou, pour etre plus precis, c'est sa transmission reussie (= sa decouverte, son acquisition, sa comprehension, etc., selon les theories educationnelles de references) au visiteur.
10. La theone de I'usage SOCial du palnmolOc. qUi correspond a ce pnnc lpe de gestl on, est cclul du
dC\'cloppemcnt dUrJ.blc. II s'agit de gercr Ics ressources de fa9Q" a ce que 1'c'Xploitation que nnus en fai son", nc Ics
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ICOFOMIStavanger
En ce cas-la, la connai ssa nce des caracterisliques dudil visiteur est indi spen sable pOllr all eind re
cet objectif. Mai s dan s les deux cas, Ie musee est dans une attitude de controle de la place de
visileur el, d'une certaine fa<ron, loute iniliative de ce demier prend I'allure d'un dysfonctionnement. Un peu a la maniere dontla lecture d' un livre selon une modalite en rupture avec celie
attendue par I'auteur (par exemple, lire un ouvrage de theorie comme un ouvrage de ficti on OLI
I'inverse) est une sorte de refus de cooperer. Ainsi en est-il du visiteur de musee d'art qui ne
regarde pas les ceuvres com me cela doil se faire (mais comme de pures im ages. par exemple)
ou du musee de science qui l' utilise de maniere trop ludique. Pour Ie comprendre, il convient de
replacer ce modele dans son contexte institutionnel et historique. Des lors que Ie musee presenl e
des objets etJou du savoir dont Ie statut social est celui d' un objet d'exception (en tant qu 'objet
de patrimoine) ou d'un savoir etabli (reconnu par les scientifiques). il eSI logique que I'instance
qui en est gardienne controle la reception qui en est faite par Ie public (Davallon, 1992). Tout
visiteur n'est d'ailleurs, en ce cas, qu'une concretisation particuliere de celie figure generique
du public I I.
Les choses changent lorsque Ie musee se toume vers son public. Et il peut faire cela de plusieurs fa<rons. Quatre , me semble-t-il (mai s peut-etre en existe-t-il d'autres ... ). La premi ere
s 'inscrit dans Ie projet de democratisation du musee visant a rendre Ie musee accessible au plus
grand nombre. En ce cas, la definition du public reste une figure generique et Ie visiteur. une
concretisation de cette figure. 1'inscrirais volontiers la nouvelle museologie dans celle tradition ,
mem e si elle propose de rendre accessible Ie musee en Ie transformant et en changeant I'action
que le s gens ont avec lui. Un peu dans I'esprit de la democrati sation d'autres activites culturelies telles que Ie theatre. La tran sformation du public passe par une pratiqu e et une formation ,
mais sa definition reste inchangee.
Les trois autres fa<rons de se toumer vers Ie public continue"t peu ou prou de se n&c1amer de ce
projet, alors qu ' e\les font tout autre chose. II convient donc de lever quelques ambigunes.
La premiere des trois vise a optimiser la relation que Ie musee a avec ses visiteurs. II peut d'ail-
leurs rester toume vers ses objets ou son savoir et chercher a mieux conna'itre ses visiteurs reels
, ou potentiels. C'est ce que I' on a vu se deve\opper avec les etudes de visiteurs et I'ecole de I' evaluation, dont I'origine est pour une grande part nord-americaine. Mais on peut aussi aller plus
loin et chercher a obtenir une augmentation du nombre de visiteurs. Ce qui amene sur un autre
terrain: celui des etudes de marches. Le musee devient alors un produit , les visiteurs devenant
des clients. II y a actuellement d'autant plus tendance a partir dans cette voie que Ie critere de reconnaissance du bon fonctionnement d'un musee - y compris pour l'Etat ou les collectivites
territoriales - est la frequentation (Ie nombre d 'entree). Ce qui est une interpretation, soit dit en
passant , singuliere de la democratisation, puisque la notion de public (notion eminemment
11 . Au mcmc titre d'ai lleurs qU ' un mdlvidu particuller cst une concrelisallon de la rigurc de citoycn lorsqu 'il
\olc. II y a dcmcrc la figure du public du musee cJassique. une economic de la cons tituti on ct de J'exerclcc de
I'homme public (= ind"'ldu engage dans I'espaee public au sens de Jorgen Habermas) qui dcpasse la reducti on que
" on en fait souvenl a une cocrcition de la societe sur I' indiyidu, une inculcation (au sens de Bourdicu) d 'u"
habitus ou d'une hexi s. ou encore une opera ti on d'cffcll affinnallon d' une position dans un champ social
(touJours au scns de Bourdieu). 11 convient de considerer ce processus dans Ie cadre d'une economi c symboliquc
ou, par exemple celle figure genenque du public rail pendant a l' u01versailte de i'obJet de patnmOlne , C'est
pourquoi, je resle tres reserve \'Is-a-\'Is d'utliisations de Foucault ou de Bounhcu (en fall I'applicatlon de cenalOes
analyses de ces autcurs, portant sur ccrtaines institutions telles que les inslitUtlOnS dlsciplinaires. au musec pour
Foucault: ou encore rex tension d'une analyse du musee d'an au Musee pour Bourdieu) qui sont faHes scion 1<.1
logiquc des CllllUral SlUdies anglo-saxonnes mcmc si, par d'autrcs aspects, ces analyses font avancer la
connUlssance du musCo, J'ai i'esprit cenaine, poslllons de\'eloppecs par Hooper-Greeenhill ( 1989) par e,emple,
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ICOFOM / Stavanger
qualitative) est remplacee par celie d 'a udience (notion quantitative). Remplacement dont on
prend toute la mesure a I'etape suivante qui est celie du developpement d'une logique marketing
renversantle rapport musee-public et proposant des musees-produit s repondant it lin marche reel ou potentiel. Nous sommes face a un processus de merchandisation (rationnalisation de
la production et de la miseen marche) de la culture que I'on observe pOllr d'autres secteurs de
la vie culturelle (comme la musique) ou encore des secteurs de I'education.
La deuxieme et la troisieme de ces fayons qU'a Ie musee de se toumer vers Ie public correspon dent a un parti oppose de la premiere en ce qu 'elles ne continuent pas a viser un controle du
public par I"institution museale, mais plutot au contraire a doter ce public d'un reel pouvoir sur
cette demiere. Elles Ie font cependant dans des directions tres differentes, voires opposees. I)
D' un cote, Ie musee est I' outil d' une communaute. C'est la voie des ecomusees et de la museologie communautaire. Maisc'est probablement aussi celie que devra empnmter I'institution qui
voudra que les acteurs sociaux vivant dans un espace rural Ie considerent comme un patnmoine. On peut penser que I'ancrage communaute-musee sera I'action patrimoniale , I'institution museale etant une institution patnmoniale l2 2) De I'autre cote , on voit se dessiner aujourd ' hui la constitution d ' un public des expositions et des musees. II faut entendre par public
un ensemble d'individus dotes d'une competence specilique sur ce qui leur est presente . pouvant emettre une opinion et en discuter. L'emergence de ce public culturel 13 des expositions et des musees demande une structuration de I'espace public de la reception comparable a
celie qui existe dans d'autres secteurs de la vie culturelle comme Ie theatre, Ie cimena, la musique, etc. Je ferai I'hypothese que , face au developpement des expositions, nous sommes en
train d'assister a une telle structuration avec I"apparition de la publication d 'opinions et de
commentaires dans desjoumaux, celie d'outils perrnettant de developper une competence de
visiteur tels qu 'ouvrages, catalogues, CD ROM , etc. Cette emergence d'un public culturel va
de pair avec I'entree des institutions museales dans une logique des entreprises culturelles. Le
fait qui me parait absolument nouveau, c'est que les musees entrent dans les politiques culturelies, et du coup ils se trouvent en competition avec les politiques theatrales, Ie developpement
du cinema, Ie developpement de la musique, I' edition des multi medias. Je pense qu'il est necessaire de prendre en consideration cette situation, aussi bien lorsqu 'on etudie la redelinition
du role des musees, leur fonctionnement ou a plus forte raison Ie statut des publics.
Cette demiere question nous permettra de mettre en rapport les precedentes avec Ie theme des
relations entre musees et communautes. Je serai neanmoins assez bref, me contentant de faire
appara1tre la difference entre deux conceptions de I'usage social du musee (fonction de marquage identitaire et activite symbolique) en prolongement de ce que nous venons de voir.
Cela fait partie d' une sorte de my the fondateur du musee que de dire qu ' il impose une identite ,
tout particulierement nationale.1I convient d'interroger ce que I'on en tend par la. Marc Maure a
ouvert la voie d'une telle interrogation lorsque , dans sa communication, il a distingue
12. VOir lei mcrnc la com mum cation de Paule Doucel. Sur Ie palnmOInC TUrdl, \Olr Da\'aJlon. Micoud el Tard)
(il
par.).
13 J"emploie ce lenne pour distinguer du public du musec traditi onnel ce public delini en lanl que membre d'un
cspace public.
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ICOFOMIStavanger
idendite nalionale et identite communautaire . Je proposerai d')' ajouter la cau' gorie
d'identite culturelle. II me semble que - je reste volontairement prudent. car cc que je vais
avancer demanderait a etre etudie avec plus de precision - la nouvelle museologie. en tOllmant
Ie musee versle public (au sens d ' un groupe social social ayant un interet ace musee), invite a
repenser la question de I'operativite sociale du musee (son usage et son efficacite). Non qll'elle
no us en donne la reponse, mais plutot qu'elle nous aide a mieux poser la question.
14. Sur ccs questions. je rcm oie aux discussions du Symposium sur La museologlC cl ridenlJlC (/ eOF'OM
STudy Serif.' 10 et II. I 98/i), specialement Ie textc de Judith Sp.elballer qUi .borde Ie proccssus dll
symbohsallon ("OtT aussi . en prolongement, Spiclbaucr. 1987) ulOsi que les miscs en gardes de Bernard
Delochc!
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ICOFOM/Stavanger
nir(c'est-a-dire des objets qui ne son I pas consicteres comme palrimoine alors qu'il sont it disposition ), on se rend compte que les choses vont tout autremenl. Pour tout dire, elles I'ont
meme a I' inverse : il faut que ces objets soient reconnus comme representant s" d'un monde
qui I) n'est pas tout a fait notre monde quotidien et 2) apparait cependant dote d ' un e I'aleur
pour nous. De plus, cette reconnai sance doit se faire 3 plusieurs: elle est un acte social. Meme si
un individu opere, tout seul et en premier, cette reconnaissance, il est necessaire que d'autres
membres de la communaute Ie sui vent et qu ' ils s'accordent en commun pour poser ces objets
hors du monde quotidien et les considerer comme un bien commun. C'est 3 ce moment que
I'exposition de ces objets - qui est 3 la fois les poser hors et les montrer - peut rendre visible
I'entitecollective.
