Académique Documents
Professionnel Documents
Culture Documents
Contents
11
13
115
117
Vie.poinl 2 :
The musewn and museology :
a spontaneous or rational relation - or none at ail ?
Summary by Judith K Spielbauer
125
Vtewpobil 3 :
The musewn and development - inside and outside :
trends observed and forecasted
Summary by EulJia Morral i Romeu
133
V~poilll4
:
MuseoIogy and museums : a global analysis
with emphasis on ideas not covered by other viewpoints
Summary by Rosario Carrillo
141
_ 149
151
ICOFOM pubUcatIons
CIoldns date:
171
Sommaire
11
13
115
Appodle 2:
Lemuse et la musologie :
une rlatton spontane ou rationelle . ou aucune rlation du tout
Rsum par Judith K Spielbauer
"' 21
129
Appiuche 3:
Le muse et le dveloppement - dedans et dehors :
tendences observes et prvues
Resum par Eullia Morral i Romeu
1 37
Appiuche 4:
Musologie et muses :
une analyse globale des ides non traites par les autres approches
Rsum par Rosalia Carrillo
145
149
Mmoires de base
151
PubltcatfonsderlCOFOM
171
There are four amditions for bringing 10 Ihe world mlical views on anolher person's
ideas. AI leasl four, should 1 say. Maybc, someone else wOllld counl up a king lisl of
what is necessary for such a lask . but Ihese four premises came ta my mind just now,
when silling wilh a "bunch" of co!mnenls 'pllecl~.d for the ICOfOM symposium 1987.
Wilh new ones still dropping in, 1reflccted aboul how to reproduce as many as possible
of them for the rapldly approaching meeling. wlthout missing Ihe prinler's definltely
last possible deadHne, and what couId be done ta improve this phase of our symposium
model.
Because everything can be improvcd . including 0111' commenting routines and melhods.
Not only la make il humanly and physically possible for Ihe Edilor la get the texts
reproduced in sorne way, but (irst o( ail 10 ensure Ihat the goals of wriling the comments
could he really achieved. And it is there, as 1(cel il, .just now where the shoe pinches!
ln preparing the past meetings. wc made several improvements of our working
methods for the symposra. Take (or example the "basic papcrs phase-' By long-term
planning of symposia topics, by Iracing Ihe (ramework o( the respective lopic and
brealdng it down into several sublopics, by introducing a provocative-thoughts paper as
a starting point for the work on the topie, wc created conditions for concentrated
reflections on the chosen Iheme. 111c ne1Ct st~p. could be, perhaps, 10 si rive ta increase
personal participation in Ihe symposiull1 process by promoling preparatory work on the
basic papers - and a follow-up afterwards - in rgional Ot national, whichever seems to
he easier, museology working gJ:P-m<s o( ICOfOM. 111is, of course, as a complement to
the individually based presentation o( ideas and views, as done now.
We have also improved our - healing phase -. 'This time, ilLfinland, we will test a
new approach, a composition of earlier separately used methods in a more effective
combination, 1hope. nIe enlarged nucleus of intcresled collaborators in Ihe Committee
makes it possible ta get a greater group involved in Ihe preparations for and carrying
out of the hearing ilself. Thus, the 1iscu:i~Lon leaders, two or three, wUl only
concentrate on leading the discussion in Ihe sense o( snatching up the expressed, or on!y
hinted at, ideas, further develop Ihem, and lead the discussions to conclusions. As an
innovation, three or four "alJ<lly.zJ11iL-gJill.maliz_ers" enler Ihe scene. Maybe you re
member them from London 1983. But Ihere Ihey were alonc, wlthout a discussion
leader taking over, just as later on Ihe discllSsion leaders were without support from a
summarizer.
What is the intention of this new team.col11binillion7
The summarizers will make in Wliting an analysis of ail the papers from an agreed
angle, prior to the symposium hearing. For Finland, the (ollowing viewpoints , expres
sect ln three sub-topics, have been delinealed for the analysls of the topic Museology
and museums:
a The idea of the museum: its birth, development, and definition
o The museum arn:lJn.useo!ogy: a spontaneous or rational ['('laHon - or none al ail ?
o The museum and developmenHnside and oulside: trends observed and (orecasted
The corresponding three analyzing summaries, and a global one> are reproduced in this
issue of ISS which will be distributed at Ihe bcginning o( the meeling. 111ey Jay also the
ground for intraduong the corresponding seclion o( Ihe hearing. Nter having fulfilled
7
thls task, the summalizers parttcipate not only for themselves ln the dIscussion tram
the auditorium, but also see la it lhal all inleresling aspects in lhe basic papers collected
conceming their sub-topic, and especially those of writers nol present, are taken up for
discussion. Supported by the author of the dynamic pnwocative view on Museums in
movement, who also folfows the discussion trorn the gmup of participants, ail together,
with the discussion leaders. they try la forrnulate the conclusions la be drawn al the last
hearing session, before the symposium is c1osed.
lhis Is the background ta that what will happen in Finland but could not more could
be done? How to improve the 'collilllenting phase' in arder la facililate the hearing
and to reach a beller final result ?
The 1987 yeats harvest of basic papers has becn good again: 34 papers received more or
Jess in lime, three additional ones reproduccd in this issue of ISS, and still sorne fi/mly
promised to be brought to the meeting itself. A good result which, however, does not
exactly allow the desirable participation of everybody, the authors as weil as the mem
bershipoflCOfOMand especially of those who regisler for the meetings, ta give views
on the basic papers. The reason is the lillletable, which seems to lIlake problems.
