The Tridaya Eka Dharma Museum commonly known as the Struggle Museum saves many weapons from the soldiers of the Emergency Government of the Republic of Indonesia (PDRI) and the Revolutionary ...Government of the Republic of Indonesia (PRRI). Besides that, the museum also displays weapons captured from the war in East Timor. The Tridaya Eka Dharma Museum located in Bukitinggi City. Bukittinggi was chosen as the location for the museum because this city was once the capital of Sumatra province and the capital of the Republic of Indonesia during the PDRI era. Therefore, Bukittinggi has a rich history in Indonesia's struggle for independence, and this museum plays an important role in preserving and commemorating that history. This research was carried out considering that the function of museums for knowledge requires action so that they are not neglected and abandoned by the next generation. Referring to the condition of the younger generation called as Gen Z generation who are more dependent on sources of information via gadgets and the internet, this research needs to be carried out, name to provide an overview of the condition that museums belong to all generations, lest the museum ecosystem itself stops in one generation. This is creating a huge gap between one generation to the next generation. It is hoped that this research will be able to contribute to and maximize the function of museums which act as institutions that protect, develop, utilize collections, and communicate them to the public. The purpose of this research is to find out the collection of objects in the Tridaya Eka Dharma Museum and explain the use of the Tridaya Eka Dharma Museum in learning the History of Indonesian Independence. The research method that will be used as a source of historical learning is the descriptive method.
Music, Dance and the Archive reimagines records of performance cultures from the archive through collaborative and creative research. In this edited volume, Amanda Harris, Linda Barwick and Jakelin ...Troy bring together performing artists, cultural leaders and interdisciplinary scholars to highlight the limits of archival records of music and dance. Through artistic methods drawn from Indigenous methodologies, dance studies and song practices, the contributors explore modes of re-embodying archival records, renewing song practices, countering colonial narratives and re-presenting performance traditions. The book's nine chapters are written by song and dance practitioners, curators, music and dance historians, anthropologists, linguists and musicologists, who explore music and dance by Indigenous people from the West, far north and southeast of the Australian continent, and from Aotearoa New Zealand, Taiwan and Turtle Island (North America). Music, Dance and the Archive interrogates historical practices of access to archives by showing how Indigenous performing artists and community members and academic researchers (Indigenous and non-Indigenous) are collaborating to bring life to objects that have been stored in archives. It not only examines colonial archiving practices but also creative and provocative efforts to redefine the role of archives and to bring them into dialogue with contemporary creative work. Through varied contributions the book seeks to destabilise the very definition of "archives" and to imagine the different forms in which cultural knowledge can be held for current and future Indigenous stakeholders. Music, Dance and the Archive highlights the necessity of relationships, Country and creativity in practising song and dance, and in revitalising practices that have gone out of use.
There is a common misconception that collections management in museums is a set of rote procedures or technical practices that follow universal standards of best practice. This volume recognises ...collections management as a political, critical and social project, involving considerable intellectual labour that often goes unacknowledged within institutions and in the fields of museum and heritage studies. Collections Management as Critical Museum Practice brings into focus the knowledges, value systems, ethics and workplace pragmatics that are foundational for this work. Rather than engaging solely with cultural modifications, such as Indigenous care practices, the book presents local knowledge of place and material which is relevant to how collections are managed and cared for worldwide. Through discussion of varied collection types, management activities and professional roles, contributors develop a contextualised reflexive practice for how core collections management standards are conceptualised, negotiated and enacted. Chapters span national museums in Brazil and Uganda to community-led heritage work in Malaysia and Canada; they explore complexities of numbering, digitisation and description alongside the realities of climate change, global pandemics and natural disasters. The book offers a new definition of collections management, travelling from what is done to care for collections, to what is done to care for collections and their users. Rather than ‘use’ being an end goal, it emerges as a starting point to rethink collections work. Praise for Collections Management as Critical Museum Practice 'A groundbreaking volume that critically assesses collections management from alternative perspectives. The book’s contributors destabilize the orthodoxy of “best practices” by shifting the focus to culturally appropriate models of stewardship, pushing for a more integrated, holistic praxis. Reaching beyond the typical domains of collections management, chapters cover the most salient topics in museology today. A ‘must read’ for museum anthropology and museum studies students, practitioners, and scholars.' Christna Kreps, University of Denver, Colorado
This interdisciplinary and international collection of essays illuminates the importance and effects of Indigenous perspectives for museums. The contributors challenge and complicate the ...traditionally close colonialist connections between museums and nation-states and urge more activist and energized roles for museums in the decades ahead.   The essays in section 1 consider ethnography’s influence on how Europeans represent colonized peoples. Section 2 essays analyze curatorial practices, emphasizing how exhibitions must serve diverse masters rather than solely the curator’s own creativity and judgment, a dramatic departure from past museum culture and practice. Section 3 essays consider tribal museums that focus on contesting and critiquing colonial views of American and Canadian history while serving the varied needs of the indigenous communities.   The institutions examined in these pages range broadly from the National Museum of the American Indian in Washington DC; the Oneida Nation Museum in Oneida, Wisconsin; tribal museums in the Klamath River region in California; the tribal museum in Zuni, New Mexico; the Museum of the American Indian in New York City; and the District Six Museum in Cape Town, South Africa.