Mais la perspective ouverte par la nouvelJe museologie eclaire aussi les pratiques d' exposition.
Dans la logique que je viens de decrire, les expositions ont principalement fonction de montrer
(donner 3 voir) des objets pour lesquel s il y a accord 3 propos de leur statut de patrimoine et,
par celie monstration (ce geste d 'ostension). fonction de rendre visible celie communaute d'ac cord (ce qui est I'en -commun). Or, I' exposition possede une dimension complementaire de
celle-ci : non seulement elle rend visible (Ies objets et, metaphoriquement , la colJectivite),
mai s elJe rend public . Pour un objet, etre expose, c'est etre place sur une scene publique ,
au sens ou c'est 3 la fois Ie mettre en scene (Ie poser en un lieu ou il est en representati on) et Ie
rendre accessible 3 tout personne qui Ie desire. C'est objet est alors plus que lui -meme; il parti cipe 3 une interpretation (il joue un role) et il est expose au di scours social (i l est objet de commentaires , d'ailJeurs tout comme Ie sontaussi la mise en scene et I'interpretation). En ce se ns,
I 'exposition rend public I'action patrimoniale dont elle est I' aboutissement: elle I'officialise.
Ainsi , mediation supplementaire entre Ie sujet social et la colJectivite, venant apres celie de
J'objet qui lui -meme represente Ie monde passe d 'ou vient I' heritage, J'exposition propose de
realiser I'accord des regards entre ceux qui viennent la visiter, mais elJe ouvre aussi , irremediablement, la possibilite d ' un choix , d ' une reinterpretation, d ' une discussion. Or, c'est peutetre 13 OU la multiplication actuelle des expositions intervient : devant la variete des choses exposees, devant I'extension des choses patrimonialisables, les visiteurs peuvent choisir, peuvent
discuter, peuvent se former, peuvent se reconnaitre des gouts communs, peuvent donner leur
opinion. Bef. peuvent contribuer 3 I'emergence de colJectivites partielJes et singulieres: ce que
I'on appelle pour les autres activites culturelJes, des publics. Peut-etre, sommes-nous ainsi invi tes 3 repenser la relation du public 3 I' exposition et au musee (sa dimension mediatique) sans
perdre de vue sa fonction patrimoniale.
J. D.
Universite Jean Monnet
davallon @univ-st-etienne
REFERENCES BIBLIOGRAPHIQUES
DavalJon (J.). 1991. Produire les hauts-lieux du patrimoine", p. 85-102, in Andre Micoud
(ed), Des haulJ-/ieux: La construct ion ""dale de I'exemplarite. Paris: Ed. du
CN RS.
165
ICOFOMlStavanger
Davallon (J.). 1992. Le musee cst -il vraiment un media? , Puhiic.1 & mU.llie.l. 2. 2eme scm
1992 .. pp. 99- 123
Davallon (J.) . 1995. Musees et museologie , pp.243 -254, Recherches el mll.llie.l.
Colloque organise par la Mission Musees et la Direction des musees de France
(Ministere de I"Enseignement superie ur et de la Recherche , Ministere de la
Culture et de la Francophonie), 29 nov .- Ier dec. 1993. Dijon: OCIM.
Davallon (J.), Grandmont (G.), Schiele (B.). 1992. L 'Environnemenl enlre au musee. Lyon:
Presses universitaires de Lyon (coli Museologies )/ Quebec: Musee de la
civ ili sation a Quebec. Trad. ang\. : The Rise of Enl'ironmenlalism in Museums.
Quebec: Musee de la civilisation aQuebec.
Davallon (J.), Micoud (A.), Tardy (C.). lA par.l. \'ers une evolUlion de la norion de
patrimoine ? Reflexions apropos du patrimoine rural , in Dominique Poulot,
Le Pmrimoine ella ciTe, Colloque international d'Annecy , 28-30 sept. 1995,
Annecy .
Desvallees (A.) . 1992 et 1995. Presentati on , in Vagues: Une anthologie de la nouvelle
museologie , t. I et t. 2. Macon: W / Savigny Ie Temple: M.N.E.S , p. 15-39.
Desvallees (A.). 1993. Le droit a I'existence pour des musees differents: et si on reparlait de
la nouvelle museologie , Entretien avec Joelle Le Marec pour PuhliCl &
musees,3, I er sem. 93, p. 138-145.
Desvai lees (A). 1994. Objets ou document? , p. 89-95, in Martin Scharer (ed.). ICOFOM
SlUdy Series, 23, ACle du symposi um Object-document?, sept. 1994, Beijing,
Chine.
Hooper-Greenhill (E.). 1989. The Museum in a disciplinary society, in Susan Pearce
(ed), Museum Sludies in MaTerial CulTure. Leicester: Leicester University
Press/Washington (Dc: Smithsonian Institution Press.
Poulot (D.). 1992. Bilan et perspective pour une hi stoi re culturelle des musees , Puhiic.I &
musees, 2, 2eme sem 1992., p. 125-147.
PouiO! (D.). i994. Identity as self-d iscovery: The Ecomuseum in France , p. 66-84, in
Daniel Shearman el lrii Rogoff (ed.), Museum CuilUre: Histories, discourses ,
spectacies. London: Romiedge.
Marrin Scharer (ed.), ICOFOM Sludy Series, 23, ACles du symposium Objeci-document?,
sept. 1994, Beijing, Chine.
Pearce (S.M.). 1992. Museum Objels and CoUeelions: A Culturel Study. Leicester: Leicester
University Press.
Spielbauer (J.K.). i986. p. 85-95, in Vi nos SoiKa (ed.), iCOFOM SlUdy Series, ii, ACles du
symposium La museologie et I'identite, oct. 1986, Buenos Aires, Argentine.
Spiel bauer (J.K.). 1987. Musees et museologies: outils de preservtion active et integrante ,
p. 279-286. in Vinos Sofka (ed.), ICOFOM Study Series, 12, Actes du
symposium La museologie et I'identite, sept. 1987, Helsinki -Espoo.
166
At present, tlire" oppositions mily be seen to cut across the. field of Jl\useology. These include
an opposition h~twccn nornlative and scientific knowledge as part of the question as to how
Illuseology itself is to b~ defined , an oppposition between the rcstri<'!"d or larger-scale museu III
set-up and how the rl1useum r"hltes to its environment, and the opposition between issues about
asscmbling eollections or conserving national heritage, and underlying questions concerning
the purpose the contl'.rnpomry museum is to serve. lu(\(\ed, thc term museology itself, rerrr,
hoth to Jlluseum tc.chnology as well as to the manner knowlc.dge about the ,llllSCUIll is
dcvcloptld . Thc move is one which from within 111 uscu III technology itself, has setln the transf~.r
of inkrest away from the sciences of reference centered on the ohjects to 'functional sciences'
dcsigned to optimise on the functioning of thc museum. Interest has been displaccd then away
fro III the object to the institution. With reference to how knowledge about the museum is
developed ofktlowledr.e of the lllUSeum, a move of a different type has bee.n seen, and this is
both lliore recent and more complex. Traditionally, the external produL'tive discipline of
knowledge within thc museum has been history. What nowadays is becoming increasingly
apparent is the rational and systematic recourse to other external sciences as a means to develop
knowledge within the institution of the museum; or in othcr temlS to promote the rcJHtions
which link the museum to its social environment and with the society in whieh it exists. The
mlls~ um th~.n will 1Il0ve from being a restricted set-up, because limited and autonomous,
towards heeominF- a Zarl:er-scale museum Sl!t-up, tending increasingly to include as the very
definition of the teml, the idea of heritage (the source of what is to be conserved), u public (and
the devdopmellt of 'customer loyalty') , funding arrangcments (including research into means
of part self-funding) and so OIL This as it were 'opportunity' incvitably suggests the opening
up of the museum institution as the outcome of new museology. The direction tnktln implies the
redefinitioll of the museum, broader consideration for the types of objects it may make usc of, a
better account of its public.
Moreover, new museology has caused the debat.e. to be furthered in that it has f()fced
museology as a Whole (at least in so far as there is a willingness to take muscums other than art
museUlllS into account) to reconsider the status of objects presented in silu, and to redireclthe
discussion concerning the displace.mcnt of objects within the museum and more f\lIldamentally,
on thtl nature. of the museum ohject itself. There arc. growing difficuJtie~ in taking those objccts
pos~essitlg qualities whicl\ are felt to be significant in relation to our heritage, and yet which are
not traditionally regarded as museulll objects into consideration, and these are becoming more
appilrcnt as gJeater intl~rest is being eentered on these objects amI these difliculties will rc.quire
all our attention . This leads us to describe a prOCtlss of 'mu.l'l!ali.~u1ion, which will allow for the
institutionalisation of the. object a~ Illuseum objcct (that is to say as the object of practical
op~rations which the museum may put into effect), a proecss of 'palrillloniaJi.Wllioll' whieh is
the designation of an ohject (an ordinary object) as a significant object in relation to our
hl,ritage. Finally, and this seems eomplctely ntlW, there is the fact that mUSCUIllS have entered
the arena ofthe politics dealing with matt"rs 011 culture, thus placing them in competition with
the theatre., as with the. development or thc cinema and lIlusic, and with the promotion of
multinwdia . To my mind thcn, it will hc necessary to bear this situation in mind in studies
selling (lut to redefine thc role of the museum and its mode of functioning and the lllorc So in
tllrms of thc status of its visiting public.
167
III
TRAINING PERSONNAL FOR COMMUNITY MUSEUMS
JOINT SESSION WITH ICTOP
Dear Friends. It is a pleasure to see you people from ICTOP and ICOFOM toghether
again . Since most ICOFOM members belong to the academic field and are involved with
museum training and considering that there is no effective museum training without a deep
understanding of Museology, I deeply believe we should recognize our many points in common
to develop a pathway for action. This has, in some cases, already become true: remember that
many of us - like myself - are simultaneously members of ~oth committees.