Simply. we need more lime to cany oullhis phase "comme il faut":
TIme to get the.bgslcpaperscollected according to the deadline, reproduccd in ISS
(avoidlng thus the very liring task of making and distributing successively working
copies of ail the papers before they ail have been assembled and could he printed) and
distributed to the authors and those who registered for the meeting (registration by the
deadline belng another weak point in our preparatory system)
o TIme to analyze the papers, ta put down on paper cornmgnt:i on the ideas presented
in them and, extremely importanl, ta get them sent ta the Editor by the deadline.
o TIme to make it possible at leasl for the discussion leaders and now also the summa
rizers to read the comments betore the hearing starts'
Much lime - but not impossible ta manage il. Ta advance the tirst slep for the sym
posium, the sending out of the cal! for papers, should not be a problem. Ali the
members know in advance the tapie of the next symposium and can thus begin
thinking long before the meeting. adapling then only their thoughts to the final
framework stated in the cali. The problem can be more of a psychological nature: Too
much lime in advance does no! always mean that one slarts illlmcdiately to worl<.
Everyone of us knows lhe phenomena - but a campaign, based on our rcsults and ex
plaining why the next lengthy limetable looks as it does and why it should be respected
seemstobenecessary.
This yeaJ's events ilIustrate weil the dilemma and <l description of the course of Ihe
procedure. with ail facts in detail, would make you understand the Editnr's nightmare !
But let us leave this malter now and take up the problem when sitting agreeably
together sornewhere in Scandinavia.
llme. the most urgent and probably the one easiest to handle, 1already touched above.
And the other ones? [would like ta sum them up as f01l0ws :
InsIght on what is ongolng. In Ihe science of museology in general, and ln the research
work of ICOFOM in particular. On Ihe whole and in detail We have 10 move fOlWaro
by using aIl the experience and knowledge we possess. We have to raise and stabilize
the level of our achievements.
JUl'age to say honestly one's opinion and to give argy'ments for il.
Tolerance to complete finally the list of four "things". We are conscious of the uneven
development of museology in Ihe world, and of the various reasons for il and the
different back&Tounds for meeting the problems in the field of museums or, if you win.
of the heritage. in Ihe world. Dut we are also arter Ihe search 10 finti some common
positions and solulions. To establish and fllrther develop the science of museology is
our aim. We have still much ta do 1
In many parts of lhe world the practica\ demands and prob1ems of the day overshadow.
and moreover, push aside the inlerest for Iheorelical thinking and approaches when
canying oui such lasks. 11lat in spile of Ihe fact, Ihat somelimes a clear lheoT)'. or
museums philosophy. collld facililate life and give solutions 10 the problems that arise.
We must be able to convince. by a wide contact nelwork, of the needformuseology.
Maybe, you wonder with Shakespeare why so Much Ado About Nothing? 1dare ta state
that without written comments, the basic papers we so successfully collect should be less
attractive and useful. especially Ihere where they can help to build up the sdentific
museological base for the museum profession's actions. Il does touch not only the so
called developing world, it can be very near to those living in the technlcally highly
advanced regions. very near ta everyone of us! And il Is always very difficult la dis
seminale in prinling what was saitl ill the discussions, when ail is over and eveT)'body
has left lhe 50 stimulating and encouraging feeling of being togelher for daily troubles in
thelr isolation at home.
And, if you stin wonder, why 1 insist about it now, when it is too late for Finland, then let
me just remind you that we decided about a year ago on the tllpic for the ICOfOM
meeting 1988 and that we a1ready know today, more or 1ess firmly, where and when we
will meel. When you have sorne time free you can thus start reflecting immediately on
Museology and the third world - help or manipulation?' This will he our
symposium tapie, when in November1Dember 1988 we meet in India, after our as
1hope useful and pleasant Annual Meeting 1987 ln Scandinavia.
Vinos Sofka, August 1987
11
Il , . :
V H Bedekar -
Baroda, India
f mu seums havechanged,
This
In
acquired~Simi1ar1y, one
s.etit
nau
1\
the material.
activity centres.
Consider
if.
"-
7l41-5Ju:.;J1'd--
After ,aIl,
in9S.
eU.w!-ocare.
1
It is more open-ended.
The non-formaI,
-oX-the w,sp.
The keylllOrd
tO a matrix
(1\
chored
It should
read -'Ehe practlce has broken new grounds when Museum workers
with insights have slved their practical problems intu1t1vely
thus indirectly contr1but1ng to museology".
3.3 . The paragraph ends by stating that, "it 1s a matter of
semantics."
sop
1\
It will
But certa1nly
Ooly the
.~
10'71.<..
...
17
components.
The
on Andr Desvalles
ParticularlY/~eference
museums are being set up, very basic innovations and diversifi
cation are incorporated.
If there
Theproce5s of
on Wojciech Gluziriski
+tih~
~anges
His
He thinlcs of museology
l think, this
Heneeds.to be
19
shov.n the positive side of museology 1rklich is far more than the
passive derivative function of sorne museologists which cannot
be considered as fully representative of the true museology.
on Edward L Hawes
We are grateful to the author for giving us a graphie
account of the living History Museum Movement and the Problems
it poses ta be included in the discipline of museology.
The
My
own definition of
1\
We agree with
him that -no museum presents the past as such but the simulated
past emvironment is very much a museum presentation.
Consider
on Jouko Heinonen
This is a paradox if
on international analysis.
l think it is opposite.
It is the
His penultimate
on Gaynor Kavanagh
While appreciat
The vulnerability of
21
"is there perhap5 a natural life span for museums ?" require
careful consideration for those who wish to relate the forro of
museums with their functions, even after anticipating substantial
changes in both of them.
In my
"
In my
zz
e~citement
C7Wh
on Isabellaumonier
about~
MJ1
e~tent
set-up or attitudes.
1/
No
museologists will weI come changes provided the community fuI fils
1ts own responsibility.
on Hame Leyten
he
states "Each
museum-museology relationship.
communLty.
'
on Lynn Maranda
This paper is very remarkable because l.t .l'las brought the
economical aspect of the museum-museology, into focus. There is
no doubt that the employment possibilities themselves, in no
small measure will make the funding authorities and others
concerned to take a close look at the distinguish ing features
of museums "and those who claim as museologists.
