SeSSion 4: Regional Development

Museum for National Policy of Sustainable Development of Local Community

SeSSion

4

04-Session4 .indd 1 2015. 10. 23. 11:46

CONTENTS

Museums in the Life of the City 5

MUSEUM FOR NATIONAL POLICY OF SUSTAINABLE DEVELOPMENT OF LOCAL COMMUNITY 35

A Whole of Museum Approach to Collaboration with Australias First Peoples 67

The Role of Museums for Sustainable Development of Local Communities: A Case of South Korea 91

:

Museums and Museology in Romania 95

Museums in Slovenia (EU) 125

(EU)

Local communities and cultural capital- Case study of the Village Museum Project by Hello Museum 149

-

Conservation and Establishment of Fort Alice Museum, Sarawak, Malaysia: A Testimony of Public and Local Community Partnership 167

:

Egyptian Museums in the Twenty-First Century 199

21

MASTER SCHEME FOR DEVELOPMENT OF VIETNAM MUSEUM SYSTEM TO 2020

217

2020

Tourism program developed with the eco-museum approach 233

(eco)

Museums in the Mongolian Society: Changes and Transformation 265

:

Museums in Tanzania: National Policy and Functions in the Society 279

: ,

Educational projects of the National museum of Republic of Buryatia and their influence on the region development 299

National Policy and Museums Function in Society, Case of Uganda Museum 317

:

Session 4

[Regional Development] Museum for National Policy of Sustainable Development of Local Community

[]

Museums in the Life of the City

Mark O'Nell ( )

Director in Policy & Research for Glasgow Life( )

7

Museums in the Life of the City

Mark O'Nell

SummaryGlasgow is Scotlands largest city. Founded 1300 years ago, in the 19th

century the city was a global leader in the production of ships, locomotives

and engineering products and was known as the Workshop of the World.

When the iron, steel and steam age economy collapsed in the 1960s and

1970s, Glasgow lost nearly half its population and became one of the

poorest and most unhealthy cities in Western Europe. Described in one

book as The City that Refused to Die, Glasgow has made huge progress in

recovering from this low point. In 2009, the city was named by the Lonely

Planet Guides as one of the top ten places in the world to visit, and in 2014

it was the fifth most visited tourist city in Britain. Glasgow still has many

problems, but the recovery has been significant, with the population growing

again for the first time in 50 years. And museums have been at the heart of

this transformation. Glasgow was the first city in the UK to use culture, and

museums in particular, to lead economic, social and cultural regeneration.

This essay describes how, since the 1980s all aspects of the museum

service have been modernised to: engage local communities; improve civic

morale; preserve and provide public access to collections in store; and to

attract regional, national and international tourists. Museums are at the

heart of Glasgows civic life and international engagement.

Glasgow: A Brief HistoryGlasgow began as a religious settlement founded by a Celtic saint St

Mungo- in the 7th century, there is a 12/13th century cathedral built on the

site of his grave.

8

Near the Cathedral is Provands Lordship, a medieval house dating from 1475

which is one of the Citys museums.

By 1800 Glasgow was a beautiful Georgian city of 70,000 people famous for

its merchants and for its university, which was founded in 1451.

9

Glasgow in 1826, by John Knox

Glasgows industrial expansion in the 1800s was the fastest in world history

until the Soviet modernisation programme of the 1920s. Glasgow was of

course most famous for its ship building. In 1913, two thirds of all the

shipping tonnage built in the world was built in Glasgow. By 1900 Glasgow

had a population of over a million and was the fifth largest city in Europe,

after London, Paris, Berlin and Vienna. The wealthy classes of the city

founded great cultural institutions, including the first civic art Gallery in the

UK in 1857, the Peoples Palace museum and Kelvingrove Art Gallery and

Museum, as well as supporting world class artists like Charles Rennie

Mackintosh, the art nouveau designer and architect.

10

A Glasgow-built locomotive being taken to the docks for shipping to Egypt,

1949.

When the iron, coal and steel economy collapsed in the 1970s and 1980s,

Glasgow experienced a deep and damaging recession, to the extent that the

Scottish Government assumed that the task of the City council was to

manage decline and advised businesses not to invest there. Between 1950

and 1980, the population fell by nearly 50%, to fewer than 600,000. In 1985

25% of the adult population was unemployed and the city developed a very

bad reputation. London newspapers said that Glasgow was worse than East

Berlin and had No vision in the face of urban devastation. But the city

fought back, in the spirit captured in the title of a 1988 book by Michael

Keating, called The City that Refused to Die. A key part of the citys fight

back was culture, beginning with the opening of the Burrell Collection in

1983. A major step in transforming the Citys global image and

self-confidence came with the title of European City of Culture in 1990.

Glasgow was the first UK city to use culture to lead its regeneration and to

transform its international image. Twenty-five years later it is still seen as the

most successful European Capital of Culture.

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Medieval Stained Glass in the Burrell Collection

Glasgows population has only begun to grow again in the past 10 years,

which is a major sign of success for the city. Today Glasgow is visited by

over 2.5 million tourists each year, and is the fifth most visited tourist city in

the UK. In 2009 the Lonely Planet guide named Glasgow as one of the top

ten places in the world which tourists should visit.

Despite what Bill Bryson called this glittering transformation however, we still

have many social problems, with a third of the population living in poverty.

To use one indicator to compare the social problems facing Korea and Great

Britain, both countries have the same general level of child poverty, at about

10%. In Glasgow the figure is 33%. One third of the citys children live in

poverty. To look at another indicator, male life expectancy in the UK is

also the same as in Korea, about 81 years. In the poorer parts of Glasgow,

the average life for men is 56 years. In Glasgow we believe that this kind of

12

inequality is part of the business of museums.

Inequality is increasing across the world and we believe that unless you are

working to reduce inequality, you are supporting that increase.

But what can museums do? How can museums respond to these social

problems, and to these different pressures to attract tourists, and to cater

for the most excluded people in society? Today, Glasgow runs the largest

civic museum service in the UK. Despite or perhaps, because of its

problems, Glasgow spends more per head of population on museums than

any other city in the UK. Museums are part of the life of the city, and most

people of all social classes feel they own the museums all of which are

free to enter.

In 2006 we reopened the citys main museum, Kelvingrove, after a 30

million refurbishment. Before it closed it received 1 million visits a year,

making it the most visited museum in Britain outside London. Our aim in the

refurbishment was to make the core, the very heart of the museum

accessible.

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Kelvingrove originally opened in 1901, the last great achievement of the

Enlightenment encyclopaedic museum movement in Britain. It had everything

from a stuffed elephant to major works of art by Dali and Rembrandt.

Beyond the individual displays, the overall message we wanted to

communicate was that the museum belongs to everyone in the city.