I must confess having had some difficulties in organizing this aftemoon"s speech . Since
I was asked to speak about training of personnel for museums made by and for a community ,
with an emphasis on training for awareness of cultural diversities, everything that came into my
mind for some weeks seemed absolutely obvious, considering all that has already been said and
written on the theme in the past twenty years. On the other hand, some of the aspects of the
theme sounded curiously new, even considering the efforts undertaken , in the museum field, to
put into practice some basic assumptions such as:
171
b) What is a museum?
c) What is a community?
That's another complicated question. When talking about communities we
usually take for granted that community is a group of people, either sharing the same tenritory or
the same cultural identity or some other combination of cultural and/or social characters that
make them identifiable as a group. We seldom remember that plants and animals form
biological communities, or that biology refers to communities of microbes as well. We usually
forget the nuclear family as a basic community, or the population of the world as planet Earth
community, to which UNESCO and ICOM so frequently refer.
Since this is not a meeting on terminology, let us consider community in its basic social
sense: a group of people sharing common traits and pattems of behavior.
Also for purposes of study, let us substitute the word "training for individual or group
education and qualification.
Now we come back to training and offer you a second issue to reflection :
173
Tereza Scheiner
Stavanger, Ju/y 3, 1995.
175
IV
MUSEUMS AND MUSEOLOGY IN NORWAY AND
SCANDINAVIA
Per-Uno Agren
I shall start with a simple statement: museums are creared from above or
from below.
Learned men who pursue their studies of the natural world establish
collections of naturalia, scholars who explore the temporal aspect of human
culture, create collections of artificaJia, testimonies of human history and
progress in their own and in foreign cultures; princes and aristocrats
display their fortunes and refinement in collections of fine arts and crafts
with rare and expensive items. They all represent museum initiatives 'from
above'.
And those collections mate and merge, dissolve and come together in new
combinations, becoming in the 19th century national treasures in national
museums. Most museum histories of the world deal with such museums and
most efforts in museum research are devoted to the tracing of the.
vicissitudes of collections and individual specimens through the ages of
warfare and political unrest. The whole project of the restitution of cultural
property is based on the result of this research.
In museum histories it is evident that the constant temporal changes in the
179
II.
180
In the 18th century a reaction set in. The scholarly speculation was replaced
by empirical observation in the age of Enlightenment. All over Europe it is
also the age of learned societies and academies. In Sweden the Academy of
Sciences and the Academy of Letters, History and Antiquity were founded ,
both of them important in the history of museums. The leading personality
and star of the age was Carolus llnnaeus who, with his dear innocent eyes
and incomparable ability of description, in a series of travelogues mapped
the natural and economic scene of Swedish provinces as well as took upon
himself to order in a natural system what God had created, an undertaking
that ~ave him European recognition. As its basis served the natural cabinets
with specimens arranged according to the system which were reproduced all
over the country by his devoted pupils and adherents and became integral
part of the gymnasia. The collections both of natural and cultural objects
brought home by his world travelling disciples were given to the Academy
of Science and out of them were born in the following century the National
Museum of Natural History and the National Museum of Ethnography. The
Academy of Letters in its tum got the responsibility for the antiquarian
collections of the state. After the death of the King Gustavus IIl. in 1794, the
first public museum was opened in Stockholm, displaying the Royal art
collection.
In Denmark, Norway and Finland a similar change of emphasis took place in
the museum development. In Denmark important private collections were
with its various departments. Thomsen 's foremost preocc upaoon was m e
prehistoric collection, which was the subject for discussion of a Royai
cOmmission formed in 1807, where Thomsen became the ;ecretary in 1816.
In 1820 another commission started to work with the distribution to new
specialized museums of the collections in the old Royal Cabinet of Curiosities,
to which Worm's collection had been previously added. but which was now
considered outdated. Thomsen participated in bringing the pictures to the
new National Museum of Art established in 1839. The ethnographic objects
formed the core of the Ethnographic Museum opened two years later as the
first in the world. In 1861 Thomsen became the director of the whole
National Museum complex. Like Worms, Thomsen corresponded widely with
colleagues all over Scandinavia and he was a sought for advisor on museum
issues. Thus he had a strong influence on the arrangement of the Swedish
prehistoriC collections which were now at last taken care of in a proper way.
From the century also the famous Thorvaldsen-museum (1848) and the
Carlsberg Glyptotek (1888) date.
An equally important contribution was towards the end of the century made
by Artur Hazelius in Sweden. In his university years he had eagerly
participated in the scandinavistic manifestations and at the same time his
studies of Old Norse and Swedish dialects kindled by the nationalistic
romanticism reigning in the humanistic studies of the day had made him
a.,.,=e of the swiftly disappearing traditional culture of the provinces. This
combined to inspire his project The Scandinavian Ethnographic Collections
which he brought together, arranged and opened as an exhibition in the
centre of Stockholm in 1873. This collection became the nucleus of the later
Nordiska Museet, whose completion Hazelius himself however did not live to
see. But his name is first of all linked to Skansen, the open-air museum
inaugurated 1891 in Stockholm. His idea was to create a museum, where the
objects were integrated in their proper surrounding, not only in a genuine
building, but in the complete farmstead with all buildings belonging to it
ana with the original surrounding of cultivated ground reconstructed. And
in the buildings, among the objects the visitor should have the opportunity
to meet people al horne in the culture which the farmstead represented.
Hazeliu; ha; been honoured as the inventor of the open air-museum
concept. But this is a truth which has been challenged. in the South of
Sweden, at Lund, Georg Karlin was in the same years busy with similar
plans. In Norway a number of persons had the idea to save specimens of the
extraordinary material culture both in wooden objects and timber
architecture, foremost among them Anders Sandtvig founder of Maihaugen
in Lillehamrner and Hans Jacob Aall founder of Norsk Folkemuseum. In
Denmark l3ernhard Olsen, founder of the Danish Folk Museum, inspired both
by Karlin and Haze1ius but also by a visit to the World Exhibition of 1878 in
Paris, could open his Open Air Museum in Lyngby close to Copenhagen in
1901. Although the question of original authorship may be controversial,
the open-air museum concept seems to be a genuine Scandinavian
phenomenon. In the writings of both Marc Bloch and George Henri Riviere
we can see this certified as also its importance for the later shaping of
Riviere's museological concepts.
The 19th century was permeated with nationalistic ideas. And in Finland and
Norway the nationalistic ideas kindled an opposition against the dependence
on Swedish and Danish official culture and we can witness its expression in
museum projects. As a reaction on the Royal Commission of 1807 in
Copenhagen, Norwegians began the formation of an archaeological
collection of their own began, which was located in the university recently
organised in Oslo. At the same time museum- plans were developed in Bergen
- with British Museum in London as a model. In Iceland its National museum
182
V.
But nationalism fed on the illusory idea that an original. genuine and
unique national culture had survived and could still be found. recorded and
analysed in distant and isolated districts and settlements on the periphery.
untouched by influences from an urbanized and industrial society. In the
provinces learned associations were organized by gymnasium teachers , state
servants and officers to contribute to the nationai project by recording folk
uaditions and starting local history research. The associations were formed
ill lilt, period 1858-1885. They also started collections - collections later often
to be found as the core of many regional museums. One unforeseen result
was that those associations soon began to revolt against the centralistic
prerogative of a national heritage represented in the national museums of
the capital. It was a reaction based on local pride and a new awareness of the
diversity of cultural traditions that refused to surrender to a central
proposal of what constituted a genuine national culture.
And on the threshold of the 20th century something important is
happening, foreboding the birth of museums created from below.
In the 19th century the Swedish compulsory school system had been
185
universities of Helsinki. Turku and Oulu. The most developed courses are
however arranged by a special museological division of the Dept of Art
History at JyvaskyHi university.
Norway I leave to John Aage to talk about.
As you can see museology is no longer a dirty word in this part of the world
it is gradually gaining ground and force. However when in 1993 three
186
Marc Maure
conservateur
Norsk Landbruksmuseum
1432 As, Norvege
La Norvege
La Norvege fait partie des pays nordiques, qui constituent un ensemble
geographique et culturel specifique situe au nord-ouest de l'Europe. La Norvege
forme une longue fa~ade maritime d'environ 2000 km de long, dont pres de la
, moitie s'etend au nord du cercle polaire. Sa topographie est de plus fortement
caracterisee par la presence de montagnes sur tout son territoire.
Les glaciers qui couvraient la Scandinavie commencent a disparaitre voila environ
12 000 ans. La Norvege se voit alors peuplee de ses premiers habitants. Des groupes
lapons venant de I'est et des groupes germaniques venant du sud viennent s'y
installer.
L'epoque viking (ge et IDe s.) et Ie debut du Moyen-Age (lIe et 12e s.) constituent
la periode glorieuse de I'histoire de la Norvege. Les vikings norvegiens colonisent
l'Islande et Ie Groenland, et s'installent en Amerique du Nord. La Norvege est au
debut du Moyen-Age unie et puissante.
La deuxieme moitie du Moyen-Age voit son decJin et la perte graduelle de son
independance. Elle est une province du Danemark a partir de 1537.
Elle devient un propre etat en 1814, mais en union avec et sous la dependance de la
Suede, a la suite des bouleversements geopolitiques marquant la fin des guerres
napoleoniennes, .
Ce n' est qu'en 1905 qu'elle devient un etat independant et souverain .
187
Identite nationale
L' identite nationale est differente. Elle est obligatoirement liee a un programme
politique. Elle est plus large que les identites ethniques qu' elle englobe. Elle a un
caractere "abstrait" et "fictif'. Le sentiment d'appartenance n' est pas base sur des
relations concretes vecues dans Ie quotidien.
La communaute nationale a, suivant I' expression de Benedict Anderson, un
caractere "imaginaire": "It is imaginated because the members of even the smallest
nation will never know must of their fellow-members , meet them or even heard
of them, yet in the minds og each lives the image of their communion" (Anderson
1983: 15).
L' existence de I' identite nationale est basee sur la creation et Ie maintien d ' une
culture nationale. II faut faire la preuve que cette culture est unique et specifique.
II faut lui donner un caractere fort et sacre. il faut ancrer cette culture profondement
dans Ie passe, en liaison avec les origines communes mythiques du peuple habitant
Ie territoire national.
Ceci necessite I'utilisation de riches systemes symboliques de forte valeur
emotionnelle, qui sont construits en utilisant d'anciens materiaux et coutumes, qui
sont modifies, ritualises et institutionalises. II s'agit de ce que Eric Hobsbawm
appelle des "traditions inventees", c' est-a-dire "a set of practices, normally governed
by overtly or tacitly accepted rules and of a ritual or symbolic nature, which seek to
inculcate certain values and norms of behaviour by repetition, which automatically
implies continuity with the past. In fact, where possible, they normally attempt to
establish continuity with a suitable historic past" (Hobsbawm 1983: 1).