The first transnational history of photography's
accommodation in the art museum Photography was long
regarded as a "middle-brow" art by the art institution. Yet, at the
turn of the millennium, it ...became the hot, global art of our time.
In this book-part institutional history, part account of shifting
photographic theories and practices-Alexandra Moschovi tells the
story of photography's accommodation in and as contemporary art in
the art museum. Archival research of key exhibitions and the
contrasting collecting policies of MoMA, Tate, the Guggenheim, the
V&A, and the Centre Pompidou offer new insights into how art as
photography and photography as art have been collected and
exhibited since the 1930s. Moschovi argues that this accommodation
not only changed photography's status in art, culture, and society,
but also played a significant role in the rebranding of the art
museum as a cultural and social site.
This publication is GPRC-labeled (Guaranteed Peer-Reviewed
Content).
This landmark edited collection offers a wide-ranging overview of how rapid technological changes and the push for providing wide access to digitized cultural heritage holdings are changing the ...landscape of archives.
This book provides a set of inspirational and informative chapters from international experts, which will help the readers understand the drivers for change in archives and their implications. Reassessment of the role of archives in the digital environment will serve to develop critical approaches to current trends in the broader heritage sector, including cultural industries experimenting with sustainable business models for cultural production, digitization of analogue cultural heritage, and the related IPR issues surrounding the re-use of digital objects and data for research, education, advocacy and art. Contributors also present state-of-the-art solutions in building digital archives on networked infrastructure, trusted digital repositories to ensure long-term access, and tools to serve emerging needs in digital humanities.
Theoretical and practical perspectives from a range of disciplines on the challenges of using digital media in interpretation and representation of cultural heritage.
In Theorizing Digital Cultural ...Heritage, experts offer a critical and theoretical appraisal of the uses of digital media by cultural heritage institutions. Previous discussions of cultural heritage and digital technology have left the subject largely unmapped in terms of critical theory; the essays in this volume offer this long-missing perspective on the challenges of using digital media in the research, preservation, management, interpretation, and representation of cultural heritage. The contributors—scholars and practitioners from a range of relevant disciplines—ground theory in practice, considering how digital technology might be used to transform institutional cultures, methods, and relationships with audiences. The contributors examine the relationship between material and digital objects in collections of art and indigenous artifacts; the implications of digital technology for knowledge creation, documentation, and the concept of authority; and the possibilities for "virtual cultural heritage"—the preservation and interpretation of cultural and natural heritage through real-time, immersive, and interactive techniques.
The essays in Theorizing Digital Cultural Heritage will serve as a resource for professionals, academics, and students in all fields of cultural heritage, including museums, libraries, galleries, archives, and archaeology, as well as those in education and information technology. The range of issues considered and the diverse disciplines and viewpoints represented point to new directions for an emerging field.
Contributors
Nadia Arbach, Juan Antonio Barceló, Deidre Brown, Fiona Cameron, Erik Champion, Sarah Cook, Jim Cooley, Bharat Dave, Suhas Deshpande, Bernadette Flynn, Maurizio Forte, Kati Geber, Beryl Graham, Susan Hazan, Sarah Kenderdine, José Ripper Kós, Harald Kraemer, Ingrid Mason, Gavan McCarthy, Slavko Milekic, Rodrigo Paraizo, Ross Parry, Scot T. Refsland, Helena Robinson, Angelina Russo, Corey Timpson, Marc Tuters, Peter Walsh, Jerry Watkins, Andrea Witcomb
Full text
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CEKLJ, NUK, ODKLJ, UL, UM, UPUK
Das Archiv und seine verschiedenen Ausformungen als Speicher des kulturellen Gedächtnisses stehen im Mittelpunkt des vierten Bandes der Reihe Literatur und Archiv. Was bedeutet es, wenn ein Archiv ...nur einer Bestandsbildnerin gewidmet ist, wenn sich Nachlasseinheiten in Bibliotheken und Depots musealer Institutionen oder in Verwaltungsarchiven finden? Im Blick auf unterschiedliche Sammlungseinrichtungen und ihre jeweils spezifischen Herausforderungen zeigen sich nicht nur Differenzen, sondern auch Parallelen und Schnittstellen einer heterogenen Archivlandschaft.