Kelvingrove Archaeology Gallery before refurbishment

14

Kelvingrove Archaeology Gallery after refurbishment

The architectural strategy for Kelvingrove was simple: to restore it to its

Victorian condition, while modernizing all the services for 21st century visitors,

and 21st century technology: the building hadnt been rewired since 1899.

Over the years various galleries had been partitioned off to create offices,

meeting rooms and education spaces. These functions were moved to new

public areas in the basement and these accretions removed, so that the

original vistas and circulation patterns of the building were restored. These

removals allowed more daylight into the building, and a new lighting scheme

was installed to highlight the architectural features. The most striking change

however was achieved by cleaning the beautiful blond sandstone, so that the

buildings original colour scheme can now be appreciated.

Works by Charles Rennie Mackintosh and Margaret MacDonald Mackintosh in

Kelvingrove.

Creating new displays involved a complete rethink of the philosophy of the

museum, not just updating the old galleries. The new displays are based on

an assessment of the most interesting objects or groups of objects amongst

the entire 1.4 million in the Citys vast collection. Curators proposed over 200

stories which were eventually whittled down to the 100 on display. We

decided, to retain the Victorian feel of the museum, to double the number of

objects on display. Each of these 8,000 objects had to be cleaned and if

necessary restored, each had to have a new display mount designed and

15

made. Keeping track of the objects as they were processed and then

installed was in itself a mammoth task. Each object forms part of a story

which needed to be written to rigorous standards of research and

accessibility the displays involve a total of nearly 250,000 words. To put

the objects in their cultural or natural contexts nearly 10,000 photographs

were selected and ordered from museums and libraries all over the world.

No single display method was chosen every story used the communication

method which worked best for its content and its envisioned audience.

Perhaps the greatest challenge was organizing the vast range of material and

display approaches into a coherent whole, to ensure that the museum had a

sense of unity. Evolved over decades the key elements of this vision are

that the displays were:

Object Based

The essence of museums is that they inspire appreciation and learning

through real things. We wanted to introduce the best modern display

methods but not at the expense of objects. This is the basis of our

commitment to double the number on display.

Visitor Centred

The museum aimed to welcome every visitor no matter what their

background or prior knowledge and to provide a way in to understanding the

wonderful objects on display. Extensive consultation with visitors and

non-visitors, as well as the latest psychology of communication and learning,

inform the displays.

Storytelling

Rather than summarize subjects (like Art History, Archaeology or Geology),

the museum focuses on telling the most interesting stories about the most

interesting objects. By focusing on the strengths of the collection, we dont

have to fill gaps with graphics or books on the wall. By using narrative

rather than the structure of subjects, the displays are able to function at

16

many different levels accessible to the novice, but resonant for the

knowledgeable visitor.

Flexible

Because each of the 22 Galleries shows four to eight separate stories under

a broad theme, individual stories can be changed without having to redisplay

entire galleries. This is one of Kelvingroves major innovations; it is a

genuinely flexible museum. By changing three of four stories a year, it is

able evolve over time, remain up to date and respond to new discoveries

and public interests.

Every change we made was informed by a huge programme of research,

with extensive surveys and focus groups with visitors and non-visitors. We

had an Education Advisory Panel, a Community Forum, a Disability Advisory

Panel and a Junior Friends of Glasgow Museums Board. We did a survey of

how people used the building, and discovered that 85% of visitors never

went upstairs. We asked people about their Favourite objects, their prior

knowledge and interests, their Learning preferences for new subjects. Many

museums now do consult the public, they often ignore the results

apparently the public often want the wrong thing. So when parents said they

found it hard to interest their children in the paintings, which meant that they

did not see the paintings themselves, as they were dragged away after a few

minutes, we created a quiet family interactive in the middle of the

Impressionist Gallery.

More broadly, our aim for Kelvingrove was to use the breadth of the

collection to embrace a wide range of human experiences, so the displays

not only embrace great art, alongside spitfires and polar bears, but also

paintings by Marianne Grant which she did in the Nazi concentration camp of

Bergen Belsen. If you think of the range of human experience evoked in

novels or the cinema, you realise how narrow museums can be in the

human stories they choose to tell.

17

The Open MuseumOne of the ways we learn about our communities is through outreach work.

Our outreach team The Open Museum aims to bring the museum

experience to people and communities who might not, for whatever reason,

visit our venues. Their work ranges from lending handling kits to community

groups, to working with Glasgow Central Mosque, where we work with a

group of women who visit our stores once a year and select objects for a

display. Many museums do this kind of outreach work, engaging intensively

with small groups, sometimes ending in displays within the museum. Our

concern is that it can easily become a way of avoiding creating access to

the core. While we will always want to provide an outreach service, our main

aim is to learn from engagement with communities to ensure the core of our

museums the displays in the prestigious centre is accessible.

Glasgow Gallery of Modern Art (GoMA)GoMA opened in 1996, as part of the citys commitment to modern art and

as a symbol of the future. The Gallery views with Tate Liverpool for the title

of most visited contemporary art gallery in the UK outside London. It attracts

over 500,000 visits a year, including a very wide range of local people as

well as tourists. Part of the programme there has been a series of

exhibitions on contemporary art and human rights, which we put on in

collaboration with Amnesty International. Here you can see an exhibition on

violence against women by Barbara Kruger. The aims included challenging

destructive social attitudes as well as representing the real lives of women

who suffer abuse. Another exhibition in this series his was an exhibition of

art about Lesbian, Gay, Bisexual, Transgender and Intersex lives. Here you

can see some of the works in the exhibition. One of the outreach projects

involved a work which invited people who had been excluded from the Bible,

especially LGBTI people, to write themselves into the text. This was

extremely controversial and we were subject to concerted campaigns by right

wing Christians for many months. So, this kind of work is not without its

risks, though I think we were nave about those risks and have become

18

much better at managing them now.

StorageMuseum Storage is not an obvious place to apply the principles of access to

the core. In the past 15 years Glasgow has spent 30 million on new state

of the art storage for its collections. The citys politicians agreed to this, on

the simple principle that the people owned the objects and should be able to

see it, seven days a week, without having to justify their interest. The stores

are designed for material to be visible, for public tours and events. We get

about 20,000 visits to our stores each year, about half of them from school

children.

The Riverside MuseumGlasgow opened a Museum of Transport in 1963, when the rise of the motor

car and the motorway led to the abolition of electric trams. In 2001 the City

decided to move this museum to the bank of the River Clyde as part of its

regeneration strategy. The building was designed by the famous Iraqi

architect Zaha Hadid, described as the worlds first great female architect and

incorporated the sailing ship Glenlee which was built in Glasgow in 1896.

The use of a starchitect has led to comparisons with the Guggenheim in

Bilbao, but there is one crucial difference the museum is full of local

history, not international art. It was renamed the Riverside Museum:

Scotlands Museum of Travel and Transport and opened in 2011, winning the

European Museum of the Year in 2012.