Selection et collecte
Certains expressions et objets sont identifies, selectionnes et collectes au detriment
d'autres. On choisit les objets qui sont "beaux", "purs", "anciens", "originaux" et
189
"uniques", c' esHI-dire ceux qui font - d'une fa~on ou d' une autre -la preuve
de la qua lite, de la specificite et de la continuite historique de I' heritage.
Preservation et conservation
Les collections sont institutionalisees so us la forme de musees. Les musees sont
des collections publiques, c'est-a-dire qui sont la "propriete du peuple". Leur
fonction etant par definition de preserver et conserver I'heritage du peuple.
Les collections des musees sont, par opposition a d'autres types de collections,
permanentes et de caractere "immortel". Les objets y sont preserves de la
destruction et de I'oubli et conserves pour I'etemite. C'est une condition necessaire
a la transmission de I'heritage aux generations futures .
Exposition et dramatisation
Les objets du patrimoine sont utilises pour construire des images edifiantes
de l'histoire du peuple, par une mise-en-scene dont Ie musee est Ie cadre.
Le patrimoine y est donne en spectacle, et de ce fait rendu concret et existant
reellement.
Le musee est une scene vouee au culte des and!tres; c' est un lieu solennel et sacre
ou Ie passe qui a disparu dans Ie temps devient present et vivant dans l'espace.
190
A la meme epoque, I' esprit viking est reincarne dans la figure des grands
explorateurs polaires norvegiens comme Fritjof Nansen. Dans un reve de grande
puissance la Norvege part a. la conquete du pole nord et du pole sud, en concurrence
avec I' Angleterre et les USA, et connait des succes retentissants.
La Norvege est pendant la 2e guerre mondiale occupee par I' Allemagne nazie.
La figure du viking devient un element important de la rethorique du
nationalsocialisme. De ce fait, Ie viking est apres la guerre un heros dechu; sa figure
est stigmatisee et inutilisable comme symbole national.
Aujourd'hui Ie viking est redevenu un heros populaire, et meme - semble-t-il - est
en train d' acquerir une importance symbolique de caractere national plus forte
qU' auparavant. On construit de plus en plus des musees, centres d'interpretation et
parcs d'attraction axes sur Ie patrimoine viking. C'est un phenomene qui, de par son
ampleur, ne va pas sans rappeler Ie developpement des musees d'ethnographie
rurale au debut de notre siecle.
Le Marin - Ie marginal
Le marin-pecheur est Ie grand absent de I'image nationale de la Norvege creee au
1ge siecle. C'est un phenomene paradoxal, vu Ie caractere essentiellement maritime
du territoire norvegien et I'importance primordiale que ce groupe a joue dans
I'histoire du pays.
Du fait de sa position sur les marges cotieres du territoire national, il ne pouvait pas
etre considere comme veritablement norvegien. Ses activites sont tournees vers
la mer, c'est-a.-dire vers I'exterieur du territoire national. Sa culture est formee par
Ie contact avec I'etranger; elle est impure, car entachee d'influences exterieures.
II est en fait membre d'une culture plus europeenne, qui est la culture cotiere de
la Mer du Nord.
C'est pourquoi Ie patrimoine maritime norvegien a ete longtemps neglige, peu
etudie, mal protege et mis en valeur. A I'exception toutefois de certains elements
du patrimoine nautique ayant une signification nationale particuliere, comme
les bateaux viking, ceux des expeditions polaires ou certains types d'embarquations
ayant conserve des caracteristiques de la tradition viking.
C'est uniquement dans Ie courant de ces dernieres annees que la preservation et la
mise-en-valeur du patrimoine maritime ont commence a. acquerir une importance
correspondant a. sa Signification historique. II a fallu attendre les annees 1980 pour
voir Ie developpement de musees maritimes regionaux et locaux. C'est un
processus qui a souvent eu lieu en dehors du systeme officiel de conservation du
patrimoine, et meme en opposition avec sa politique. Ce sont tres sou vent des
associations de benevoles qui ont pris !'initiative de sa constitution et qui assurent
sa gestion.
192
Bibliographie
194
An Industrial Community
and its Heritage
by Randi Bllrtvedt
Curator at Western Norway Industrial Museum, N-5770 Tyssedal, Norway
Paper given at the Semillar on Museums alld Mu seology in Non vay and Scandinavia ,
ICOFOM Stavanger July 2, 1995
I was asked to speak here at the General Conference of ICOM 1995 on the
issue "An industrial community and its heritage" . I am honoured and very glad
to have the possibility to present our museum. I guess I was asked to come
because I represent a new type of museums in Norway; a museum that
combines industrial history with social history and where the scenery and
cultural landscape are parts of the museum concept. Here I am also going to
exemplify the challenges in creating an industrial museum which depicts
everyday-life in our century.
As a curator of Western Norway Industrial Museum I do not work for an
interested minority, but for all the people in my home town Odd a, the suburb
of Tyssedal and the surrounding district. My task is to point out the
importance of knowing our history, our roots and our identity in order to
understand other people. I am myself a member of this local society, but as a
professional I am paid to take care of the cultural heritage and document
contemporary life. I have been given the job to build a brand new museum
from scratch. It has been interesting to work so hard for what I believe in the idea of the folk museum and its aim: education.
Ten years ago I was employed by the municipality of Odda to elucidate the
possibility of establishing a museum in Odda. I had just finished my studies as
an ethnologist and was fascinated by the idea of the ecomuseum, that engages
in the local society and political issues. I believe in the fact that a museum must
be a place of activity, involve and interest people, engage them in their
surroundings, contemporary life and history. History does not exist in a
museum alone, but between people in a society.
I will now try to tell you about the process of building an industrial and social
museum from scratch in a small community.
195
In these last ten years I have mainly worked with people and their attitudes to
their own community and history. The frame of our Jives consists of a
dramatic scenery, water power as a key resource, modern technology and 3
big factories producing zinc, titanium oxide/high quality iron and calcium
carbide/dicyandianide. The community has 8000 inhabitants. The place
Tyssedal was at the turn of the century merely a crack in the mountain with
two farms. In 1906 it changed to become the largest construction site in the
country. In 1918 Tyssedal was a small town with a big power station as its
heart. Through water power and electricity Tyssedal and Norway became a
modern affluent society. This is the story of a rural village and an
internationally known tourist resort that changes overnight to become an
industrial town. It is the story of modernization and the story of women, men
and children that moved to Odda.
The society is the raw material of the Western Norway Industrial Museum.
The museum has gradually grown to what it is today, located in a living
industrial society where boats from all over the world come and go with raw
material and produce for export.
Today the museum is one of the largest in Norway on the subject of water
power. We show exhibitions on man in the industrial society, the history of the
environmental problems and the history of technology. We have archives
where information from the organizations and factories are collected and used
for research. Furthermore we have a film room with slides shows specially
designed to depict our history, and 3 workmen's dwellings, one of which
shows different interiors up to the 1990's. Finally the museum arranges guided
tours in the footsteps of the pioneer workers and to the industrial monuments
inside and outside the factories and the power station.
Hardanger is internationally known as an idyllic tourist resort. The glaciers,
the waterfalls, the blue-green fjord and the apple blossom make the scenery of
Hardanger look like a romantic poem. I am now going to take you to a
different and dramatic Hardanger where the mountains are high and the
valleys deep.
Tyssedal in Hardanger has another tone and rhythm, namely that of a shift
working society, a town of smelting works, heat and electricity.
As I mentioned previously, I was, as a student, familiar with the idea of the
ecomuseum; to preserve buildings and objects on their original site or
environment rather than moving everything to a museum building or a
museum area, and to document and explain how man coped with nature. Now
I had the opportunity to create a museum, a place where people were
encouraged to engage themselves in history, in the local community and
contemporary life and issues. To my mind a modern museum is interesting
only when the audience - the visitors- engage themselves and are participants
196
and the curator has the role as a skilled adviser and a member of the world
outside the museum building.
Let us see what happened in Odda, when we went from an idea to hard work.
As an ethnologist 1 work with a holistic view of the society. I wanted to collect
and show all parts of an environment and interview different groups in the
local society. 1 wanted to let people tell the story of their life, their home,
work and leisure time, to document their feelings, thoughts and dreams.
1 was the only person employed and it was necessary to engage voluntary aid,
for example skilled workers, house wives and children so that they could tell
about their lives and show me what we could use in exhibitions.
Our first museum building was a workman's dwelling with 1 room and a
kitchen per family, and 4 families in each house. We saved this building from
being demolished, and we started to collect furniture, clothes and photos.
Many people came to see what they could give to create an original interior.
Gradually we were able to tell the stories of real families in different time
periods, one in the 1920' s, one in the 1930' , one in the 1950' s etc. We told the
story of Mr. Ingebrigtsen, who worked at the factory as a blacksmith. He
moved from the town of Bergen to Odda with his family, a wife and two
children (two already died from disease), and two to be born in the flat that he
was lucky to let from the factory (with electricity and everything). They
moved to Odda because the wages were much higher here. We also told what
happened to the family when the factories owned by the British Sun Gas Co.
went bankrupt and 1000 men were on the dole for four years in the 1920' s
before the factory was refinanced. We described the work of a mother, and
how she had to make everything herself, and work as a cleaner at the school
nearby. We described happiness and sorrow in the family, e.g. how difficult it
was when the 14 year old son died and his class came to take farewell , and
when his brother Willy earned his first money to buy a suit for the
confirmation day, and later when he saved money to buy a radio (1938) in
order to get the news from the Civil War in Spain.
At first everyone said: "I have nothing interesting to tell you", but fortunately
some of them told their story anyway. Finally they were proud of what they
managed to tell, down to the tiny little detail and at first sight unimportant
incident. We collected different life stories in a book illustrated with photos
from their own private album. The readers really got to know little Willy as a
boy in the 1920' s, and Alice told us how she, as the daughter of a managing
director, grew up. It was all so close, and it was possible to recognize things,
to see the connection between the groups in the local society at a time when the
industry was young.
The interviews went on and suddenly we had 200 story tellers and friends of
197
the museum. They were curious, and some of them also collected things for
us. They got an owner's attitude to the museum.
