Building a Critical Museology in Africa

2018 ◽  
pp. xxi-xxiv ◽  
Keyword(s):  
Critical Museology

scholarly journals Un museo casa para la cultura viva

2019 ◽  
pp. 64-77
Author(s):  
Isabel Dapena
Keyword(s):  
La Paz ◽  
Social Fabric ◽  
The Public ◽  
The Past ◽  
Governmental Organizations ◽  
Non Governmental Organizations ◽  
Palabras Clave ◽  
Sociedad Civil ◽  
Critical Museology ◽  
Relationship Of

ResumenMedellín es una ciudad de contrastes. Durante décadas ha sido afectada por diversas manifestaciones de violencia, que han mantenido activo el legado y poder del narcotráfico, la corrupción y el conflicto armado. Al mismo tiempo, sus habitantes han sobrevivido desde la resiliencia, mediante movimientos, organizaciones y personas que han defendido la vida y la paz. El Museo Casa de la Memoria nace en Medellín en el año 2011, en medio de un conflicto vivo, pensado como un museo participativo e incluyente, con el objetivo de propiciar una plataforma educativa, de diálogo, reflexión y construcción de memorias plurales. A partir de entonces, ha trabajado en la creación e implementación de una museología viva, mediante la construcción de memorias participativas con víctimas, personas en proceso de reintegración, excombatientes, sociedad civil, líderes sociales, fuerzas militares del Estado y organizaciones no gubernamentales. Sus manifestaciones constituyen un acervo que motivael vínculo con los públicos desde una relación de reciprocidad que permite la resignificación de lo vivido a partir de la deconstrucción o afirmación de lo pasado, incluso lo presente, interpelando lo acontecido, afianzando la identidad y la posibilidad de reconstruir el complejo tejido social haciamejores horizontes. Palabras clave: memoria, museología crítica, memoria viva, resignificación, resiliencia.   AbstractMedellín is a city of contrasts. For decades it has been affected by various demonstrations of violence, which have kept active the legacy and power of drug trafficking, corruption and armed conflict. At the same time, its inhabitants have survived from resilience, through movements, organizations and people who have defended life and peace. The Casa de la Memoria Museum was born in Medellín in 2011, in the midst of a living conflict. Conceived as a participatory and inclusive museum, with the aim of promoting an educational platform, dialogue, reflection and construction of plural memories. Since then, it has worked on the creation and implementation of a living museology, through theconstruction of participatory memories with victims, people in the process of reintegration, former combatants, civil society, social leaders, state military forces and non-governmental organizations. Their demonstrations constitute a collection that motivates the link with the public from a relationship of reciprocity that allows the resignification of the lived thing from the deconstruction or affirmation of the past, including the present, questioning what has happened, strengthening the identity and the possibility of rebuilding the complex social fabric towards better horizons. Keywords: memory, critical museology, living memory, resignification, resilience.

scholarly journals Interruptions: Challenges and Innovations in Exhibition-Making

Museum Worlds ◽  
2020 ◽  
Vol 8 (1) ◽  
pp. 168-187
Author(s):  
Laura Osorio Sunnucks ◽  
Nicola Levell ◽  
Anthony Shelton ◽  
Motoi Suzuki ◽  
Gwyneira Isaac ◽  
...  
Keyword(s):  
Culture Wars ◽  
Cultural Knowledge ◽  
Theory And Practice ◽  
Right Wing ◽  
Paradigm Shifts ◽  
Intercultural Understanding ◽  
Systemic Racism ◽  
Right Wing Populism ◽  
Critical Museology ◽  
Point Of Departure

Anthropology and its institutions have come under increased pressure to focus critical attention on the way they produce, steward, and manage cultural knowledge. However, in spite of the discipline’s reflexive turn, many museums remain encumbered by Enlightenment-derived legitimating conventions. Although anthropological critiques and critical museology have not sufficiently disrupted the majority paradigm, certain exhibitionary projects have served to break with established theory and practice. The workshop described in this article takes these nonconforming “interruptions” as a point of departure to consider how paradigm shifts and local museologies can galvanize the museum sector to promote intercultural understanding and dialogue in the context of right-wing populism, systemic racism, and neoliberal culture wars.

Museum Education and the Epistemological Turn

2021 ◽  
Author(s):  
Irene Pérez López
Keyword(s):  
Critical Pedagogy ◽  
20Th Century ◽  
21St Century ◽  
Meaning Making ◽  
Social Institution ◽  
Point Of View ◽  
Learning Theories ◽  
Social Relevance ◽  
Postmodern Theory ◽  
Critical Museology

Education has been part of museum identity since its inception. However, in the second half of the 20th century, the educational role gradually became the main goal: the museum has become a social institution whose educational nature legitimizes its social relevance and secures its survival in the 21st century. The spread of education to all areas of the museum, commonly called the “educational turn,” is the reason behind the conceptual change that is taking place in the postmodern museum, which has its origin in educational theory. In the last decades of the 20th century, the concept of learning as the transmission of information from an informed source to a passive receiver was replaced by the constructivist notion that learning is an active process dependent on the learner’s previous knowledge and experiences. At about the same time, critical pedagogy—as critical museology—brought a critical attitude within the museum, directed to identify structures of power and authority in order to give voice to traditionally excluded communities, and postmodernism added the idea of knowledge as something unstable and skepticism about the Western metanarratives of modernity. Constructivism, critical pedagogy, and postmodern theory contributed to the epistemological turn that the 21st-century museum faces. The change in learning theories and communication models in the postmodern museum, as a result of the epistemological turn, threatens the role of the institution as the only interpretive authority, by turning its message—previously considered a universal truth—into a point of view. The museum faces the challenge of becoming a meaning-making scenario where visitors can make connections and design their own learning experiences. The museum of the 21st century has forged a more egalitarian relationship with society.

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