The author .!las aptly described the 'l'oOrk of contemporary
museum as" "multi-faceted endeavours".
new forms, the author has pointed out on page 3 how the managers
of such new institutions easily distance themselves from the
notion of a traditional mu; eum, yet they are viewed by museums
as competitive rivaIs because of their growing popularity?
The
Theme
50
l guess,
spice to museum development for the simple reason that the man
who is the user of them love these qualities in his life and
environment.
The
whicb~the
musuems.
has polnted out the marginal groups develop their olm solutions.
26
Author'
Il
l guess
Il
on Paul N Perrot
He
tfw
on Judith K Spielbauer
Helsinki.
f museum
50ch a
im~uts.
befo~e
a cart
"
The author' s
generalizations which appear very neat and t1dy and, for that
reason, tempt1ngly acceptable, require more discussion to be
relevant to museum problems in developing countries with composite
cultures.
il
In theory,
50,
but because
It is an
In
~nich
allows
But in the full
historica~structured"or,
rater,
term "supported?
It is also difficult to agree with the author, on page 5,
when she says that it is conceivable for her that museology
can exist separately from the museum and that the museum can
continue to function without the benefit of museology.
30
l think
sta~ement
This is fallacious.
Assignment
4:
many l...lts
0J:
The genesis
of the form can be traced to many other causes far less subtler.
The author' s generall.zation about the museum form is quI. te
esoteric. certainly far from pragmatism we need in such
explanatl.ons.
On page 6, the
autho~
quite acceptable.
has separated three levels of
third levels.
I/
v
(like I.n the approprl.ate ll.nkages between people and the
preserved pas~.
31
If
ft,
.
\
Let
on Zbynk Z Stransky
(1)
Yes, it may
human enterpri-se.
But in his
h~l
C4
.
/4h-h(:J4!.t'h
.
.t
form museo 1ogy loto
p l osaj)1
y" US) ro bb lOg}..
f 'l t S JUS
. t l. f'1_
l~lr!.:
1'\
'-
Let PhilOSopflyft'
swallow museology.
In paragraph third from the above; the author rightly
observes that museums offer a specifie way of appropriating
reality.
po~ers
This
Better it would
th er
33
-,,;(
one~s
not a logical
.tt.:..
------.
on Petr Suler
I t is such
35
utterly changlng.
Do we,
"museologists", cling to our profes
sion CBEDEKAR:
the identity of the museum profession is gravely
threatened")?!
- if so,
WHY - for it seems that we often know better the HOW
2.
This leads ta the finality of the museum.
1 do agree with
SPIELBAUER C"primary focus:
people,
not obJects"),
LAUMONIER
Cbut let it not be Just words).
The importance and worth of the
abjects is due ta their being "one way in which social activity
is created, defined, and expressed" CPEARCE).
CConcerning that
matter, BEDEKAR and LAUnONIER are right in underlining that ICOM
does not really listen to and help "the have-nots".
ICOfOM does
not care about applying concretely on the field the reflection
it leads,
~ and however,
needs and desires are numerous,
Just
listen to the demands : remember Buenos-Aires ... )
1 don't think
As to involving people as actors in the museum,
that "interactivity"
Cthat new device and fashion in modern
museums) is the way CDE5VALLEES).
It's Just one museographical
trick more.
Acting means the possibility of choosing, deciding
and managing at the core of the problem. And ~bQ ~~cid~2 in th~
~b!.~eum?
We do!
3.
We aIl can but agree that there exists a typology of
museums,
that is,
different kinds of them.
for most of the
communicators,
"kind" means the discipline studied and communi
cated by the museum. Only for a few, the differences in museums
mean .t..J:1.~lJ:. ~.p....litjty I:".l?Alt;.~(;t .tQ tJ,.e b'J.!.')lD !::Q!!!~u-"j.t..Y
lng. g.~
!:.~I:"!:itQE.Y CSPIELBAUER,
LAU/IONIER,
BELLAIGUEJ.
That naturally
leads to the not ions of 9.A.9.Q.ll.A.ty Ci ntegra ted,
who le museum
DESVALLEES, DELOCHE, PEARCE, BELLAIGUE) and Ante~9.jsc~pl~~acL!;Y.
DEVALLEES,
thanks go to him,
is the only one who writes about
the fact that aesthetjcs Cart) is part o( tbat tota~ity; as to
SPI ELBAUER , she tao,
claims for the total individual:
"the
museum process links the individual cognitively, emotionally and
aesthetically".
We know it's difficult to integrate the inner
mystery of the presence of artistic creation among ethnographie
- or whatsoever - facts and artefacts...
That's the reason why
such an important and difficult question should be discussed by
ICOfOM,
avoiding the too easy - but unnatural - separations
existing in between those disciplines and materialised by the
existence of separate international committees - which,
maybe,
never Join? - as weIl as the uneasiness which prevents every
body from dealing with the problem either in reflection or still
more in concrete work ...
37
~.
38
Paris, France
r~flexions
prscandinaves
J!;t .
, '"
.
1'.J~0e
- a~
t
destin!'
a
mmoriser
et
exposer
des
t'ai
ts
(
h
li,
"
.
.
..
~ "torlq.lE',
s~ ~ent ~f~ques, esthtiques . ) et non pas seulement il tl""'3'-1
r~ser des objets originaux. Communiquer des connaissances, ~
n'est certainement pas sa const i tuer une c::l"note
et un m':,L..Ir.e
o
n'est pas unesimple col~ection:( cLM.Maure etJ.J Whitlock
. auss~. L. Maranda, I. Laumonier et H. Leyten).
'
malS
2) De ce fait,non seulement on a nglig d'utiliser tous les
mdias modernes, qu'emploient les tablissements la mode, mais
on a mf:le jug inutile ( ce que Paul N. Perrot estime, juste
titre, trs important) d'expliquer par son contexte historique
tout objet musal communiqu au public de notre temps. Du coup
la communication est rompue, compltement rompue: onnst plus
sur la mme longueur d'onde~L. Maranda}.