The development of the Riverside museum took the principles of public

engagement through consultation and visitor studies developed for Kelvingrove

to the next stage, reaching a new level of depth. We had a very traditional

collection which focused on technology. Because of our interest in stories of

human experience we created a much more representative museum that was

about the experience of travel and mobility, drawing on a much wider range

of the collections, including costume, decorative arts, history, archaeology and

19

paintings. Since the museum opened displays have already changed to

become more representative. One new story is about people from Pakistan

who moved to Glasgow in the 1960s and the many of them who worked as

drivers on the buses. Another is about disability and travel. The Riverside

doesnt have a temporary exhibition space and aims to retain its audience

through changing individual displays and events. Every summer it has a

beach outside the museum, recognising the importance of social activity for

non-traditional visitors.

The Burrell Collection: The Next StageGlasgows cultural regeneration began with the opening of the Burrell

Collection in 1983. The next stage of our regeneration will be led by a

refurbishment and renewal of the museum, due to reopen in 2020. As part

of the promotion of the Collection and the City some of its main treasures

will tour America and we hope Korea. We hope you will be able to visit

Scotland one day, but perhaps you will be able to see some of our greatest

museum objects in Korea sometime soon.

Medieval Sculpture from the Burrell Collection

20

ConclusionFirst, museums have to decide whether inequality is our business. We have

to take a position. We are either resisting increased in equality or supporting

increased inequality. Because inequality is increasing all the time neutrality

not possible. Our underlying aim in Glasgow is to make museums which are

deeply rooted in a sense of place of our own history and traditions, but can

speak to the entire world, welcome new citizens and evoke any human

experience, from sublime creativity of Rembrandt to the horrors of the

Holocaust.

The range of human experience in museums: Man in Armour by

Rembrandt; and a painting of a prisoner checking for lice in Belsen

concentration camp by Marianne Grant.

Through visitor studies, through outreach, through challenging prejudice we

aim to make our museums accessible at their very core. These deep local

roots mean that the museums are more, not less, interesting for tourists.

We believe that museums can be rich sources of hope, meaning and social

connection and they should therefore be accessible to all.

21

The temporary beach at the Riverside Museum

All images courtesy of Glasgow Museums

22

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Session 4

[Regional Development] Museum for National Policy of Sustainable Development of Local Community

[]

MUSEUM FOR NATIONAL POLICY OF

SUSTAINABLE DEVELOPMENT OF

LOCAL COMMUNITY

Adediran Nath Mayo ( )

Previous President of the Nigerian Museums at the National Commission for

Museums and Monuments (AFRICOM) ( )

37

MUSEUM FOR NATIONAL POLICY OF

SUSTAINABLE DEVELOPMENT OF LOCAL

COMMUNITY

Adediran Nath Mayo

Introduction

As I began a new life (after retirement from government service as Director of Nigerian

Museums) into Consultancy business of developing new museums for Organizations,

Government Institutions, Universities, Private Individuals, Communities and supporting them

with training facilities, some of the issues that bothered my mind especially for community

and private museums are those of job creation, wealth creation (and of its redistribution)

and empowerment. This has made me to recall the memories and review of what I had

done in several communities that I had worked in over the thirty five years across Nigeria.

These issues are seen from the views expressed in the desires of the Nigerian Cultural

Policy for the sustainable development of local communities. This presentation looks into the

premises of the cultural law, the generation of the national policy on culture and the

museum roles in supporting and implementing the aspirations stated in the policy of

sustainable development of local communities. Sustainable development of local communities

involves all cultural and natural resources put to use does not on the long-term use

damage the social harmony and the environment. This is to say that all activities that are

done in the execution of the policies are geared toward the overall improvement of the

community.

Museum Definition:

Museums has been defined by the International Council of Museums (ICOM) Code of

38

Ethics (2004) as

a non-profit making permanent institution in the service of society and of its

development, open to the public, which acquires, conserves, researches,

communicates and exhibits, for purposes of study, education, and enjoyment, the

tangible and intangible evidence of people and their environment. [1]

The emphasis here are on the permanent nature of the museum and of its sustainability

as institution in the service of society and its open(ness) to the public with the evidence

of people and their environment. The 1972 International Council of Museums (ICOM) in

Santiago, Chile was where the amendment and reflection of this phrase was included or

inserted into the definition of museum. Credit must be given to Georges Henri Riviere

(1897 1985), a French museologist, who first raised the issue that led to the change in

the definition. It is in recognition of the vital role that the museum is to play in the

sustenance of its community.

in 1974, the ICOM definition of a museum was revised according to the new spirit,

stating that the museum should be an institution in the service of society and its

development (Nancy J. Fuller pp 329 1992). [2]

National Policy:

The National Policy of any country is the stated and expressed guidelines to the

interpretation and accomplishment of what the law of the country emphasizes for cultural

development in the nation. In Nigeria, museums have been placed under the concurrent

list, meaning that any individual, community, university, association or group of interested

people, the local government, states and federal agencies can establish their museums. The

National Policy on Culture stressed the need for National Museums under the National

Commission for Museums and Monuments (NCMM) and a host of other agencies within the

culture Ministry to collectively work together under these broad principles:

39

a) To Promote national consciousness and identity;

b) To attain national integration and democratic participation;

c) Stimulate creativity and develop cultural industries;

d) Sustain tourism;

e) Promote Economic empowerment;

f) To utilize arts and culture as vehicles for participation in national and global

development;

g) To document, preserve and promote tangible and intangible cultural heritage

h) To promote research for strengthening the link between nature, culture, science,

technology and education

i) To strengthen governmental and non-governmental cultural institutions at all levels

for optimal performance;

j) To encourage public and private sector participation and partnership in cultural

initiatives;

k) To promote and develop cultural festivals and related activities and

l) To encourage the development of cultural calendar at all levels of government.

(Extracted from the new proposed Cultural Policy of Nigeria; the first was published in

1988) [3]

The implementation of these broad based policy statements are made on the recognition of

the provision of the constitution and national laws; International standard Setting Instruments

on culture; UNESCO Conventions; World Intellectual Property Organization; UNIDROIT; and

the African Union Charter for Culture 1982. (Section 3). For its implementation, it further

40

recognizes the stakeholders as other government agencies in the Ministry; State

governments; Local governments; Civil Society Organization (CSOs); the Private Sector;

traditional Institutions; and Faith-Based Organizations. In view of the complex nature of the

requirements to make it sustainable, the Federal ministries of Information; Education; Health;

Foreign Affairs; Aviation; Transport; Agriculture; Industries; Justice and Environments and all

their agencies are collaborators in the implementation of the National Policy. This makes it

a very comprehensive document.

For the role of museums in the effectual implementation of the policy and of its

sustainability museums hae been specifically charged to use its traditional roles and

activities to support the achievement of the desired goals. This is to say and emphasize

that museum roles in a sustainable development of local communities will follow these

afore-mentioned objectives of the national policy acting alone and in conjunction, partnership

and cooperation with other agencies.