When we opened the museum, there were about 1000 visitors in the
workmen's dwelling in one week. At that time we had already produced a
slides show called "The children at Bakke", which told about the living
conditions in the neighbourhood around the workmen's dwellings. It became
very popular, and today slide shows are our speciality.
Since little or nothing had been done to collect the history of industrial Odda
until this museum project was established, we had to form different groups to
work with various subjects. One group started to collect working equipment at
the Norzink factory in order to display the work in a big factory.
Unfortunately much was already thrown away. We therefore had to involve
the specialists in their own history, and my task was to advice, co-ordinate and
encourage the museum work. For example we succeeded in documenting by
photos and tape recordings the last working day at the old production hall at
Norzink.
Little by little the museum became a reality and a positive factor in people's
mind, and thus their identity was strengthened. This was not the case when the
work with the museum started. Then people from Odda often felt
discriminated and thought that their history was of little value because the
factories here were polluters. It was merely a shame to tell for example people
in the capital of Oslo that you came from Odda, a terrible place with heavy
industry and politically radical people .
. After three years of work paid by the local authorities, the trade unions, the
power company and the factories, the Western Norway Industrial Museum was
established with three persons fully employed, a curator and leader, an
archivist and a secretary, all women. As from now the museum also got a
yearly grant from the state.
The museum experienced a great deal of goodwill from the local society and
received project money from the state for pioneer work in the field of
documentation of industrial history. We also catalogued and saved the
voluminous archives at the three factories and the hydro power station for the
purpose of research and preservation. Gradually we also succeeded in
restoring three workmen's dwellings and started on the next neglected field,
architecture and the history of technology.
We engaged the museum in the issue of pollution. This was a touchy topic for
many persons in the local society. To put it simply, it was not good public
relation policy. In addition the pollution problems did not catch much interest
among ordinary people at that time. Today, with many of the pollution
problems being solved, the museum is asked to show all sides of the industry,
198
and what we lost when the air and the fjord were severely polluted by heavy
metal waste. We also depict the process of cleaning up the fjord and, in this
respect, measurements taken by the local industry and the government. In
1988 this discussion was a hot topic in the news, and some inhabitants felt that
Odda was a scapegoat. The town was looked down upon because of the
production of heavy metals, which were bought by other countries as
necessities in modem welfare states. The museum produced a slides show on
the pollution problem, and we also have interviews and photos from this
period.
It must be mentioned that we are not a pure technical and industrial museum.
We have made an effort to describe all sides of the society, and naturally this
means that we also try to present the social history in our society.
What is the status of the museum today?
The local politicians and the Mayor are well aware of the value of the work
done by the museum. They are 100% behind our proposals and grant us as
much money as they can, but it is not enough to cover the costs of the work we
are doing. It is expensive to take care of our industrial history. Odda is an
important town in the Norwegian industry. The monuments here are of great
national interest, and therefore we feel that the government must grant more
money in the future.
Tyssedal power station dates back to 1908 and was one of the biggest power
stations in Norway and Europe when it was built. It is no wonder therefore
that the key word of our museum activity is "With water as a key resource".
We took the initiative together with the local politicians to get the power
station and the intake pipes acknowledged as listed monuments. The power
company no longer produces hydro electricity in this building and wanted to
remove the equipment from 1908 - 1989 (unique machinery) in order to use
the building for the production of small fish or other commercial purposes.
To my mind Tyssedal power station is unique also because of the fact that it is
the heart of the very existence of this society. It has been dependent on
electricity for the last 90 years.
At present the government wants to secure the middle part of the power
station with its interior and let the remaining parts be used for commercial
purposes, decided by the power company. The museum and the local
politicians however, want to save the entire building. The final decision is yet
to be made.
The industrial town of Tyssedal was planned by the most prominent
Norwegian architects, and we can still read this place like a book. A clear
199
pattern of the class distinction. There are dwellings for the staff in one area.
for ordinary workers in another, and on the best sites, the manager's
residences. The factory, the school, the assembly hall, everything accurately
planned and of architectonic value.
Some time ago, the local authorities wanted to demolish a house in a
residential area, once known as a good neighbourhood, where the owners
competed in having the nicest gardens. The museum rejected this, and with
economic and professional help from the Central Office of Historic
Monuments the house was saved and restored. In this case it was also necessary
to show the politicians the importance of restoring the whole housing
environment. Again, the museum, with support from outside acted as an
adviser on how to take care of the local cultural heritage. Accordingly, we
started a project, the Tyssedal-project, with the aim to restore the entire town,
and not only the interior of the old power station and the intake pipes. In this
way we also try to make Tyssedal more interesting and accessible to tourists,
local people and pupils. A special tourist/cultural programme aims at creating
new jobs in this field. The last three years the municipality of Odda has been
responsible for this project and grants money to this work.
Today I think most people are proud of having a museum in Odda, and that is
an important result of our work. Still the museum has not managed to increase
the number of visitors, but in this respect it must be mentioned that it is our
first year in a restored museum building. So far we are not an important
tourist attraction, and many people see the number of visitors
as a measure of success. However, with the resources available, I think that
this is as far as it has been possible to reach for the time being. The aim now
. must be to increase the number of visitors in order to be recognized as an
important museum. Some of our "competitors" are for example different
"experience centres" which have commercial purposes, and not necessarily
educating purposes. Educating people is a more "invisible" aim and not so easy
to measure. In the long run the aim of showing authenticity, showing a living
society and securing our cultural heritage will be accepted as important.
As a leader of the museum I am constantly struggling to get enough money in
order to do a proper and professional job. I think it is high time to recognize
the necessity of the "old fashioned" idea of the folk museum as an educational
and not a commercial institution. To my mind we need strong, local museums
that have the local community as a basis and research area, in order to
document the history of the individuals and their surroundings in a micro
perspective. In our case to preserve and explain the experience and history of
an industrial society as a chapter and an on-going story of the western world.
But at the same time it is also an interesting aspect of our national history in a
macro perspective. One of the advantages of our museum is that it is close to
its users and informants. This is not the case in a national museum, which has
the whole country as its responsibility.
200
Papcr l';V<:IJ at the ICOM t{cIJcml (,(JII(c:rcIJ(,c, 0",.,,<:(' 2.'1. Scpt. 1992, iIJ ICR, the ICOM
IIJtc/1J;lIiolJ;d Committee (or Ucginllal M"scII/IIS
co
One rC;l">II 10 presenl Ihe Norwq,';'111 experiences is Ihe nexi general conlerence or I
M in
NorwayJllly 1995. 'rhis paper IIllIS! be S~CIl ;t"-' an illiroducliollio SOl IlL: iJl1portal1t ;t<;pccls o/",j)C
NUIVVCgliul IlHISCllllI
be hrivclI
lllOrc
I will I!)' 10 cOIlllecllhis subjecl wilh sOllle experiences Irom 25 years orwork inlhe mnseulII
field, in Ihe period I ()77-91 "" Ihe direclor of Ihe rcgiunallllllSellnl of Tolen in Norway, a
IIIl1SCllll1 which durillg- this period was cha.nged into the 70lcIJ c.:COI1JWiClIIll. This Ch;'UlgC docs
rcflccl, I think, scvcra.IIJlalicrS ofinLcrcsl cOllccnlillg local aBd rcgiollaJl111lSClIIllS.
I wililirsl presenl sOl1le idc;L' on Ihe Norwq,,;,ul sociely, some maill lilies 011 Ihe 'lueslions of'
celliralisalioll - decellimlisalion. Secolldly I will rcler 10 Ihe ide;l' of J-I\lh~leS de V;uine rrolll Ihe
1970s. I will show how the C("OlntISCI111 l-<'OllcCpt challhrcd Of illllucnccd thc idCflo,;; 011 IlHISCtllllS in
Norway dllring Ihe 1980s. In Ihis p;u1 I will II)' also 10 rerer 10 sOllie or Illy own experiellces.
Norwav - Iwenly vears of ecoloh~callhonghl and crilicism
Norway is ;l' YOII know a cOlllllry ill Ihe Illii1l1ale lIonh or Europe. II somehow is al Ihe lop end or
Eulnpc. 'nle NOIWCI,'i;lIIs 1I0W la1k abolll being onlside or inside Europe. 'nlere shonld or CClIIl'Se
nol he possible 10 have sllch a discllssioll, sillce Norway wilholll qlleslioll is ill Europe. 'i1lis
debale abolll Ihe Norwegian relalion 10 Europe h"" been a killd of baromeler Oil Ihe mellialily or
Ihis lIalion. 1\ Illap of a.llihe municipalities ill Norway, shows a kind of llll1ling poinl in Ihe
Norwegiall C11llural ;lIId polilical discollrse; l.he reslllis orlhe eleclion onjoinins or nOljoining Ihe
Ellrope,U\ COIllIIIOII Markel (EEC) 20 years ago. The cOlllnll1l1ilies lIlarked black (Fig. I) ,u'e
lhc OIlCS ill ElVOUf or this, thc othcrs arc thc olles aga.insl. 'roclay we arc again discussing thc S:UllC
queslion, Ihis lillie regarding Ihe Ellrope,UI Union, ,U\d we will lind Ihe s;une lilaI'. In 1972 a11111e
powerfid esiablishlllelli ill Ihe counlry argued Ihal nol joining Ihe common markel will
ccollolnicaJly he a disaster. Tilc ilnportaIlCC of IIOIl-CCOI101nic vallics IIJlink was 111flelc consciollS
in Ihis big polili(~u disCllssioll 20 years ago - v,ulles linked 10 Ihe lIalure ;Uld 10 Ihe cllliure or daily
lire allover Ihe colllliry.
I will also show YOll ;mother map (Fig. 2). 'nlis Olle is from this yeM (.1992) and shows
IIIIIIIicipa1ilies wilh kss Ih'lII 5.000 illhabilanls (lIIarked black). '.I1,e reason I(lr 1I1akin.~ Ihis iliaI'
is all govennllellial idea or reslmcillring the srmul nnmicip;uilies inlo bigger ones.
When il comes 1.0 museums, I think it is impOrL'll1ll.0 understand that in Norway the qllestions of
deccntralis.1.tion ould conflicts, bclwCCIl periphcry and centre, are a vef')' inlpOr1anl dil nCllsioll ill
the idenlily of Ihe people. '.I1le Norwegian scholou' Johau Gallllll/,' h;l' n;ullcdlhis Ihe l'Onllicl
2Jl
between alpha-stnl('lUn:s and oeLa-slnlctures: Thc Illa.iu connicl bel ween rcrnotc contro l ~U1d self..
supported slllall COI11Jllunitjcs~.
