Indigenous museums and cultural centres have sprung up across the developing world, and particularly in the Southwest Pacific. They derive from a number of motives, ranging from the commercial to the cultural political (and many combine both). A close study of this phenomenon is not only valuable for museological practice but, as has been argued, it may challenge our current bedrock assumptions about the very nature and purpose of the museum. This book looks to the future of museum practice through examining how museums have evolved particularly in the non-western world to incorporate the present and the future in the display of culture. Of particular concern is the uses to which historic records are put in the service of community development and cultural renaissance. Nick Stanley is Director of Research and Chair of Postgraduate Studies at Birmingham Institute of Art and Design, University of Central England. He has worked on collections and display within museums of Oceanic materials both in Melanesia as well as Europe and North America. His current work is on the artistic production of the Asmat people in West Papua.Generally it will try to examine the efforts made to establish the first museum based on a European concept in a fast-changing but resilient indigenous cultural environment. ... Although, traditionally, certain groups of people used to keep heirlooms directly related or associated with their own tribes or ... An object was maintained, repaired or reused only if it was made of material that was hard to come by.
|Title||:||The Future of Indigenous Museums|
|Publisher||:||Berghahn Books - 2008|