Identity and its awareness

Identity remains the platform of all cultural development. The Cultural policy did emphasize

that the culture, history, identity and heritage of minority groups are tied to their individual

socio-economic well-being. Its realization and respect in museums operations through

collection, exhibition and interpretation touches the heart of the peoples culture and can

build inroads into the communitys life in such positive way as to receive implications

socially and economically. The development of self-identity and pride in communities, which

creates integrity within the larger society, is of primary and profound importance. Museums

have the resources to confirm and strengthen identities of communities by their collection,

exhibition and interpretation in consultation with other stakeholders. The responsible and

democratic awareness creation and sustenance builds peace and sustainability in the

community no matter how diverse.

There are also known dangers in that Museums have the power to confirm or deny

41

identities especially of minority communities.

Art, history and ethnography displays, even natural history exhibitions, are all

involved in defining the identities of communities or in denying them identity.

Ivan Karp 1992 (page 19)[4a]

Further more

The very nature of museums as repositories for knowledge and objects of value

and visual interest makes them key institutions in the production of social ideas in

many nations. Museum collections and activities are intimately tied to ideas about

..what is central or peripheral, valued or useless, known or to be discovered,

essential to identity or marginal [4b]

This situation is seen often times in a plural society where integration has become a

difficult issue. At a seminar to discuss Citizenship in Nigeria, when Nigeria celebrated its

50th year of independence, discussions centred of two issues, Primordial and National

citizenship, while the third, Heaven was left out. With the fast changing demography,

situations have become more complex. Despite the complexities involved, several people

have devoted their time and energy in the promotion of cultural goods that emphasizes

their identity. With United Nations Educational Scientific and cultural Organization

(UNESCOs) Convention on Cultural Expression, there are more cultural goods produced by

dedicated people in the hope and believe that by so doing, their identities are not wiped

out the face of others. It is another means of preservation and protection of their identity.

This is to say that in the process of preservation and promotion of cultural identity, a

sustainability process is involved, which creates jobs and empower people. Within that

identity, there is therefore a multiplier effect in a nation as diverse as Nigeria with over

two hundred and fifty ethnic nationalities and linguistic groups. On its sustainability, extra

care is required in the presentation and interpretation of museum exhibits. The art and the

facts of artifacts must be seen simultaneously.

42

No museum, no history, no object nor piece of evidence is innocent or pure. In

that regard then, the capacity for museums to be places that defy convention and

speak when others are silent, is both a major safeguard and a tremendous risk

(Kavanagh 2001).[5]

So also is the issue that

There are no natives without strangers, no Strangers without the Native . Nor can anyone speak for one just for the other (Greg Dening 1996)[6]

Culture is cumulative of experiences over time and space and in the many contacts and

frictions with the environment. Respect and appreciation of that which was borrowed from

others from those which are indigenous should be appreciated and well defined.

Integration

For countries like Nigeria, built from the amalgamation of several ethnic nationalities and

being transformed into a new nation, the integration of various cultures under a unifying

cultural policy is paramount. It is essential and very important to be stated and

emphasized. One of the roles of the museum in this area is the efforts in building cultural

integration and making efforts to reconcile the many cultures brought together by the

artificial creation of a new nation. The efforts of the National Commission of Museums had

produced great dividends in publications especially of that of Treasures of Ancient Nigeria:

The Legacy of 2000 Years by Prof Ekpo Eyo first at the Second African Festival of Arts

and Culture tagged FESTAC. Integration of cultures gives a greater capacity to development

within the community, which is borne out of mutual respect and appreciation for one

another. Several exhibition in the past and some presently relatiing to the similarities in our

differences had gone a long way in promoting social harmony, development and the

building of peace (which I shall address later). For young developing countries, emphasis

has always been placed on integration of cultures especially of the minority side by side

with the dominant cultures. With the emerging new order and the changing demography,

43

new cultural goods are emerging to fill in the gaps and satisfy the new orientation.

Museum as repository of these cultural goods and following the trends in their collection

provide services that are of great significance to the stability of the community. The

museum maps the evolutionary trend of shifts within the community and the nation in

social expression. These services cannot easily be provided by other institution in the real

form. Photography and paintings may suffice, but the display of artifacts by museums gives

a more vivid information on knowledge, education and of social significance.

Sustain Creativity

The continued promotion and awareness creation goes a long way at sustaining creativity.

Sustenance of creativity is necessary because the eventual development and expression of

self-pride in identity creates a new line in the local economy and eventually in the national

economy. Creativity is invention and invention builds a new economy. To sustain it means

the creation of new line of business.

Research and Documentation

Continuous research and documentation of both tangible and the intangible cultural property

in their expressed forms reveal a lot of information first as to the progression of the

culture and also for study to see the gravitation of these cultures in their true perspectives

especially when compared with other close identities. Product of past researches and

documentations into various cultures are necessary to give new life to others in search of

what to do in life. Others will find a new living in it, while some others will explore the

situation to produce a new genre. The result will be useful in servicing other sectors as

will be discussed in detail in other areas along the line. Research is never a wasted effort

and the documentation of cultures is a store house.

Partnerships that Works for Development, Empowerment and Job Creation

The National policy in proposing that in creating a sustainable environment, partnerships

44

that works is needed for job creation, empowerment and development in communities. It is

a well-known fact that sometimes it may not be possible for one organization to do the

work outright, but it may be better done if two or three or even more organizations within

and without the culture sector come together. In partnership with others much could be

realized. While working as the Curator of the National Museum at the Old Residency,

Calabar, there was the need to support others in the development of tourism in the state.

The Museum was to assist in the identification of historic sites, monuments, historic houses

and other landmarks in the State based on past researches and (very) known facts. In

doing so with other agencies in partnership, we ended up having more museums

established and a few listed for further development. This singular participation created

several other jobs in the museum and in other areas like tour guides, security, and outlets

for souvenir markets, restaurants and entertainers. The partnership raised the profile and

quality of museum staffers, opened new areas of research as visitors demand more

information on display in museums and at sites. Many marketing outfits and organizations

in search of areas to brand and advertise, found suitable grounds. This resulted in more

jobs and empowerment.

Cultural Industries

UNESCO has defined Cultural Industries as follows:Cultural Industries are defined as those industries which produce tangible or

intangible artistic and creative outputs, and which have a potential for wealth

creation and income generation through the exploitation of cultural assets and

production of knowledge-based goods and services (both traditional and

contemporary). What cultural industries have in common is that they all use

creativity, cultural knowledge, and intellectual property to produce products

and services with social and cultural meaning.

Nigeria (Nollywood) is the third largest producer of films in the world after Hollywood

and Bollywood. Most of the ingredients used in the stories are those drawn from the

45

intangible cultural assets mixed with the contemporary to produce a new product.

