From Re- to Pre- and Back Again

Tracing the complex history of the term ‘reenactment’, back to R.G. Collingwood’s philosophy of history, on the one hand, and popular practices of war reenactments and living history museums, on the other, a survey of its current contribution in art and museum practices highlights the importance of historicity — a category the postmodern was supposed to have vacated — in a wide range of examples, from Rod Dickinson and Jeremey Deller to Alexandra Pirici, Manuel Pelmuş, and Milo Rau. Performance reenactments, in particular, are premised on performance art having become historical, but also threaten to digest history in favour of a mere productivist mobilization for the needs of current attention economies. An alternative could be the attempt to counter historical with dramatic time in order to unlock unrealized possibilities and futures, as the term preenactment promises.

NATURAL HISTORY MUSEUMS

Society in general is distant from scientific culture, it is required to bring scientific knowledge closer to the population. In this context, an effective and attractive way for scientific dissemination is the establishment of natural history museums, which are institutions of knowledge, displaying the past. Natural history museums have the natural world as their object of study; and their collections may contain the most diverse types of materials (local and/or from various parts of the world), such as zoological, botanical, geological, archaeological, among others. Scientific collections are the largest and most important source of authoritative biodiversity data, contributing to studies of biodiversity composition, evolutionary (morphological and genetic), biogeographical, phenological, as well as geological. The materials present in these collections may serve for temporal comparison, being useful to produce predictive models. Likewise, they have a fundamental role in safeguarding type specimens, i.e. the first organisms identified to describe and name a new species. In addition, there is the component available to visitors in general, in order to raise public awareness on the preservation of the local fauna and flora and of other places in the world. In this way, the museums serve both the academic-scientific public and visitors who come to these sites for recreational purposes. It is intended to promote, in Vila Nova de Cerveira, the Natural History Museum of the Iberian Peninsula - NatMIP (“Museu de História Natural da Península Ibérica”), which intends to collect materials for scientific purposes, mainly Iberian.

Who Do You Think You Are?: Constructing and Representing Central Otago identity

<p>As museums are increasingly looking to the local community for support and validation, so too are communities looking to the museum for affirmation of their identity. Theories of meaning making and work in the field of social inclusion have led the way in restructuring the museum into an institution that embraces its surrounding community for the mutual benefit of both sides. In attempting to represent community, museums are taking up these new theories as they build towards becoming ever more relevant institutions. This thesis explores the current literature and investigates its relevance to the museum/community relationship through a case study of the Central Otago community and its new Museum, Central Stories. The study explores the construction of identity within the community and the representation of that identity within the Museum. In order to investigate the construction of community identity in Central Otago, three discussion groups were conducted in September 2006, with each group made up of members of local community and business groups. The discussions within these groups were divided into two phases, the first of which centred on the construction of Central Otago identity and the second on the Museum's representation of Central Otago identity. In the analysis of these focus groups, common themes were identified surrounding the region's landscape, events, history, museums, and community. In the first phase, participants were particularly reliant on their 'frames of reference' (Perin, 1992) in constructing identity. In particular, the role of personal experience emerged as an important factor in constructing community identity. Comparing the first and second phases of the discussions reveals the complex interweaving of elements in the construction and representation of the community's identity. The findings of this study highlight the significance of the museum/community relationship in contemporary museology. The developing museological theories on meaning making, particularly those that address the importance of visitor frames of reference, are identified as playing a critical role in developing this relationship. While this study is focused on the Central Otago example, the findings have broader relevance to the field of museum studies through their insights into the dynamics involved in constructing and representing community identity, and the complex relationship between the museum and its community.</p>