111 the devclopl11Cnl or all action to prescrve nat lire, to introduce cllvirolUncnta.l qw.::stiolls, there
wcrc big conJlicts in 1970 and during the I 970-ties, colllleelcd 10 Ihe planning ,uld building or
walerpowcr planls. First it centrcd on the river Mard .. la, later the rivcr Alta in the arca or the Sami
people. LinKed wilh Ihis discussiOIl or Ihc environmenl, ,md Ihe discussion or UIC values up 10 Ihe
vole in 1972, an ecopoliticall1lovel1lcnl was developed. -!lIe philosophcrs Amc N;x:ss and
Sigmund KVal0Y wcre in Ihe Irontlilll: or ulis. Laler K,a.l"y has made lhis drawing (jig. 3) showing
the conniet bClWeenthc indusuial gro,,1h society and a more balanced model of a lillure sociclY, a
ulopia ("). Later Ule philosophcr Ame Na:ss has fonlluialed what he has called thc 'deep
ccologicalmovcl1lenl', prescntcd in his bOOK 'Ecology, CommunilY alld LiJCslylc". This
1l10VClllcnl. is concenled about. how thc wcsten] world, spcuuing 111051 of UIC worlds resources, \o\'ill
have to ch,mgc ils lifcslyle based on global elhics. In Ule 1980s Ulis is in a sharp conl,"",tlo Ihe so
,",lied 'Bnllldliand-conmlission' (n,uned aflcr Gro IIarlem Bnlll,lt];ul(l, Ihc Norwq,~;m prime
Illinislcr), - where the pOl'erl), or Ihe so-called 'l. world is secn as Ihe Illajor problem , whcn in Ihe
acillal silllalioll Ihe lI'ea/l)' ill Ihe so-called lirsl world is Ihe Illaill problelll. It is in Ihe rich world
Ihe resources arc spelll, alld nol 10 I(,rgel: Ihe wealth is a result or a huge exploilalion or Ihe
resources in Ihis scK:alled 3. world.
This discourse on Ihe eco.mp),)';L' N;ess ;Uld Kval0Y call iI., 'Uld Ihe ecopolili"tI issues, had a
sIronI' inllllellce 011 illlelleclllals ;u,d Ihe pllblic debale ill Norway Iroll' Ihe I ~)70s alld "l' 10 now.
A deceillralised muscum syslcm supporled bv II,e govenmlclIl
Thc lIluseums in Norway arc widely spread in U,e differcnt 18 municipal countics. In the lirst part
or Uus cenllll)' Ihcy slartedlo grow in lllunber. Mosl or ulelll have been .. tiled li:JJk mll.'CIlIJJ",
InuscunlS combilung Ule idea of Ule open-air museum WiUl Ule 19uI. cenillry 'invention" or ule
NorwC/,~:U1 l,ulJIer in Ihe vallcy- :Uld 1Il0unt.un-regions as Ule carrier or Ule 'tme :u,d real"
Norwegi:Ul national identity.
-n,ese lI1USelimS ).,'rew in number; in Norway during Ihc pcriod 1900-1940 111 new lIluseUITlS
were l(llIl1ded. Aillhis happened ill a decelllmlised way. The ('eIlU'e - periphel)' dilllellsioll was
cvident, because sOllie muselUllS wanted ID cstablish ulcmseives as representatives of the culturc of
Ihe whole nation. Uikiud Berge, a Norwegi:Ul nltlseum professional, wrole in 1919:
'It is 1Il0re impurtantlo prolect Ule heril.'\gc in U,e hOllle comlll,uuly Ula.ll to have il
concentraled in a lI1USCIUlI. Il is morc important to a IIcighbourhood cvcry day to sce wiul
Iheir eyes Iheir proud heritage, Ih:U1 10 sce Uleir mOlllulIellls ollce in a liJCtime ill a
,nusellm far away. To Ihe sc'holars it is more imporl:UltlO study a sul~iecl in ils right
cllvirolulIcnl, Ulan ill isolalioll:
More or less Ihis is what SO years ialer ill Fru,ce was presented as Ule cOllcepl or U,e eC:OIJJuselJJJJ,
I"ler I will say more ahoul Ulis c.oncepl.
In 1967 a Norwegian govemmenl.Li cOlrunission was sclup to makc a sUlVey on thc muscums
:Uld Uleir siulation. Until Ulen Ulcrc had been some aU.empls from ilie govenmlentto conlrol
muscwn grOwlll and muscwn work. by a national pl:Ul from U1C 1940s and a national dircctor of
lIluse,ullS in Ihc 50s. 111is, however, did not succeed, cven ulough Ule museum association
(NKKM) was lighting ag-.unsl.new loca.lmuseulTls. In 1967 Ule govemmenlal commission made a
division of Norwegia.ll museums into two calegories:
(I) Folk. museums 203 (ofthcsc 19.1 regional, and loca.ltown and mUJlicipal museums)
(2) Muscums of spccial collcctions 57 (onc ccnlralmuscwl1, 16 m'\ior and 40 smaller)
202
len
have SOIllC I lllJ8CIIIJJS o{spcciaJ ro lleclio lls. 'rilen d)(,:: )' worked 0111 a proposal ('Of a Jin;ulCiaJ
s)'st Cit I of IIle 1(>lk III1lSelllllS. ' rile reslilt was a !;o\'erIullcutal 1l11ISClIlJl linallcing s),stel n IrUIIl
1975, MOl)c), was h~\'CIl frolll lhc govcnUllclllto tLc COUllt)' IllUllicipaJiLic:, WiU10lIt ~Uly SlnlClluillg
clinxuves. Suddenly local IllUSetllllS in Norway had whal laler has been cali cd '" slraw 10 suck
direeuy olll uJ" Ule natio llal public purse". Museullls h;l\illg a profCssional slall" al Utal UllIe could
take advanLagc oj" Uus siluation, and suddcnly make a rise in Uteir budgcl Ii-o m 1.000-5.00090
rrom one year Lo Ihe oUler.
IL is important to point out ule big cliJTcrenccs between Norway and Ule deveiopmenL in
govenImelllal mllselllll lillancing in Ule neighbollr cOlmLries Sweden ;U1d Demnark al Ihe same
lilllC. III Swcdcn UIC govcnullcntal support to rcgional lllUSCUlll work was limited Lo 24 cOllnty
lllllSelllllS, ;Uldlltis has enforced a alrcady exisling policy or cellll..uisalioll. Covenunenlallin;ulCial
support in l.)t::lUllark was given to a sdccLion or n111SellIl1S togetllC::r wiLh d.irectives in a national
IlHlSClIlll
law.
III Norway no cellirdl slale go"erning 1lll1cliolls were illcluded in IlIe llew ,,),stelll oj" llluseum
111l;U1Clllg. 'rile callSC of the
light
disappeared as a resuli oj" this. New lo("allllllsellllls wcre eSlablished, old ones suddcllly had
IIJOllCY ill a way tbey Ilaclnot circ aillt about. And this aJso gave;1 big li'ccdolll 10 explorc tlCW way:o.
ill IJllISClIIll work. IlI(Tcascd CCOllOlllic.al opportunities soon oJ1crcd new positions Ic)r IIl1iSClIIll
proiCssiol1a..ls, ;Uld IrOIB arolllld 19HO a HCW gellcraLioll profcssi o naJs had ;Ul Opportlillily to
illtroduce He w idC.L'i.
'Illis wa., Ule siUlatioll rrom 1975 lip 101983. Theil Ihe state income decreased , alld a "rool' "';c,
seLto limil the lllllSetllll btl(I);el. III Ilus period oj" ChaIl!,'C, howe""r, a 101 of initiatives were easily
illsliultiollalised. This ollcred opportunilies lO h'T"OllpS Ihat had bccll outside o/" Ule lllUSClIlll
syslelll. Up to Ihcll Ihe mil scums had been lillked wilh Ihe idea oj" Ihe I:ulller as Ule c,"UTier or Ihe
Irne llalional values. '\1us had excluded U1C CO;t,/;u popu/atioll, which might be Ule moSI 1)1Jical
NOlwegi;uI, it had excluded etluuc /JI;llOlities as UIC S;ulIi's, it had excluded ;m/llslJiai workers ;uld
oUler !,'roIlPS, \Vhen UIC eCOIllUSCUlll cOllcept wa" illtroduccd in ;';Olway, this happcned ill a
sitllalion whcre lIew groups wcrc entering Ihe field of Ihc llluscums.
203
Oil,
related to
Ihe
rCJ,rioll'~ p;uk
and
"I take
Ihis OIlC\
Ihe Illinisler said, - and Ihen Ihe word e('OllluseUIll was bom. I Ihink i! is iIllPOrt;Ul! 10 kllOw Ula!
Ihe his!ol)' or Ule word eCOllll!SeUIll is a I'el)- pr.t!,'lllatic one, Ule conlen4 ho wever, I would say
shollld reach beyond praglllalisllI.
COJI(,C()1.
'Nhal happened now was whal did 1101 happen dllring Ille 1970s: llie eCOlllUSelJIll ir/C;LS were
iu UlC JiJ.:Ilt ofprcscut ;uul ~1CtlliLJ IVOI""C.t"j;UJ JUlISCUIIJ CXPCI1CJlccs.
ium..Jysccl ;uJciuJJcicrstood
The activities in the gronp were much cOllcentraled on workshops Ollld exchange or e>'l'el;ences.
III Ihe years or 19H4, 19K5 Ollld 19H6 Iwo workshops were arranged every year, in 1986 Ihe :-\.
illlel'llaliona! workshop or MINOM was org-dltised alTOlt!Il, Ollld a 10l or museum colleagues have
lakcn pari in inlemalional work through MINOM alld ICOM in ule period 1984-1992.
Today in Norway il is probably righllo estimalc thal40 museums use the ecomuseum concepl.
-nle influence from the ecomuseum ideas is even bigger; all local- and regional mUSCUl1l work ill
,Norway has laken some impulses from ecomuseU!l1s.
204
idea of To/cll CCOIlIUSCWIl is UIC interaction bclwecn a kind of'braill', UIC documcntation CCIl/J'C,
;Old Ihe 'body', lhe different dCPiU'IlJICUIs of Ihe lIluseulll being parts of the herilage preserved in
silU at clillcrent siles in Ule lerritory. In Ule documenlation centrc we can collect memories, old
pholDgraphs =d record infonnalion aboutthelll, - amI perfonn a lot of olher tasks many
l11usellms nonnally do. What is importiult in Ihe ecomllseum concept is that the populaLion
Ihemsclves perfonn Ihis work, guided by Ihe museum professionals.