Museums have been supportive from the onset materials to be used and the context

in which it is to be used. Museum exhibitions have helped in sharpening and

increasing the depth of the contextualization of films. Today, Nollywood and its allied

service providers have generated more than any other sector of the economy.

A New learning Society

The Museum should be a new product in the market place. The Museum must take a

leading role in the interpretation for a new economy that is both functional and engaging.

The museums efforts in the presentation, projection and interpretation may result into a

new line of production in the economy that will provide jobs and sustain the society. The

power invested in the presentation of exhibits in museums sometimes become legislative.

In my new calling as a Consultant to many up-coming community museums, I have

suggested some of the following:

a. A function of the economy - By this, the museum should be seen from

the point of view of making attempts at turning the wheel of progress

forward. We are going to inspire to acquire by using things that we

already know exist to motivate. As Nigeria was preparing to host the

FESTAC in 1977, the National Museum Lagos created the Craft Village

as a place to demonstrate the process of actual production of many of

the artifacts on display in the museum by the same traditional methods

and the lineage of notable families whose occupation it has been to

make those products. This is in addition to what visitors would see at

the museum. Presently, there are more craft villages outside of the

museums. It has engaged several people in the trade and has produced

so much to feed both the domestic and international tourism.

b. Teach new skills the interpretations of exhibits should lead to the

acquisition of new skills necessary to function in the new economy.

46

Interpretation should be an opportunity to teach new skills that will add

value to the development of the economy of the community.

c. Raise apprenticeship and not mentorship In doing this, the museum

will be raising apprenticeship of its own where mentorship had failed.

Mentorship cannot teach, impose or raise new agents that will rise

above it. It may at best re-produce itself from a distant location.

d. Producing solvents for young and dynamic people for regeneration

This is an avenue to produce solvents, wherein the apprentice can be

dissolved, regenerated and transformed into a potent (dynamic) force

rearing to go. The creation of Entrepreneur Learning Centres based on

the models of the National Museums Craft Village setting in communities

and probably the creation of viable Eco-Museums using the local

resources for its development.

e. Recreation and entertainment It not all of learning and economy, it is

about a virile community that finds recreation and entertainment therein.

Its recreational facilities and entertainments through new products from

the museum should provide joy after the visit to the museum and taking

items that will further entertain them and give them joy at home. The

museum premises should also provide on-the-spot recreational and

entertainment spots most especially to the youth and a delight to the

aged. Old and notable recreational activities may have a space and

place in the museum as a means to broadening the perspective of the

citizens. A forum for topical debate, discussion and meeting to engage

each other on issues of the day.

May I end this part by this statement credited to John Choate, trustee of the new

Metropolitan Museum of Art, that the museums

plan was not to establish a mere cabinet of curiosities which should serve

47

to kill time for the idle, but .to gather together a .collection of objects

illustrative of the history of the arts in al its branches ..which should serve

not only for the instruction and entertainment of the people, but should also

show the students and artisans of every branch of industry ..what the past

has accomplished for them to imitate and excel. (James M. Bradburne

2001) [7]

A New Economy and Social Order

From the above, museums have a new role in their presentations and interpretations to the

visitors and to their community the projection of a new economy and a new social order.

The ancient arts were products of the past economy. They represent the climax and the

best of its time and if so, it should be seen and interpreted as instruments and catalysts

to the creation of a new economy and a new social order. Artisans of all branches of the

economy can freely copy (imitate) to excel in their calling. While museums demonstrate the

creation of these arts forms in the craft villages surrounding the Nigerian museums, new

technologies can be deployed to make improvements in their present day production.

Instead of hand looms used in the production of aso oke, specialized machines have

recently been introduced (to meet the greater demand) into the making of aso oke, which

makes longer strips at a very short time.

While serving as the Curator of the National museum at the old Residency, Calabar, one

of the projects we embarked on was to create a Museum in honour of Mary Slessor, (A

Scottish lady on a missionary journey to the Cross River region at the later part of the

19th century and the early decade of the twentieth century), who did so much to empower

women. The museum was modeled after the Kazuri beads of Nairobi, which started well

but because of politics and of succession of power, suffered an untimely death.

Support for Tourism

Museums in Nigeria are at the heart of its tourism industry. One of the foremost state in

48

the federal republic of Nigeria that took tourism seriously was the Cross River State. We

had planned to open several museums to address several issues of the history and

political development of the region starting from the Trans-Atlantic Slave Trade History

Museum, Missionary influence in Education, Health and also the Colonial History among

many others of local history and of palaces. Some of the facts that we have come to

realize were as follows:

a. Whereas it cost so much to erect new monuments and build new structures using

so many men that will be laid of immediately the project is finished, maintenance

of historic houses require the engagement of people on a more permanent situation

with opportunities to train them for efficiency and perfection. Maintenance of Historic

Houses and landmarks is labour intensive. It provides avenue for the creation of

more jobs on a more permanent basis.

b. As more heritage sites and historic houses are opened to the public, new

businesses develop around the facility. There are new markets in other businesses,

some related and complimentary. Some of these businesses are those of

entertainments, recreation and restaurants. There were many cultural groups available

to showcase traditional dances and attire at the every corner that you turn to.

c. Other less privileged sites not recognized by government for development, raised

money from other sources to project theirs thereby adding more to the fun of the

visitors and tourist.

d. There were more recruitments into the security services, restaurants, guides (both

state trained and maintained and other local). There were more transporting facilities

to the venue for moderate users as well as those for groups. The State employed

more cleaners and traffic wardens.

e. The year-long activity of the cultural tourism is the Annual Carnival. Carnival as it

was from its original beginning was to commence from the Shrine (Museum)

through the city passing through monuments and historic landmarks to the Arena

49

and the back to the Shrine (museum), where victories reside. The Museum here

was a colonial structure, housing colonial history; we lost this great aspect of

remaining as the centre-piece. This is why the carnival has be tagged the biggest

Cultural Street Party in Africa. It has the capacity to drawing several thousands of

youth to the streets for dancing and all sorts of cultural shows and performances.

One significant and very important aspect of it all is that during the month-long

activities, crime rate fell.

Building Peace

From the statistics of crime rate falling because of cultural engagements and performances

and the use of craft villages that have been springing up in many places in Nigeria, I

have proposed the use Cultural Industries as a means of peace building process in

Nigeria. It is also could be used to engage youth in restless areas to surmount conflicts

and bring about peace within the troubled region. The regional office of UNESCO in

Nigeria has adopted in addition with Town-Hall Conference (discussion table) this for use in

a post Boko Haram insurgence of the north east Nigeria. Museums must take a lead in

the process of the display and practice of both the tangible and intangible cultural property

of the community in its production and interpretation together with local community

historians and elders.