,
<'
.,
++++
A l'oppos, on peut se demander si la dfinition exten.'.ivc de
la mustfologie, telle que nous la propose nos coll(>6'Ue~ t ... hi:'.J.ues,
4D
Il
41
43
44
45
Leiden, Netherlands
what time it is?" The other looked at his barometer and said "Twenty
degrees Celsius". "Thank you," said the other, "then we'll have still
47
among others, described by Deloche, Kavanagh, Leyten and Nigam. The adoption
forms are described by Hawes ('living history museums'), Konar and Masao.
substantial rationality,
functional rationality.
cultural content,
structural form.
functional
rationality
structural form
B
museology
These four approaches (A, B, C and D) do not exclude eachother, nor can they
always be distinguished, but this matrix helps to understand
part of the
communication problems between theoreticians and museum workers. Very often
museology is seen as restricted to approach D. This approach is also called
museography, and is often teached as 'museum studies' ('Museumskunde'). On
the other hand the term museology is sometimes exclusively used for approach
A. In this respect is is remarkable that although the curriculum of the
Reinwardt Academie (Leiden, Netherlands) encompasses aIl aspects of museology,
only courses concerning A (and B) were called museology, while aIl other
courses were called by the name of the different specializations (conservation,
registration, exhibition design, etc.)
49
about how'to run a museum. They becorne disappointed, even angry, when they join
the commit tee and are confronted with often very abstract discussion about
The relationship between A and D is made very clear by Bedekar, Bene, Gluzinski,
and StranskY. "An error is made when we think that a theory which serves
practice should be the theory of practice. l ... ) lt is not the theory of
practice, but the theory of reality lying in the range of practice ... "
lGluzinskil. In addition Bedekar gives a useful overview of the A-D polarity:
"Huseology is related to museums in three ways. Sometimes it follows the
initiative taken by museums in solving their own professional problems
creatively or at least innovatively, secondly, museology quite often generates
ideas,concepts, skills, methods and techniques which ought to be accepted by
museums ( . l. But thirdly, museology does contribute to the efficiency and
effectiveness of museums when the surveys, teachings and researches in the
formaI museology centres get transmitted to students or trainees who are
ready to turn their insights into plans and projects or for updating the
contemporary precedures in mu8eums".
The important relationship between theory and practice through training is
a180 mentioned by other authors (Bene, Laumonier, Maranda). lt is therefore
not surpri8ing that many authors are involved in training programms. At least
three of them lMaroevic, Pearce and myself) are working on a model of
artifact 8tudy a8 corner stone of a museological theory. This reflects the
general opinion that although the primary purpose of museums and museology
is people, their primary purpose is to facilitate the process of preservation
of material evidence of mankind and its environment lSpielbauer). "Elle
(- museology, PvMl determine un ensemble de stratgies spcifiquement
irentes sur l'objet" (Deloche).
Preservation is of course a means, not an end. Where almost aIl authors
agree upon the social importance of preserving heritage, they seem to hold
quite different opinions as to the purposes that should be served by
preservation. l mentioned already socio-economic purposes lHeinonen,
Kavanagh, Masao, Nigam, Perrot). Very outspoken socio-political purposes
can be traced in the DDR (Schreiner). As to socio-cultural purposes mention
has ben made of strengthening national identity lZouhdi), validation and
re-validation of experiences (Bedekar), knowledge and understanding of the
past (Deloche, Hawesl, knowledge and understanding of our present society
(Bellaigue, Rusconi de Meyerl, and raising environmental awareness (Nair).
It is my per80nal view that at this point rnuseology as a scientific
discipline should strive for 'substantial rationality'. Of course l have
outspoken personal opinions, but these are derived from my social and
political views. Aims and purposes of museological institutes should be
defined by the individual people and/or the community concerned, and not
prescribed by museology.
1 realize that much more can be said about the different contributions that
lte before us. 1 am aware of the fact that l did wrong to many of the papers.
1 know that
again l am guilty of the fundamental defect as mentioned by
Gluzinskl. 1 apologize for aIl this, but at the same time l hope that this
first analysi8 has 8harpened my original provocation.
5Q
References:
Mensch, P.J.A. van (1985) Musea, de traditie van de vernieuwing. In: Jaar
vers1ag 1984 van de Stichting Cu1tuurfonds van de
Bank van Neder1andsche Gemeenten. pp. 19-29.
Zijderve1d, A.C. (1974) Institutiona1isering.(Meppe1. 2nd edition).
Zij derve1d, A.C. (1983) Sociologie aIs cu1tuurwetenschap ('s Gravenhage)
Zij derve1d, A.C. (1983) De cu1ture1e factor ('s Gravenhage)
51
$TRANSKY was
right in his ironical comment that eachindividual has to make his own
personal "discovery" that Museums are not the centre of the universe.
The relationship of men, of society, and of every group of human beings
with the testimony of the past is something that is constantly re-assessed
in accordance with the changing needs of the present.
Museums, those
paradi~tic
seeing whether the orbits are round or elliptical but in the transition
From a geocentric system to a heliocentric one with aIl the psychological
and practical consequences this entails in everyday life.
1lIUILLER describes how Newton believed that "the basic concepts and laws
of the system can be deduced from experience". However, this is inaccurate.
Einstein said and repeated that theoretical bases !lad to be "freely
chosen". No scientific developnents passively take note of sensorial
information, instead a theoretical framework is uscd with the aid of
53
ex~riment
approach to the matter in order to see what roles and functions they
fulfil.
lt is
tl~
MusetunS and the Market are the two sides of the same coin.
54
still useful to certain groups of people and they change inasfar as their
necessities change. Sorne groups of people, not the \>h of society,
and not the wh:>le of humanity either.