The dillerenl dep;U'lluellb of Ihe Tolen eCOIllusellln (Fig. Ii) we C;ut say have been chosen 'by
a('('idel1l- al dilkrenl lilllcs. SlIddenly sOlnelhin!; happened wilh siles of illlport;ut('e - Ihreals ;uld
lights lor preselvalion - ;utd Ihe)' were l,~vel1 Illllctions ill Ihe lIluseum ;uld iucluded. Twc>-iree of
Ilicll1 were IIlade lIatiol1ftl IIlOJllllllcnts inlhc 1920-ljcs, bUI with 110 public access or
illierprelation. Togelher Ihe dillerenl dep;lI1menlS ;U'e intended 10 I.~\'e a pi('lure of hislory ;utd
cullllre ill the rq,';oll as InlC ;L"i possible.
-l1le nlllseUIII eelllre is located in <Uloid milk-faCIOIj', as Ihe base for a p"nn;U1ent stall' of about
12 people. Allother dcpcu1Jllcnt is
;Ul
open-air
IIHISCIlIII,
ga.llcl1'
established 10 conllllelllOI~lle Ule ;U'lisl PedeI' Ualke, who has his backgroulld ill Ihis ;mAI ;utd well
known in Norwegi<U1 art history. In 1833 he made 12 big wall pailltings in Uus builcling. The
fourLil departmenl is <UloId school, Ihe lirst school in olle of Ihe mUJucipaliLies.
111e idea of a heritage owned privalely is of course an impol1;U1t part_ Private owners vcry olien
neeclledUlical sUpJXlrl <Uld help about how to preserve Iheir part of Ihc herilage. -l1lc cconlllsellln
antiquarian-workshop has craftsmcn Ihat can do utis kincl of specialised work, fin<Ulced by Ihe
owners. In Litis way we can slill preservc Ule knowledge of Ihe traditional crnfts nceded for savillg
logged-tirllocr-houses.
-nle preservation of ItislDrical arcltives is also impOl1anL Vcry oflenmuseul11 work <Uld
presenlalions lack lustoric aUlhenLicilY, or lUIClerslanding of ltislory as a profession. To a big exLcnl
muscum prol'cssionals have Iheir specialisation as arcltiLccts, art ltistori<U1S <Uld so on. In Ihe loc.'II
context il is impol1ant 10 COIUlccl muscum work and work on local history. 111e nlllselUn has
worked on thc hislory of every Jamily li,wg in Ule lerritory in Ihe last 300 years, <Uld cVCIj' f<unily
has had separate records <Uld its genealogicallincs rccollstrucled. In ltistory we all exist as
individnallllllll;ul heings nol only as groul>-beings, cadI one of liS wilh a specifi(' l,uttily
backgrollncl. This is illlport<U11 10 people in Korway <UICI imporl<Ullto slrcss in Ihe work of local
IllllSCll11IS.
Old pholographs arc imporlanl. One piewc frolll a fann in Ule ntiddle-part of Ule 19. eenWIj'
mighl tcllns more abonl Ihe sQ{:ial realilY of Ihis community Ul<U1 a whole book (Pholo I). vVe
CUI sec Ihe l'U1ller inlrolll with wine illUle glasses, with his silver on Ule lable, - and Ihell we have
Ihc collagers, Ihe workcrs on L1lc limn, in UIC background; all of Ihem in simple woodcn shoes.
Anolher photo shows a eO\lager's hOllse (Photo 2). NOlto tcllihis stolj', is of course 10 tcll a lie.
Neverthelcss, velj' olienmllseums are Ule best places 10 lilld utis type of lies.
All these doclU'llents comillg into thc documentation centre arc t!ten subject to research, bOlh by
prolessioll.'IIs ,mel iUllalellrs, allelUle results is published ill Ihe museum yearbook, TOTN, ;mel
other publications.
205
has
piura./i1r thai
tradiGonaJ prcsligc~
J1lUSCUll1
docs
1101
havc, when cvcI)1hing is pili inlo a big lllollullicmal building. Tlus museum is VCI)' static. To Ihe
CCOlllllSClun YOII can add new fields of work and new departmenl" - <Uld if one of Ulelll is nol
releva.nt, or 1101 of interest to anybody, - then il c..-ullcavc the CCOIlIUSClIlll. ]Jl the dOCUlllcntatioll
.cenlre, howcver, you will always hm'c VCI)' importanl malcrial. Now to the problcms Illunk arc
linkcd 10 Ihe eCOlllllSClIlll work, lisled in 1-7:
I. Olle of Ihe lirsl problems we faced is Ihe problems of Ule relatioll belween Ihe ecomusellill <Uld
goverIliIllf IxxJi~ of UIC Illlillicipalitics. III 111e GUladi.ul 11111S(:11I11 IIl:t,t.,'CtZiIIC 1. 01 (;;1J'..cltc
111I/"lIes de V,uille speaks abolll Ulis in I ~)711; how easy Ille Illuselllll ""HI becollle a 1001 lor a
cerl;ull polilical power. Therci(lre Ihe IllllSellm shollid have ils bodies indcpcndcnt of lI,e polilical
IXlwer, bUI of collrse supported by il. This silllalion of independence and SlIpport is Ihen also a
-Iove-batred" situatioll, because rOil C;Ul Hot be totally illdcpcwlcnl. Irthc IIHISCIIlII'S acLi,;ty is
10la.lly 0111 of illlen:sl 10 U.e Illlllucipalily ,u.d U.cir go\'crnill~ bodies. U.C llluseilln probably is
doill.'; a tlsclcss work. So ulis interaction is vcry inlpOrl<lnt. 'rhe cOlltent or IllC problelll 11l11SCIIIII1l1Ilnicipalily I will desn;he like l.ltis: Ihe lllllllicipaJiI)' is like a II~lill inlilll speed wilholll a railway
ill Ii-olll of il. II h,", big dillil'lIi1ies ill d""'h~llg I,,;orilies ,u"l ill lilldillg llelV ways. III sllch a
tIle
situatioll the eCOlll1lSCtlllllllllst ta.ke a ciecisioll Oil whether it shollid he a W;}.l;"01l on Ihe traill, or it
shollid he a killd "fhdpillg 1001, Il)illg 10 prepare a r,ulmad , huild sOIl.e bridges ;md so 011 ill
Irolll of Ihe lraill.
2. Anolher subjcci is thc qucstion of priOll(jes. Wiuun UIC muscum work wc of coursc always
inherit Ule ideas of aJJ Ule traditional professional lasks of Ule museum . Alld if aJJ lhesc task.. shall
be canied out in Ilus type of museum as it can bc donc in a tradilionallllllscllm, - Ihell there is of
coursc no timc left for doing any work of Ule kind Ulat might be morc necded. Tlus calls for a
discussioll of priori tics.
3. 'nlis also louchcs 011 Ihe sll~ject of collectioll, <UI<I 011 whal is added 10 Ille colleclion. '111e
e(,OIllIlSelll1l idea shollid make il 11I0re import<U11 10 cOllccnlrate Oil doillg invenlorics on Ihe
herilage in U.C lerrilory, illvelliories sayillg U.al Ilus is here ,U\d Ihis is Ulcre, ;md lei Ihe people
livillg ill Ule len'ilory lake eare of Ule cultur;UlllaLcriaJ Ulelllscivcs. Whell you illtelld to make <UI
e~hihilioll, ),011 borrow illor :11110IlU.S, 1'"1 Ihe e~hibitioll on, alld Ule storage ill U.e Illl.selllll is
the storage or Ihl~ inventories ,uld not the storage and conscr"";}tiol1 or a huge collcction. Ir YOll thcl1
build Ill' a VCI)' big collectioll, or course, you willllot have resourccs lo 1l1;tkC invelltorics. Making
Ihe invenlories, people also become more aware of Ihe "alucs of Ulcir herilage. 'Il,c IllIlSelllll is
Ihen nol " place 10 pili Ihe herilage away, - isolal.cd from Ihc "rcal world", il is a place whcre
people Inccl 10 IIlldersl<u.d <Uld discns> Iheir m'Ol helilage.
4. 'l1,e bcst succcss of UIC ecomllselllll is 10 makc people t.lkc pilIl, to bc aclors in thcir livcs, <u.d
nol I"",,ive, excluded from densions ,md always in fronl of Ihis surface-screen you all kllowas Ihe
Iclevision scI. IIh.ink il is easy 10 l1Iake people acl wilhin u.is eCOI1lUSell11l model bec;luse aIllhe
parL. of U.esc museluns arc rcally decenlraliscd and closc to people <Uld u.eir rcalily.
5 . 'llie pro[essioua/jsm of Ule mllscwn professional becomes important, also because '1II0U1Cr
killd or professiollalism is needed in Ihis (,OllUllUrllly concepl compared 10 a Ir.iciilionaJ musenm.
A 101 of prolcssionals saw Ule morc systematic introduction of Ulesc idc.'\S ill Norway as an aU.lck
206
011 their proJCssioll, 011 ulcir llluscologica.l kllowledgc ;U1d positions. '"lltis, howc"er, is a questio n
of aCTeptjllg plurality; ueing cOllceIlH.:d abollt eCOlllllSClllll is not the sallle as hin-illg the idca that
aJlllluselllns should be trallslCn-ed inlo eCOllluseUln,. Or that alllllliseuin workers should work
like tltis. In ulis eCOlll11SClIlll proLCssion;Jislll ,,\c also ha\'e to add SOlile ncw ;L~pcctS. For iIlSI;UICC
how to h'Uldlc collflict.'. ' n,ere lIIay be colllliets wilhill Ihe COIlIlI1lIlUI)", where Ihe lIIusellln GUI
provide each part, lighting with each-olher wiul knowledgc, wiul somc realmaleria!. A lot of lights
\\lthilll'OIlUlHllIlties take placc all the basis of illllsio ns ~Ulc.l JllisllJldcrst.Uldings. III SOlllC c;u;es UlC
IIIl1SCUIll c.all also be lightillg all olle side, becanse Ihe mnsenlll has knowledge which makes ulis
011
position neccssa.ry. T'his has been the qucstjoll ill cllvirOll1l1ent;u isslIes, a clear situation where
lIluscums ill NOIway arc ~ilillg a s~"uld, beillg "Iwublclllakers". 'nus very ofiell canlllake Ule
rclalion 10 Ule loc.a.l mlllucipalitics a dilTiculi onc.