Conclusion

In making the Museums meet the aspiration of the National Policy objectives and support

the sustainable development of local communities, the museums as a matter of priority

must help locate the place of communal identity and sensitize it by creating the necessary

awareness as a template for recognition, relevance and participation. This appreciable

identity must be connected and be in conformity with shared values within the diversity of

the Nigerian society.

50

To be more meaningful, Museums must be at the centre of a new learning society and

the development of a new economy (that is not reliant on oil and its allied products),

helping to develop and teach new skills (cultural industries) that will help create wealth,

support the art (not the politics) of wealth re-distribution, build peace, create jobs and

empower its citizenry. It should be extended to supporting the tourism industries and

support a new social network that can attract and sustain interests to stimulate the

economy, while projecting the community and its traditional produce and product in an

excellent form that bring communal pride and overall preservation of local cultures.

Museum should stimulate creativity and build new systems and avenues in cultural

industries that turn small scale outfits of artistic creation into big time factories of employers

of labour, job creation and empowerment, which by other implications extend to the peace

building process within the community. This peaceful environment of peace supports heritage

(nature and culture) tourism both at the domestic and international levels for greater

economic benefits and a stimulant to investments.

References

1. International Council of Museums (ICOM) Code of Ethics 2004

2. Nancy J. Fuller, (1992)The Museum as a Vehicle for Community Empowerment:

The Ak-Chin Indian Community Eco-Museum Project (327 -365) in Museums and

Communities: The politics of Public Culture edited by Ivan Karp; Christine Mullen

Kreamer and Steven D. Lavine (Smithsoniain Institution Press, Washington and

London

3. Cultural Policy for Nigeria 1988 (revised) Printed by the Federal Government

Printer, Lagos

4. Ivan Karp 1992, Introduction: Museums and Communities: The Politics of Public

Culture; edited by Ivan Karp; Christine Mullen Kreamer and Steven D. Lavine

51

(Smithsoniain Institution Press, Washington and London

5. Gaynor Kavanagh, 2001, Museum 2000; Confirmation or Challenge

6. Greg Dening (in Nath Mayo Adediran) 2012, THE POLITICS OF OBJECTS

OBJECTS - Spoils: Viewing others: The Views of Others at the International

Conference of the International Committee on the History of Art

7. James M. Bradburne 2001, Issues Facing the Museum in a Changing World in

Museum 2000: Confirmation or Challenge?

52

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1. (ICOM) 2004

2. J. , (1992) (The

Museum as a Vehicle for Community Empowerment):

(The Ak-Chin Indian

Community Eco-Museum Project) (327 -365):

(The politics of Public Culture); D.

( , )

3. 1988 ()

4. 1992, : : ;

66

; D. ( ,

)

5. , 2001, 2000; (Confirmation or

Challenge)

6. ( ) 2012, ( THE POLITICS OF

OBJECTS ) - Spoils: (Viewing others):

(The Views of Others at the International

Conference of the International Committee on the History of Art)

7. M. 2001, ( Issues

Facing the Museum in a Changing World in Museum) 2000:

( Confirmation or Challenge?)

Session 4

[Regional Development] Museum for National Policy of Sustainable Development of Local Community

[]

A Whole of Museum Approach to

Collaboration with Australias First Peoples

Robin Hirst ( )

Executive Director Museum Victory's Research Program for Melbourne Museum

( )

69

A Whole of Museum Approach to Collaboration

with Australias First Peoples

Robin Hirst

Throughout history, people have been on the move across our planet. Empires

have risen and fallen, nations have formed and changed, lands have been

occupied and settled. However, across the globe, many nations have within their

current populations, descendants of the original people who inhabited the land.

This presentation aims to contribute to the discussion as to how museums can

play an important part in acknowledging these Indigenous people, the Traditional

Owners. I will draw on my knowledge of the context of Australia and in

particular on my experience with Museum Victoria.

1. Museum Victoria

Museum Victoria is Australias largest museum organization. We are based in

Melbourne in the state of Victoria, and are responsible for the stewardship of the

collections of the state of Victoria in the areas of history, technology, natural

sciences and Indigenous cultures. We describe our collections as encyclopedic as

they cover both nature and culture. Our collections total 17 million items, and

we have an active research program to develop the collections and enhance the

associated knowledge. We run four public venues: including three museums

(Melbourne Museum, Immigration Museum and Scienceworks), and the World

Heritage-listed Royal Exhibition Building. The annual visitation to our museums is

1.5 million people.

Since 1854, the Museum has collected Australian Aboriginal and Torres Straight

Islands artefacts. Like all museums of this period with major natural history

collections, these artefacts were made alongside collections of fauna and flora as

Europeans explored and colonized new worlds. These collections now bring new

70

responsibilities, especially to todays Traditional Owners of the land the

descendants of those who survived the devastating effects of colonization since

1788.

2. Aboriginal Australia

Australia is a vast island continent. From the tropical climate of the north to the

cool temperate region in the south, and from the lush eastern seaboard to the

harsh deserts of the centre, it was a land that just a few millennia ago was

connected to Asia in the north, and with the island state of Tasmania conjoined

to mainland Australia in the south.

The map of Aboriginal languages in Australia shows some 250 individual and

distinct language groups and many more social groupings and a similar number of

dialects. Each group resides in a different terrain often with different climates

and different cultural practices. Aboriginal culture is indeed made up of many

cultures. These are the oldest living cultures on the planet, with Indigenous

Australians having occupied Australia continuously for an estimated 60,000 years.

The population of Australia today is nearly 24 million people. The percentage of

Australians who identify as Aboriginal is 2.4%, and in Victoria it is 0.6% of the

states population. Compared with the overall population, the life expectancy of

todays Indigenous Australians is significantly lower, their infant mortality rate is

higher, their incarceration rate is higher, the level of education is lower and the

level of home ownership is lower. Today only a quarter of the Australian

Aboriginal people are found in remote areas.

Aboriginal Australians are a critical part of our history and our future. Museum

Victorias challenge is to work with the 38 different language groups in Victoria

alone, in our progress towards a national objective of reconciliation. There is

much work to be done.

71

3. Political Landscape

Australias recognition of, and reconciliation with, its Aboriginal people is a

relatively recent activity. It is still a work in progress. The national landscape

with respect to the Aboriginal people of Australia is changing and doing so quickly.

Museums are living through and making a vital contribution to changing the

relationships with the Traditional Owners of the land. There have been many

recent political advances after years of work by Aboriginal leaders:

1967 Referendum changed the Constitution, included Aboriginals in the

Census

1992 Native Title was possible as the land was deemed to have been

inhabited prior to white settlement

2008 Prime Minister Kevin Rudd apologizes to Aboriginal people for past

practices of removing indigenous children from their families.

There are currently discussions underway to see how the original inhabitants might

be acknowledged in the founding document for our nation, the Australian

Constitution. These discussions are consistently in the mainstream media today.