55
n'est pas exacte. Einstein di~ et rpte que les fondaments thorique~ doi
vent tre "Iibrment lus". Toute laboration scientifique n'est pas faite
* * *
En ce qui concerne le Muse, nous voudrions insister encore une fois sur le
bsoin d-une approche anthropologique au sujet. pour tenter de savoir quels
sont ses rles et ses fonctions. Rles qui sont divers, dans un systhme espa
ce-temps, selon la place qu'il occupe et le pont de vue duquel on le contemple.
C'est dans cette perspective ou l'ethique trouve sa place: dans l'application
pratique -comme dans l'ancien exemple du fabricant de couteaux et l'assassin~
Parler de colonialisme sur le Tiers Monde est fort important, mais a veut
dire qu'on examine un seul point des coordonnes. les Muses, generiquement et
A travers de son propre developpement on rest toujours prs des minorits do
minantes. de ceux qui possdent le pouvoir rel et effectif. On peut coloni
ser l'Afrique ou l'Amerique latine, de la mme faon qu'on peut le faire dans
la vieille Europe:partout il ya des cultures diffrentes et des gruopes hu
mains opprims.
Le Muse continue tre un outil en plusieurs sens. et pas seulement pour
des possibles contrles idologiques de la population. Il y a des messages
subliminels qui -conscient ou inconsciemment- favorisent un "consumisme" cul
turel qui serve aux interts financiers et commerciaux qu'on a cit plus haut.
Muse et March son les deux faces de la mme monnaie. Si l'on donne aux "H
liantes" de Van Gogh le prix que tout le monde connait c'est parce qu'il y a
des Muses prestigieux comme le Kroller Mller qui les accaparent et avalisen
l'auteur et sa signature. Mais a est exceptionnel. Lorsqu'on n'a pas de capa
cit conomique pour acheter de l'art. on achte des objets "typiques", des
58
antiquits, des pices ethnographiques. La plupart des gens des pays dvelop
ps, d'acord avec ces modles culturels, ont chez lui des "choses" acquises
59
ML Nigam -
Hyderabad, India
on Vasant H Bedekar
At other times,
As
The abstract
It is
The require
tbe MUseum.
The Museology, aS
on Josef Senes
They differ in
Yet, aIl
As a matter
the past
the present.
Hence,
thei~
past experience
Hence
The
main function of
Museolo~y
with
on Andr Desvalles
The beginning of 20th century-has witnessed growth in
the multi-facited museums with different goals and mechanism.
The newly developed approach of Ecomuseums and Community
Museums with branches lay more emphasis on the conservation
of material culture and its interpretation through non-Tradi
tional methods for the benefit of the cross-section of the
society.
Exhibition
They mostly
The newly
50
on Wojciech Gluzhiskl
Our
v~ues".
The
change.
There is no self-crit1c1sm or
method of self-introspection.
Inter-dise1p11nary approach in museum-research is
probably the only answer to evalua1Je the material culture
known through the MUSeum objects.
on Edward L Hawes
The author believes that the Traditional Museums and
museology need a change in view of the changed social cir
67
centered
In other
Hance, the
The sti
69
on Jouko Helnonen
The museums have been closely associated with the
cultural heritage and Nature of a country or the people
of a particular region. The three dimensional exhibits
of a museum bear the testimony of the culture.
This
the
of the
changed
The
the
can be
taken as investments.
Another challenge, which has come up before the
public musewns, is the keenness of the
establish their
people
to
Exchange,req~ires
mus~um
mmes. which fall outside the museum policy and the museum
collection, have no place in a museum, howsoever, lu
crative they might
be.
on Gaynor Kavanagh
Whereas the
or Have
There
In other worda,
iDuseum must rf.se funds through MUseum enterprise and the sale
of 1deas and new knowledge to the public.
w111 pay for admission to these ll!useums only if they are use
fUl to present society.
If the tra
They
on Isabel Laumonier
It is now universally accepted that the museums,through
their three-dimensional exhibits, educate and enlighten the
people at large about their cultural heritage.
reflect and recreate the past material culture for the benefit
of the people but they also intend to link the material cul
ture of the past with the tendencies of the present to pro
vide healthy guidelines for the future development. Inspite
of this concept, the majority of museums are still lagging
behind in fulfilling this task. It is because the museums
lay more emphasis on the objects, which are considered to
be sacred for the traditional and cultural values contained
in them, but not on the society which created these objects.
The utility of museum i5 thus, minimised in the absence of
the knowledge about the social set up in which the objects
were produced.
and not the end.
74
soc~o-economic
changes. More
on Harria Laiften
The majority of the big museums in the world were
developed out of the private collections. The owners
of such
collect~ons
~are
Late~
the
silent spectators.
'With the re'sult, the museums policy today "is not
being developed let alone being determined by society
or its needs, but by the :nl1seums' 9irector, or by the
prestige conscious National Government."
In other
\~hat
the
A museum, in the
9rogra~es
The
onS M Nalr
The papel' dslc vith the variouR edueationaI
programmes and services offered by the Na tionaI Museum
ot RaturaI B1storyp
the systemat1c and
New Delhi.
mear~grul
aducat10nal programmes
Q,
USel1l11
which
world.
~xperience
of other leading
interactive!participatory exhibita".
An Outreached
len~th.
Ulstory, New
Delhi~
e~JUanlty.
,C)oornTS:
aforesa1~
Qu1t~
importance.
be moro scholaI'ly..
w~d;h
professionalism or tend to
actue~
!II
on Susan M Pearce
~so
for
IllU
se01ogy
~he
or
m~terial
culture
artcfR~tes
These
apP~oacbes,
b~11ev~s
recentl~
society or vice
Yet~
the
~ersa.
~nclusion
ob~ect:llf
films and
cost~cd c~a~acte.l's
ta1n1.ng anel invO},Y9 iilO':"C public but they do not possess the
baf'iC! elemen';s that is the three dimensional exhibits which
p.l'07id6 stlmulating
poss~bl~
t!1c
only
mUSfru::,ul
experlenc~
'~hrougb
alone possess.