G. AnoUler problem is Ule problem of success. Solving some problems and having success also
creales lIew problellls. A lot of people uunk Ihat we C<Ul make "lIlagiC" wiul Ule ecollluseulll, ,I., a
solution 10 everything. Then UIC expectatiolls for what U,e eCOll1llSeUIll can achieve becollle teX)
lugh. AlloUler problelll is the lack of crilicislll. The lIIuseUIIl ellicrs new projects, and agaill lIew
prc~iecls ;Uld h'rOWS and grows, ,u,,1 nobody really criticises ii, becausc Ule), do nol dare to do so.
7. The last problelll I want 10 IIlelltioll is U,,' nlllseUIII beillg 1II0re a /lrocess Ulall a product. Tlus
Illakes it very oliell dillicult li)r the outside world, li)r instal Ice ollicial hodies in lIIatlers of ntltllral
all;urs, 10 llndcrslaud the 11l1lseUlli work ill CCOllluseUlllS, WhCH they never have ueen doiug it
thelllselves. It is very C;lS)' lo lI11dcrs~uld Ule traditiollallllodei. llere ),011 have a ticket ollice, and
you counl. Ule numher of visitors. So Ule success of Ule Illuseum is very easily e"alualed hy the
llumber of visitors. But whal YOll c:."Ul not of cOllrse e"alllaic is how happ)' the visilors are, - as
Kcnl1eth I lwlso)) says: "You sll:JI fccl betlt'.r whell ),011 Ieavc a IllllSClIlll lh;U1 witcn Y01l enlcrcd it-,
III the econlliselllll it is dillicult 10 evalllaic. And Ihis is so beeallse Ihe econlllseUIII prcuerl is a
prrn'ess of education of the whole cOllllllunity. The people inside UIC rOllllllllnit)", they easily
lIl"lcrsl;uld Ihe ideas o/" Ihe econlllseUIII, they do nol evell need the word eCOllllIsellln; Uley thillk
il is a liule strange bUl ","cel'l iL Nevertlleless, IJU/SCUIll as a word isjusl. a.., strange a..' Ihe word
eCOI11l1SCllnJ. And a.., we GUl lind today Ule word museUIIl misused, il is of course possible to lind
Ule word ecomuseum used in wrong ways.
(III) '111ere is, in Norway, a big confusion on what is a museulll. In 1990 the stale Illllseum
council published a list of 547 Norweh';'Ul museums ;Uld collections, of which Mi3 are local and
reh';ollal. In the s;une year the Norweh';;Ul museum Illagazine published a complete IllUSeUIll lIlap
of Norway including a(i4 llluseUIllS. The govemlllelll has exactly a 50% lugher nwnber of
IIlUSeUIllS. So what is a Norwegian museum? 'nus lack of consensus is a result of a lack of a
museoloh';c.a.l discourse, gi\';llg guid;ulcc 10 the Illuseum world, a.., il is a lack of prolCssiollalism.
This the Norweh';'UIS will have to improve ill Ihe years to come.
207
Litemtllre:
Berge, Rikard, Folkekultllr. Oslo 1978
Espeland, Else & K5rc SVCCIl (cd.), Museums
U1
Na:". Amc.
Ecolob~',
cconJlISCUfl)S
I<ommuncgrcn::>cr
i slCposkjoon
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................. IW
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Fig. 2
208
Fig. :i
209
BUILDING
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+ VIS !TORS
Fig.
Jj
ECOHUSEUH
OR
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SPECIAL
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~
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Fig. S
210
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~~LDERS
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ons.
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~UL TURE AND
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LOKALHISTORIt\N
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211
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212
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un
v
ICOFOM - LAM
During the past five years, the ICOFOM LAM coordination has carried out the following activities,
included in two Regional Triennial ICOM programs:
1) A preliminary circular letter was sent to alilCOFOM members in the region, infonming about
the creation of ICOFOM LAM, its main goals and proposed activities. In the same
correspondence, a question was posed to members about their interest in joining the new group.
Answers were thoroughly positive, with people stating their wish to participate .
. 2) Having confinmed the viability of ICOFOM LAM, a letter was sent to the President of the
Regional Organization of ICOM for Latin America and the Caribbean, Lucia Astudillo,
infonming about the new group and asking for political support in the region - which was
immediately granted.
3) A special fonm was created and sent to all members , with questions about their
professional and institutional data , with the aim of building a database.
4) A newsletter (Bulletin ICOFOM LAM) was conceived , created, prepared , edited and
distributed to all ICOFOM LAM members, as well as to Museology training centers and to the
National Committees in the region . Such Bulletin is produced in Spanish and Portuguese .
During these 5 years, 7 issues have been produced and distributed , as follows:
number 1 - March 91
number 2 - July 91
number 3 - December 91
number 4/5 - August 92
number
April 93
This issue had a synopsis in English , speciailly made for colleagues in the Caribbean
area.
en -
215
From the second half of 93 to the second half of 94 it was not possible to edit the Bulletin, due to
priorization of regional and national meetings on museum theory and to the production of the
book with the proceedings of the II Regional Meeting. We expect to have a special issue
published and distributed around the end of 1995.
5} Organization of 4 ICOFOM LAM Annual Meetings , in different countries of the region :
Museums, Society and Environment - Buenos Aires, Argentina, April 1992
(toghether with an intemational seminar held by the National Committee)
Museology, Museums, Space and Power in Latin America and the
Caribbean - Quito , Ecuador, July 1993
Museology, Education and Community Action - Cuenca, Ecuador, October
1994 (this meeting was held toghether with the Annual Meeting of CECA as a
preparation for the ICOFOM Seminars in China and Stavanger)
Patrimony, Museums and Tourism in Latin America and the Caribbean Barquisimeto, Venezuela , April 1995 (in the realm of an intemational seminar on the
same theme, organized by the National Committee of Venezuela) .
The next regional meeting will be held in Rio de Janeiro, BraSil , in May 1996, togheter
with the Annual Meeting of ICOFOM. The theme for both groups will be Museology
and Art.
A national meeting was also held in Mendoza, Argentina, in August 1994, by
invitation of the Municipality of Mendoza. The theme was Cultural Policies: Museum,
Space and Power.
These meetings were all organized within ICOFOM LAM, from program development to
proceedings to management of all the processes. Infonmation and call for papers were sent to all
ICOFOM LAM members in successive groups of correspondence . Special invitations were made
to distinguished specialists of different countries to participate as keynote speakers. We have
had an average of 40 to 45 participants per meeting.
During the meetings, papers previously selected among those produced by ICOFOM
Intemational, as well as by regional and intemational conferences, are distributed to the
participants. Papers produced for the meetings by regional members are also analyzed and
discussed.
6} Diffusion of ideas - Conclusions and recommendations presented by participants are issued,
translated into the three idioms already mentioned , published and distributed to all ICOFOM LAM
members, as well as to National Committees in the region , ICOM LAC, ICOMSUR, ICOFOM and
some other Intemational Committees. Museology Schools and museum training centers are also
included in the mailing list.
The English versions of such conclusions and recommendations have been systematically
presented in the Annual Symposia of ICOFOM and in the General Conferences (Canada and
Norway). You will find in ISS number 25 the conclusions and recommendations of the II
ICOFOM LAM meeting.
7} Selection and publishing of working papers sent by members from different countries in
the ICOFOM LAM Bulletin.
216
8) Publishing in the ICOFOM LAM Bulletin of documents and articles , originally in English
or French, translated into Portuguese and Spanish .
9) Selection and editing of the proceedings of the Annual Meetings, in the three idioms
already mentioned . A book with the proceedings of the II ICOFOM LAM meeting (Quito, 1993)
has recently been published, with the help from ICOM LAC and sponsorship from OEA . It is now
being distributed in the region and to other professionals interested.
10) Proceedings of the Annual Meetings of 1994 (Cuenca) and 1995 (Barquisimeto) are now
under preparation . Originals are being translated into the three idioms for publication in the near
future. We hope to obtain some sponsorship to do the editing .
11) Creation of a database with infonmation about professionals in the region - called
LAMBASE - presently under organization. We are also analyzing the possibilities of having such
database put into Intemet in a near future, with the help of Karina Duran, from AVICOM .
12) Support for the organization of national and regional working groups on museum
theory . A center for the study of basic museological tenms has been recently been created in
Argentina by Nelly Decarolis and Nonma Rusconi de Meyr, under the influence of theoretical
studies on tenminology, developped by ICOFOM and implemented in the region by ICOFOM
LAM .
Finally, we would like to emphasize that this work was made possible due to the voluntary
collaboration of a few ICOFOM members, in Brazil, Argentina , Ecuador and Venezuela . We
would like to thank Maria del Canmen Mazza, Monica Risnicoff de Gorgas, Maria Isabel Barros
(Argentina) , Rita de Cassia de Mattos and Selma Duarte Ferreira (Brasil), Juan Carlos
Femandes Catalan and many others in Ecuador. We also thank Monica Garrido, Raquel
Camacho, Soledad Kingman, Maria Ismenia Toledo, Luisa Rodriguez and Milagro Gomez de
Blavia - who, on the part of national ICOM committees, have so generously received ICOFOM
LAM .
And, last but not least, we would like to pay a special hommage to the immense help and
collaboration given by Lucia Astudillo, not only on official grounds, as President of ICOM LAC,
but with her personal engagement in obtaining funds for our meetings, in helping organizing
. activities, in making possible that ICOFOM LAM published ~s first book.
To Lucia, we give our gratitute and respect, and many thanks for having helped tuming that first
proposal of 1989 into real~y.
217
AUTHORS
,
lvo MAROEVIC, University of Zagreb, Croatia
Marc MAURE, Norsk Landbruksmuseum, As, Norway
Raymond MONTPETlT, Universite du Quebec, Montreal, Canada
' Anupama NIGAM, Hyderabad, India
Paivi-Marjut RAlPPALINNA, Alvar Aaho Museum, Jyvaskyla, Finland
Tereza Cristina SCHEINER, University of Rio de Janeiro, Brazil
Anita B. SHAH, Hyderabad, India
Jean TRUDEL, Universite de Montreal, Canada
Peter V AN MENSCH, Reinwardt Academie, Amsterdam, The Netberlands
Hildegard VIEREGG, Ottobrunn, Germany
Grazyna ZAUCHA, Choma Museum, Zambia