4. Museum Landscape

Australian museums, as holders of material culture and ancestral remains, have

had some major policy changes in the area of Aboriginal culture. Some of the

major changes in and influences on Museum Victoria include:

1984 Museum Victorias Aboriginal Cultural Heritage Advisory Committee

established to advise the Museums Board of Victoria

1984 Repatriation of Ancestral Remains begins

1993 Previous Possessions, New Obligations, a new policy from Museums

Australia, the professional membership association

2000 Bunjilaka Aboriginal Cultural Centre opened at Melbourne Museum

2005 Continuous Cultures, Ongoing Responsibilities, Museums Australias

policy is revised

2013 First Peoples exhibition opens in Bunjilaka.

72

What has changed with our leading museums in recent years is that the

emphasis, as outlined in Continuous Cultures, Ongoing Obligations, has become

more focused on:

Custodianship and care-taking rather than ownership

Recognition of the value of stories and other intangibles associated with

objects

Acknowledgement and recognition within museums of contemporary

Aboriginal and Torres Strait Islander cultural practices

The creation of genuine relationships of recognition and reciprocity between

traditional custodians and museums and galleries.

5. Leadership in Museum Practice at Museum Victoria

Museum Victoria is taking a leadership role in acknowledging and respecting

Indigenous Australians. Our partnerships with Indigenous communities have

changed the way the Museum works. Within the areas of collections, research

and exhibitions, new ways have been forged to work in a collaborative manner,

and all the while acknowledging the rights of the many Indigenous communities

we serve.

What I wish to do now is to take the familiar output of a museum, namely

collections, research and exhibitions, and to give you some examples of the ways

we now work with Indigenous people.

5.1 Collections

Repatriation

We have within our collections, a large number of Ancestral Remains and objects

which are regarded as secret or sacred by Indigenous communities. Our policy is

to return these. We have an active program of repatriation of these Remains

and objects to the Traditional Owners of the communities from where they were

taken. To date, we have returned over 2,300 Remains. The return of the

Ancestors began as a divisive issue, however it is now an overwhelmingly positive

one. Through returning their people, we have developed stronger relationships

73

with communities.

Conservation

I will outline the new approach to the conservation of Indigenous collections by

relating a research project recently conducted by a curator and conservator which

relates to two bark paintings collected by the University of Melbourne

anthropologist, Professor Donald Thomson, in Arnhem Land in northern Australia

between 1935 and 1937. These two barks come from an extraordinary collection

housed in Museum Victoria, part of the Universitys holdings. The two bark

paintings were not in a condition to be exhibited, yet they come from a clan

renowned for their bark paintings. Our curator has a long standing relationship

with the clan and the project allowed us to explore questions such as:

Should we treat the barks or not?

What did the community want them to look like?

Would treatment alter their meaning?

Who should carry out any treatment?

Are there traditional care and repair techniques?

Can modern materials be used?

To answer these questions, Museum staff approached a Gupapuyngu community

elder and scholar, Dr Joseph Gumbula, and engaged in both field- and

museum-based conversations with him and others from the community. Western

societys concept of preservation and conservation treatment was unfamiliar to the

Gupapuyngu community. A short film translated into the local language was used

to engage the community with the issue. These conversations led to new

knowledge for Museum staff. During visits to the Museum, clan members

demonstrated traditional methods to staff, and Museum staff explained

contemporary preservation techniques. Decisions were then made on the way to

best conserve the paintings without them losing meaning or introducing the hand

of another artist.

74

Contemporary Collecting

Museum Victoria has many Indigenous collections which date to the late-19th and

the 20th centuries. These were acquired relatively soon after European settlement

of the various parts of the island continent. However, as the cultures are

continuous, the interests and practices of communities are forever evolving. We

see it as our responsibility to collect contemporary material to illustrate this

evolution. Artists in some communities have been influenced by technology or

new materials, however the underlying stories remain and need to be documented

in these emerging forms for future generations.

Museum Victorias philosophy in developing the collections relating to Indigenous

Australians is twofold: it is underpinned by the notion that cultural objects and, in

more recent decades, artistic works in a range of media, reflect the ongoing

connections to country for Indigenous Australians; and it also reflects the dynamic

and ever-changing nature of Indigenous cultural practices and societies through

time. As such, particular components of these collections have a somewhat

continuous representation of cultural life and history for Indigenous Australians

from the earliest days of colonization through to the present day.

We have over 1,500 objects originating from the Tiwi people of Bathurst and

Melville Island off the coast of Darwin in northern Australia. The objects

collected in the late 19th and early 20th centuries attest to a strong cultural and

artistic aesthetic that is recognizably Tiwi as seen on bark baskets called tunga.

Tiwi had early contact with Macassan people over many hundreds of years,

however life changed dramatically when they encountered Catholic priests who

first arrived in 1911.

After 1945, a market for Tiwi souvenirs and carvings emerged, and artists changed

to making bird and human figures from ironwood, which was a practice based on

the strong tradition of making large and elaborately painted ironwood grave posts.

By the 1970s, figures, poles and spears were in high demand, and many examples

are to be found in the Museums collections. More recently, the Museum has

75

collected contemporary jewelry based on traditional Tiwi designs.

5.2 Research

Indigenous Knowledge

Museum Victoria has a very active research program relating to the natural world.

Its natural science collections number some 15 million items. As a way of

monitoring the health of the fauna of the state of Victoria, surveys of various

regions are undertaken each year, and specimens collected. This field work

involves approximately 40 scientists together with photographers and videographers

who spend several days identifying species on land, in the waterways and in the

oceans.

Recently we have been working closely with the Indigenous communities whose

people have been connected to the land for thousands of years. A collaboration

with the Gunditjmara people, whose traditional land is the stone country in the

west of Victoria, has grown through this work. It has resulted in community

members, particularly Indigenous park rangers, assisting our scientists in the field

work. The rangers have made visits to the Museum, viewed the collections and

shared our knowledge of specimens. In return, the rangers have provided us with

their traditional knowledge of the fauna.

This collaboration has developed to such an extent that Museum scientists are

now working on a mobile device App with the local community which will be a

field guide to the fauna of the stone country and which will also incorporate the

communitys own stories related to the animals.

Access to Information

Museum Victoria is interested in looking at the best ways for researchers and

Indigenous communities to collaborate in order to facilitate access to collections

and associated documentation.

Two early ethnographers, Walter Baldwin Spencer and Francis Gillen, who worked

76

with Indigenous communities in central Australia for 10 years from 1875-1912,

amassed a significant collection. Museum Victoria holds a large part of the

collection, but other sections are dispersed across a wide network of Australian

and international museums.

Funded by a Linkage Grant from the Australian Research Council from 2010-2013,

researchers from Museum Victoria, Australian National University and South

Australian Museum consulted with central Australian Indigenous communities.