~he
e1.f~ctlve
films and
the~tres
The television
on Judith K Spielbauer
In view of
ad~quate
~cientific
Museology, as a discipline
InU.seV.lDB
f~ework
It is also neees
II1'..1S6U111S
no~
ouv
of the
81
on Zbynk ZStrnsky
The museum, at the moment, are the only institutions
which are aiming to provide specifie means to reflect
social reality from people's point of view, which is
an immediate social need. It is here that the museology
gets involved with the museums. Hence, it is not the
museums, the means. which forms the subject of museology
but it is the idea or the need for which museums have
been created and
50
50
82
tha~
adminis~rative,technical problems
50
The
on Petr SuJer
The MUseum exhibits, irrespective of the nature of
a museuJil collection, are the basic elements of our cul
tural heritage.
The
83
It
h~ever
doubt, beyond the four valls of museums but its utillty and
quallty will have to be judged on the basis of the effecti
veness of museums only.
84
86
on
sel~ctad
vpcrs
C 0 m l'le t e s y n
the s 1 s of a sample of articles representing different scientific
programmes,diffarant lines or research and theoretical foundations,diffe
1
,tr~l"
"lld anylysa them and the commeDts themselves are r"reJy "iIilpersonul";
00
the
39 "
-t-
"sic rubeo,sic
t!:
~re
l/tct my tield and programma of museological research al;d aru based on the
statemects l have formulated and published in my papers,lcctures atc.Th"y aru
~ot
~;:;-tha :~ola
samplo l recaiv~d
",cd to discuss
\101'0
often Stlonta
11
t ure
of MUSEUM
88
can expect in this regard is some "refinement" of thu basic idea and concre
"
.
te,detailed dissertaions,the
analyses
of
facts.Musoum
typology
for
inst~nce
----_. "_.. - _... ... and the works clarifying the evolution or genesis.of particular Museum typ~s
-~.~_
"'is~among
.~
-------.-"....
xl
already several times ln museolaeieal and in philosophy pprs
.A numbcr
of mussol"gieal publications that appeared in racant 10 yaars aro factually
based on philospphy of that or anoth0r typa xxl
3.Somo papers proposed for tho ICOFOM Symposium
havu the
ci"Hact~r
of
-------
<U
xxi
It varies according to the country and to its local philosophical tradit
ions or pref~rencea.For Instanca,while in the German Democratie Republic
thooretical museology ls baaad'first of aIl on Marxist philosophy,in Poland
pbenomenology
"ah llia realism and tha conception of intentiona 1 obj 0CtS> should be cona1
dared aa the laading ono.l'olish thooretical musaology Is based mainly on
phenomenological ~ a a the t i c a and 0 n t o I 0 g y
89
~'ork:
design,organization of collectionseetc/
on various m~"aoloeical problm;):dissert~tions which couIn bo noferred
an:!
,
dicc"E~ed ------.-_._.as contributions
to the T1IEORY
OF MUSF.UHS.to
HUSr~OLC(;Y. ~"':
_.. -'.
Sorne postulates sound evidently strange,evon confusing.For instance.whun
onu rea~i that mUEeology sh~ u l d be built up as a science.lt is
Etrange aIl the more .when this postulate is doduced from thu fact that
.~ny Museum vorkers ~practitionors) do not recognize mus e 0 log y
Va
~-
_._
_._-_~_,,--,~.
'"
-_
.-.'
5. I am of the
opinio~
pepers one can have the feeling that museology ia still at its very begin~
ning.thnt it still re-formulatiDlI "from its rootis".A complete:,y \lrong
lt:pressionl
i~fOr-!pstaD~the book announc4d by A.Uregorova / Muzeu a muzejnietvo/
15
90
an
b j e c t
of mu;;eoIOKic1\1
of
.~._-
log i c a l
r e s e arc h.~he whole typology of musems,as weIl ~s
monographies cievotod
to museum archi tocture ~. devot.:d to this prob
~.
.
lom.The cognizanco of the types of structure hy which p~rticular gro~pe of
museums ~8re at differont historical types chractorized,s weIl the coeni
.8.
zance of the
mec han i s m
/"tho originof Museum species"/ m"y have funJamontal importance for prog
91
rn~mir.g,aesir.ning
~ealizing
prac.ieal activity.
d Y
a~ong
~ith the stRtement that "sturre~" specimens should aissapear from museum
phy
techni~ue
or by
1 i vin g
f!ardens.
countries:
,3nd in the
t~a
i:
l'
~ccupt~d
muse'"n~
that
e c t
con t a c t
of the vi s i tOI'
.101
i th
r e al,
a u t h
n tic
---
Some remarks ebout that.. problem can be f0l!nd in' my handbook "Ekspoz:;cja
92
-.
e xcI u 5 ive 1 y
objcct5,"'0~ld
-in
1005e thcir
im~Gine
a museum,which
sci~ntific
p r i mR r i 1 Y
abj~ct~: th~
"FrRp~r~t.,sfl.
r - --"
j u n c-
aispla~,just
au~ience"
bocause of thoir
scien~iric value,~s
........
.. -
_---_ -
:n~
d 0
the
inform~ Lion
tific~lly
thn t is trnns
L,1~gin
ct
v e d
in aIl
co~ntries
of tan
beca~se
baccuse on1y
t h Dr e
we arc
~blG
~o
to
any sci:n
0
P r i
rnuse~ms
SOmB unique
rai
i s
thi~ pi'Ob
horriblo,~c
t,- .
.~c:.cept thi:;
,,~y,fot" we
"like to torget"
h 0 v
the animaIs we
shot,trRpped,suftocated or dro"ned
s u f t 0 r
use
~.g.foxes
~)'Tr.is
93
~u~
,
killed,simjlar
jll~~. alil:c.