Who Do You Think You Are?: Constructing and Representing Central Otago identity

<p>As museums are increasingly looking to the local community for support and validation, so too are communities looking to the museum for affirmation of their identity. Theories of meaning making and work in the field of social inclusion have led the way in restructuring the museum into an institution that embraces its surrounding community for the mutual benefit of both sides. In attempting to represent community, museums are taking up these new theories as they build towards becoming ever more relevant institutions. This thesis explores the current literature and investigates its relevance to the museum/community relationship through a case study of the Central Otago community and its new Museum, Central Stories. The study explores the construction of identity within the community and the representation of that identity within the Museum. In order to investigate the construction of community identity in Central Otago, three discussion groups were conducted in September 2006, with each group made up of members of local community and business groups. The discussions within these groups were divided into two phases, the first of which centred on the construction of Central Otago identity and the second on the Museum's representation of Central Otago identity. In the analysis of these focus groups, common themes were identified surrounding the region's landscape, events, history, museums, and community. In the first phase, participants were particularly reliant on their 'frames of reference' (Perin, 1992) in constructing identity. In particular, the role of personal experience emerged as an important factor in constructing community identity. Comparing the first and second phases of the discussions reveals the complex interweaving of elements in the construction and representation of the community's identity. The findings of this study highlight the significance of the museum/community relationship in contemporary museology. The developing museological theories on meaning making, particularly those that address the importance of visitor frames of reference, are identified as playing a critical role in developing this relationship. While this study is focused on the Central Otago example, the findings have broader relevance to the field of museum studies through their insights into the dynamics involved in constructing and representing community identity, and the complex relationship between the museum and its community.</p>

A novel survey of raptor collections in Europe and their potential to provide samples for pan-European contaminant monitoring

This paper provides a novel survey of current collections of frozen raptor carcasses and tissue samples in natural history museums (NHMs), environmental specimen banks (ESBs) and other research collections (ORCs e.g. at universities and research institutes) across Europe and assesses the extent to which collections might support pan-European raptor biomonitoring through the provision of samples for contaminant analyses. The paper is based on questionnaire responses received in late 2018 and early 2019 from 116 institutions. Issues covered include the number of raptor carcasses and diversity of raptor species arriving annually at collections, the number of carcasses stored in freezers, the extent to which collections retain frozen tissue samples, what records are kept of carcasses and tissue samples, constraints to expanding collections of frozen carcasses and tissues and the extent to which collections currently engage in ecotoxicological research and monitoring. Our findings show that collections in Europe receive well over 5000 raptor carcasses per annum, and that NHMs are the key recipients of raptor carcasses for most countries. Collections in Europe probably hold well over 10,000 raptor carcasses in their freezers, offering a substantial resource of frozen raptor carcasses and tissues from recent years. Moreover, these carcasses include good specimen numbers for species that have been prioritized for pan-European contaminant monitoring. Collections are becoming digitized aiding access to samples. However, freezer capacity is a key constraint to retention of carcasses, and contaminant biomonitoring is novel for most NHMs. Our findings on the repository and availability of frozen raptor carcasses and tissues held by collections in Europe can enable greater use of these specimens for pan-European contaminant monitoring in support of better chemicals management. We highlight opportunities to further optimize raptor collections for pan-European contaminant monitoring.

Mapping Trend Implementasi Strategi Promosi Desa Wisata Kembangarum Turi Sleman Yogyakarta

Kabupaten Sleman has many tourist attraction objects that can be used as tourist destinations for anyone. The attraction of this city includes the panorama of nature, history, museums, culture, ancient relics, culinary and tourist villages. The number of tourist villages in Sleman regency is in accordance with the data of the Sleman Regency Culture and Tourism Office (Fauzy & Putra, 2015), as many as 38 tourist villages. The tourism village management base generally involves many parties, including by empowering local communities as local communities who play an active role in managing and developing tourism villages. However, according to (Damanik, 2013), "The weak point of the local community in managing tourism services is networking and promotion capabilities". The success of the tourism village manager in influencing the perception of visitors with their promotional tools can trigger the decision to visit. In this case, the right selection of promotional tools (promotional mix) is very important in addition to attracting tourists, as well as the progress of the tourism village itself. The number of tourist visits is a measure of the success of managers in developing the right promotional strategies. The constraints faced by the manager of the tourist village of Kembangarum Turi Sleman Yogyakarta are related to the weak network for promotion. A promotion has been carried out both conventionally and through internet media but not yet interactive, thus reducing the understanding of the wider community of the existence of the Kembangarum tourism village. The research method used is a qualitative descriptive method assisted with quantitative data tabulation. The results of the study with relevant data that is read indicate the trend of a shift in the implementation of promotional strategies with media that are conventional to modern with the help of information technology, especially the internet since the period 2015/2016. The conclusions of this study include: it is known that the most optimal use of conventional promotional media is by providing brochures, and word of mouth information. Whereas in the span of the last three years the promotion has focused more on online promotional media through social networks that have been owned by the tourism village manager of Kembangarum. This shift in promotion strategy proved to have an impact on increasing the number of tourist village visitors, especially in the period of 2016/2017 where this promotional strategy began to be implemented since the period of 2015/2016.