They worked together to reconstruct the collection of more than 50,000 objects,

notebooks, illustrations, photographs, film and sound recordings, and to bring them

together again virtually through a website. This work enabled the collection to be

viewed in a holistic way again for the first time in more than 100 years

The Spencer and Gillen: A Journey through Central Australia website was launched

in 2013, and now provides access to one of the most important cultural archives

available to these regional Indigenous communities.

5.3 Exhibitions

Co-curation

Last year, Museum Victoria won several international and national awards related

to a new gallery at Melbourne Museum called First Peoples which opened in

September 2013. The gallery is part of Bunjilaka, the Aboriginal Cultural Centre

at Melbourne Museum.

The awards included:

Overall Winner, and Winner of the Special Distinction Honour for Innovative

Integration of Design and Content, at the American Alliance of Museums

2014 Excellence in Exhibitions Competition

Winner of the overall National Award, and winner in the Permanent

Exhibition or Gallery Fitout Level 4 category, at Museums Australias 2014

Museums and Galleries National Awards (MAGNAs)

Winner in the Leadership in Public Programs category at the Victorian

Governments 2013 Arts Portfolio Leadership Awards

77

Finalist in the Communication Design category of the Victorian Governments

2014 Victorian Premiers Design Awards

Winner in the Good Design Selection Education Service category of Good Design Australias 2014 Good Design Awards

Winner of the Gold award in the Installation, Display, Exhibit and Set

Design category (for Bunjils Wing, part of the Creation Stories Cinema) at

the 2014 Melbourne Design Awards.

The First Peoples gallery has four major sections:

Wominjeka the welcome area, where visitors encounter the diverse geographical areas of Victoria and more than 40 different language groups

Generations where portraits, contemporary and historical, of local aboriginal people show visitors that the population is still here and proud

of their heritage. Life-sized projections of many men, women and children

tell their individual stories

Our Story telling of 2,000 generations of Aboriginal life in Victoria. It begins with a local Creation story and continues to the time of white

invasion when the narrative becomes one of a shared history

Many Nations featuring collections and stories from across Australia. The information on the collections featured is accessed through touch screens

which link directly to the collection databases, ensuring that the information

is updated automatically when any changes are made. This area also

features Aboriginal childrens games from across Australia to engage

younger visitors.

The success of First Peoples can be demonstrated not just through the awards it

has won from museum peers and wider industry, but through the way that it has

been embraced by Aboriginal communities and our visitors. However I believe the

success lies deep in the way it was conceived and delivered.

At the outset, there was a commitment by Museum Victoria to work closely with

the Aboriginal communities. However what transformed this project was moving

78

from consultation and community engagement to one of true collaboration. A

group of 20 senior Aboriginal community members from across Victoria was

employed by the Museum to come together for a period of a few days at several

different stages of the project, to provide direction and shape the stories to be

told. The group called themselves Yulendj, meaning Knowledge in the local

Aboriginal language. This collaborative curation model meant that the exhibitions

had an authenticity which ran through the entire development. Although it was

guided by senior Indigenous staff, the Museum as a whole had to embrace the

challenge to rethink the power relationships and to allow the Museum spaces to

be a vehicle for Indigenous perspectives on settlement history.

Promoting Contemporary Indigenous Artists

Since the opening of Melbourne Museum in 2000, Museum Victoria has had an

active program of commissioning new work from contemporary Indigenous artists.

The Museum has committed itself to commissioning major artworks from various

artists and communities, to complement the themes of our exhibitions and public

programs, to sit alongside our historical collections, and enrich our visitors

experience with Indigenous culture. Notable recent examples include: Judy

Watsons Wurreka 50-metre etched zinc wall for Melbourne Museum (2000);

Maree Clarkes kopi (mourning) installation in the First Peoples exhibition (2011);

and, Steaphan Paton and Megan Cope's Transcendence installation at the

Bunjilaka Aboriginal Cultural Centre entrance (2015). The Museums efforts have

helped to encourage the artists to develop their professional practices, permitted

them to produce ambitious new work, and often assisted them in dealing with

contemporary topics and issues.

Supporting Artists

For the last 15 years, the Bunjilaka Aboriginal Cultural Centre at Melbourne

Museum has been running a Community Art Program to help promote and

celebrate the continuation of the living and vibrant Aboriginal culture of Victoria.

The program encourages both new and emerging local artists to share the creative

expression of their culture, and showcases their stories, talent and immense pride.

79

Three exhibitions are presented each year in the Birrarung Gallery in Bunjilaka, a

space dedicated to Aboriginal art from south-eastern Australia. Artworks range

from painting, print-making, sculpture, glass, ceramics, carving and weaving,

through to photography, digital media and other installations. Over the years, the

program has encompassed the many cultural and geographical connections from

across south-eastern Australia, providing Indigenous artists with the opportunity to

maintain and strengthen their artistic and cultural practices and values. It has an

important role in creating a public understanding and awareness of local

contemporary art and culture. One important feature of this project is that the

work is often for sale, directly benefitting the artists.

6. Summary

Museums are playing an important role by giving voice to Indigenous Australians

to let them tell their deep and rich stories to visitors. Museums can also provide

information to communities that has been hidden within the collection thus

encouraging old practices to be rediscovered. Todays communities are enriching

the information held in scientific and cultural collections through generous

collaborations with museums. As Australia struggles to acknowledge and right the

wrongs of the past, there is an opportunity for museums to take a leading role if

they are prepared to work in partnership. This can be a positive step towards

recognition, respect and reconciliation.

80

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Session 4

[Regional Development] Museum for National Policy of Sustainable Development of Local Community

[]

The Role of Museums for Sustainable

Development of Local Communities:

A Case of South Korea

:

Suh, Won-joo ()Head / The Children's Museum, the War Memorial of Korea

[ ()]

93

The Role of Museums for Sustainable

Development of Local Communities:

A Case of South Korea

Suh, Won-joo

I. Definition and Concepts of Sustainable Development(SD)

II. Role of Museums for Sustainable Development of Local Communities

III. Case of South Korea

94

:

I. (SD)

II.

III.

Session 4

[Regional Development] Museum for National Policy of Sustainable Development of Local Community

[]

Museums and Museology in Romania

Dan Octavian Paul ( )

Head of Zonal Restoratlon Laboratory Museum of Banat

( )

97

Museums and Museology in Romania

Dan Octavian Paul

Romania is located in the South-East of the Central Europe, in the Northern part of

the Balkan Peninsula, with a 238391 km surface. Romania is standing on the

carpathian-danubian-pontic region, and it formed its shape following the Romanian

Carpathians.

Romania's neighbouring countries are Ukraine in the North, Bulgaria in the South,

bordered by the Danube, Hungary in the West and Serbia in the South West. We

can find The Republic of Moldova in the East and the Black Sea in the South

East. The 45th parallel North passes through Romania.

The 2011 official census indicated a population of over 20 million inhabitants.

Romania has been a member of the European Community since 2007, and member

of NATO si