WG
kill a
tor our
QinnGr.Hu~eum
bird~
in the
w a y
~hcn
m~al
ticall~''',for
~er&
of killing
r d
a~d
m~l"mdls
is pleased
n!t.lough he wOllld not be able to commit this killing by hi,,~:dt: hi5 go"l
'$
to recive a good preparate and to use it for exhibition.Surfe ing and death
of
DU
imagin~tionx/.
e con
my
criterion~.one
c~n
easily
If Il
~!hCrh
t h i n
"
p~rticulut
to
~ll
kind of
h~ntir.g
in many
rerion~
oC
th~
world.
e d
o.
pre
~ccept
~hich
d i s t i n gui s h e s
rad i c a 11 y
mus e u m Il
obt~iniug
it as
fBature
b~
h.Gregorova.
9. Any botBnist Rnd any zoologist would not aggre with a statemcnt that
botanical gardens and zoological gardens are institutions of exceptionally
cd~lcative
ces
~~ero
-----
6 ' -.,/.(,)
xl
hypocrisy,
hird or
l 'Iould not
1 am happy
exhibition
o~
muocums
educ~tional
------- ...
~----
general~y
many-functionul.Futur~ shows
value~
~lll
x x x
95
Hugues de Varine -
Paris, F'rance
notamment sur
tre prcis):
terme)? Cela
discussion au
97
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112
113
Viewpoint 1:
The idea of the museum - its birth, development, definition
Summary by Mathilde Bellaigue
117
Approche 1:
L'ide du muse - sa naissance, son dveloppement, sa dfinition
Rsum par Mathilde Bellaigue
121
Viewpoint 2:
125
Approche 2:
Le muse et la musologie
Une rlation spontane ou rationelle - ou aucune rlation du tout?
Rsum par Judith K Spielbauer
129
Vlewpoint 3:
P.van t-ENSCH has made a close examination of the most recent stages.
However, evolution is not the same as adaptation.
And practically
135
Approche 3:
qui ont cri coincident dire que nous vivons maintenant une situation pola
rise o l'on trouve les Muses proprement dits, rconus comme tels par tout
le monde, et face eux toute une srie d'initiatives qui -portant le nom de
Muses mais avec des objectifs divers, ou avec des buts semblables mais sans
Les premiers (les Muses) se trouvent sous une forte pression des autres, qui
Mais lorsque les pays qui ont eu cette ingrence rcuperent la libert,
ils ne ferment pas les Muses. Parce que ceux-ci continuent tre utiles
qui semble non-reversible. C'est que. comme affirme GREGOROVA, "le Muse
qui vont distorsionner jamais une culture qui. autrefois, n'avait pas b
4).Le Muse, encadr aux situations diverses, a et consider comme une voie
approprie pour faire face aux bsoins humains de suret (le "preservation
active integrant de SPIELBAUER). de continuit, de bonheur. Ces lements
prennent plus ou moins importance d'acord avec l'tat psichologique gneral
dans lequel le Muse est immerg. Si MAROEYIC trouve des parallles entre la
"classical sinuosity" de la Rnnaissance, du Romantisme et de la Post-moder
nit c'est parce que les trois poques sont rlies aux trois rvolutions
qui ont boulevers plus fortement le monde occidentale -scientifique,indus
trielle. technologique.
Tout a fait que le Muse soit vu comme un utile "experience maker" (BEDEKA)
qui aide la societ avancer. Mais KAVANAGH nous alerte: "Le Muse n'est
pas une cration innocente, ne dans un moment de puret intellectuelle" ...
Le Muse a plusieurs faces. La comparaison de SUL ER est. son tour, bien
illustrative :"Ies reliques taient la cl de la comprehension du monde".
Mais le fait qu'elles taient exposes sur les autels des glises motiva la
cration d'un vaste rseau commercial et une "industrie" de fausses ...
5). En ce qui se refre aux pronostiques,. il semble qu'on n'ose gure d'en
parler. Mais en notre opinion, partir de certains textes il est possible
d'entrevoir quelque chose.
Nos Muses sont chaque jour plus crass par les bsoins de conservation (SCA~
BERT)motivs. d'une part, par une politique d'acquis insufisamment selective
et d'autre part par des lgislations trs restrictives qui canalisent vers les
Muss tout ce qU'on considre patrimoine putiliqe -l'archologie est un beau
exemple. Cet crasement leur conduit de plus en plus une situation dfici
taire sur ses obligations internes, face des exigeances exterieures qui se
dirigent. precisement. au terrain des activits temporaires ouvertes au dehors.
Et a,soit pour servir p la politique locale (FORRELLAD,HEINONEN ) ou soit
pour obtenir le nombre de visites sans lequel on ne peut pas justifier des aug
menttions de budget (MIQUEL & MORRAl).
138
Cette double pression, peut tre, peut conduire le Muse vers une nouvelle
adaptation au sens qu'il devienne -sous le nom de Muse ou avec n'importe
quel autre- moins lieu de conservationfisique et plus lieu de re-distri
bution (aussi au sens fisique) du patrimoine.
Les louages de btiments historiques. les prts d'oeuvres. les changes. peu
vent dvenir quelques uns des protagonistes du futur prochain. pratiqus
deja aujour'hui dans certains muses. En tout cas. on devrait tre un peu plus
capable de le prvoir
139
Viewpoint 4:
141
Approche 4:
Musologie et muses
Une analyse globale des ides non traites par les autres approches
Rsum par Rosario Carrillo
145
"
Basicpaper
wi1.11 's. "My" museums were always empty, and even if sometimes
they were crowded, it didn't seem to be for the right reasons ..
One point was ever more elear to me, that could may_be ex
in the lat~ 60's and early 70's were basically "pure museolo
in museum workl
lhflm would comply with al] the items mentioned in the forms.
than two million 'people per year. out of 130 million brazilian
153
light.
154
155
memory,
NOTES:
1) Herman,Marshall . "AlI that is sol Id mnlLs jnLo I\ir' .Port.l~d.
Ed.Schwarcz.Ltda.S.i'au10.19H'l.p.13
2) Simondon.Michel "La Mmoire et l 'Oubl i darls Iii penso
grecque jusqu';' la fin du Vme sicle
H . J.C.'
I.os 1101 los L(,UTes,CoI1ection
d'tudes mythologiques.Paris.1982
3) Baddeley,A1an."Your Memory, ft user's guIde" Penguin Books,1986
Multimedia Publ.UK.1982.p.11
4) Skinner,B.F.,quoted i~ Baddeley,op.cit.p.'l
5) BaddeleY.A.op.cit. p.6
6) Badde1ey,A. op.cit.p.6
7) Cameron. Duncan. "A Viewpoint: Museums as a Communication
system and implications for Museum Education,
Curator.Xl,1/196U
159
Nelly Decarolis -
Basic paper
,
161
by"lites".
162
163
1 61;
Basicpaper
MuSQolo~y
So~ial
Mu~eum~~
In~titutions,
In rn
in
and
on
~eflection5
~lle
aoundaries of Disciplines,
c~Yli~r pa9~r
the
n~tuTe
interdisciplin~rity in
of
museology and
the
link~ tno~~
that
who
set of
~orked
of the
may dif1er
1ro~ tMo~~
wi~~in ~h~
mUSQum
of
~h~ rnU5~um.
and
~t11
aw~rds
~ft~r
~ll,
r~o~~d
f;U~~Ll:"i:'~
nAtu!"i':\l and
~o~1p.t~.
T~ey ~r~
t~~e
hum;lni!lrn 01
f>l
mU!30um
d1scip11ne5
hy
don~
"t
th~
,,",orle:, i
produces a
unlv~rsities.
d~dic~t~d t~
~anked
hierarchy
Disciplinary
reproducing
craft guilds of
th~
~refierving,
its~lf.
Univeris1ties
Middle Ag2S.
But
.1':'.
hou~pd ~nder
lUon
0':
its parts"
one roof to
They are
in l.hich nati.c"','ll
w*'~h
~lso
!!;<lHan nm,"\!.s$anc!!.
and Iih",rr;:rJ
to cC"'.lE>ctir>g,
r~!3pnctiv~ di~c1~~ir.c$.
~mportf.'l'l.:::e
in
ir,
It
uni'/(':IIr5~tie5
w"thin
are,
insti~ution.
gO~~5 deriv~rt
bound&\"::s5
Cll~
c~rry
engag~d
in a public
~nterprise
of
c::olleaglu-,5 ilnd
publ~c.
they have the power to reshape its ideology and actions. Museology, the
accumulated knowledge by which the construction and re-construction of
culture ls
accomplished,give~
t~e
~r
museum
~ust
be
~n
~nd
b~sis.
It
~ust
be staffed, at least in
~ell
as scholars. Originally, a
co!lec~ions,
which were to be
166
that 0~cur5 there. The authenticity and quality, the documentation and
interpretation of artifacts in museums sets them apart from other places
where
art1fa~ts
1~arted.
are gathered,
u~ed,
park, the department store have aIl been utilized; none are museums. Sorne
are nonprofit or sponsor nonprofit exhibitions, and some are highly
profitable. Most of them provide more effective displays to delight
v1ewers and even inform them. But they aIl lack collections and the
commitment to their care, research, and publication, aside from display
and 1nterpretaton; they are not concerned with the "real" thing, its
quality,integrity, and accuracy. : will not discuss the
copy, cast, or
artifacts/colle~tions.
It
represents the body of knowledge, theory an'd practice that is found and
transmitted in museums. It goes beyond any single discipline, to provide
an overarching view of the museum as a social institution. In exceeding
)the boundaries of any one discipline, and providing the basis for the
intera~tion
167
Britain in 1960, Nigeria sought to enlarge its museum system. The present
National Commission for Museums and Monuments will eventually est,ablish a
168
museum in each of the country's nineteen states that have been created.
The stated policy is to collect, preserve, and interpret on the local,
state and national levels in each museum. The goal is to provide a
visible, tangible, and meaningful record of most of the significant 250
ethnie groups that comprise Nigeria. Each ethnie group is placed in the
museum within the boundaries of the nation-state, and in time and space,
i.e. archaeologically, historically, and ethnographically. Such consistent
pre~p.ntation
I~
~useum
kingdo~
endof the 19th century. The second floor of the Benin National Museum
~rp'$~nts
Urhobo, IsoKo,
including masquerades may provide the only detailed and comprehensive view
of
o~hr
peoples with whom man y may have limited and infrequent contacts.
EacJ~ ~~~nic
And to
com~ent
169
and it provides each with the opportunity to be seen and understood by the
Clearly, museums hfiVP. come a long way from the repositories of the Middle
Ages, the "cebinets of curiosities"
~he
of such places in the 19th and 20th centuries-- they come to their present
and most important roI es: educators, democratizers, and
knovledge
tho
~nd
r~lationshi~
discus~
disseminators of
REFERENCES CiTED
Flor~
7o~nrd
8. (1981b)
a science of
museolog~l:
170
ICOFOM publications
1 Museological Working Papers - MUWOP
2 !COFOM Study Series - ISS
3 Museological News - Nouvelles musologiques
ICOFOM publications
Museological
~orking
Papere -
I~WoF
preprint~
No. 1
No. 2
HuseL~
60 pp.
No. 3
No. 4
173
No. 5
No. 7
No. 8
No. 9
No.l0
la musologie et l'identit
No.ll
La musologie et l'identit
Symposium Helsinki-Espoo1987'
Musologie et muses
No.12
175
newsletter of ICOfOH
bulletin d'informstion de l'lCOfOM
Sinee/depuis 1982, Nos 1-9
'1
17.7