The story of arts and cultural policy in the twenty-first century is inherently of global concern no matter how local it seems. At the same time, questions of identity have in many ways become more challenging than before. Narrative, Identity, and the Map of Cultural Policy: Once Upon a Time in a Globalized World explores how and why stories and identities sometimes merge and often clash in an arena in which culture and policy may not be able to resolve every difficulty. DeVereaux and Griffin argue that the role of narrative is key to understanding these issues. They offer a wide-ranging history and justification for narrative frameworks as an approach to cultural policy and open up a wider field of discussion about the ways in which cultural politics and cultural identity are being deployed and interpreted in the present, with deep roots in the past. This timely book will be of great interest not just to students of narrative and students of arts and cultural policy, but also to administrators, policy theorists, and cultural management practitioners.

This unique book proposes a re-reading of the relationship between artists and the contemporary museum. In Australia in particular, the museum has played a significant role in the colonial project and this has generally been considered as the predominant mode of artists' engagement with such institutions and collections. Australian Artists in the Contemporary Museum expands the post-colonial frame of reference used to interpret this work, to demonstrate the broader implications of the relationship between artists and the museum, and thus to offer an alternative way of understanding recent contemporary practices. The authors' central argument is that artists' engagement with the museum has shifted from politically motivated critique taking place in museums of fine art, towards interventions taking place in non-art museums that focus on the creation of knowledge more broadly. Such interventions assume a number of forms, including the artist acting as curator, art works that highlight the use of taxonomic modes of display and categorization, and the re-consideration of the aesthetics of collections to suggest different ways of interpreting objects and their history. Central to these interventions is the challenge to better connect the museum and its public. The book will be essential reading for scholars, professionals and students in the fields of contemporary art and museum studies, art history, and in the museum sector. These include artists, curators, museum and gallery professionals, postgraduate researchers, art historians, designers and design scholars, art and museum educators, and students of visual art, art history, and museum studies. This project has been assisted by the Australian government through the Australia Council for the Arts, its arts funding and advisory body.

What is the significance of heritage for how welfare is defined? What function does heritage have in the public realm and how is heritage becoming a resource for citizens to gain influence in society? Who and what defines the public debates and the politics about heritage? Is there a knowledge gap between research communities, management, and the public understanding and use of heritage? These are some of the questions that the authors of this book reflect upon. They provide Nordic perspectives on how the management of the past takes place, and how it is carried out in the service of the society, offering new interpretations of the role of heritage in present society, where institutional heritage management has become just one of the many and multiple ways in which different publics engage with cultural heritage. This book addresses the main challenges faced by heritage managers today in light of the changing understanding of heritage in society.

This volume brings together a range of essays that offer a new perspective on the dynamic history of the museum as a cultural institution in South Asia. It traces the museum from its origin as a tool of colonialism and adoption as a vehicle of sovereignty in the nationalist period, till its role in the present, as it reflects the fissured identities of the post-colonial period.

Amongst recent contemporary art and museological publications, there have been relatively few which direct attention to the distinct contributions that twentieth and twenty-first century artists have made to gallery and museum interpretation practices. There are fewer still that recognise the pedagogic potential of interventionist artworks in galleries and museums. This book fills that gap and demonstrates how artists have been making curious but, none-the-less, useful contributions to museum education and curation for some time. Claire Robins investigates in depth the phenomenon of artists' interventions in museums and examines their pedagogic implications. She also brings to light and seeks to resolve many of the contradictions surrounding artists' interventions, where on the one hand contemporary artists have been accused of alienating audiences and, on the other, appear to have played a significant role in orchestrating positive developments to the way that learning is defined and configured in museums. She examines the disruptive and parodic strategies that artists have employed, and argues for that they can be understood as part of a move to re-establish the museum as a discursive forum. This valuable book will be essential reading for students and scholars of museum studies, as well as art and cultural studies.

It is widely believed that the practice of ancient Egyptian religion ceased with the end of pharaonic culture and the rise of Christianity. However, an organised reconstruction and revival of the authentic practice of Egyptian, or Kemetic religion has been growing, almost undocumented, for nearly three decades. Profane Egyptologists is the first in-depth study of the now-global phenomenon of Kemeticism. Presenting key players in their own words, the book utilises extensive interviews to reveal a continuum of beliefs and practices spanning eight years of community growth. The existence of competing visions of Egypt, which employ ancient material and academic resources, questions the position of Egyptology as a gatekeeper of Egypt's past. Exploring these boundaries, the book highlights the politised and economic factors driving the discipline's self-conception. Could an historically self-imposed insular nature have harmed Egyptology as a field, and how could inclusive discussion help guard against further isolationism? Profane Egyptologists is both an Egyptological study of Kemeticism, and a critical study of the discipline of Egyptology itself. It will be of value to scholars and students of archaeology and Egyptology, cultural heritage, religion online, phenomenology, epistemology, pagan studies and ethnography, as well as Kemetics and devotees of Egyptian culture.

The Victorian era is famous for the collecting, hording, and displaying of things; for the mass production and consumption of things; for the invention, distribution and sale of things; for those who had things, and those who did not. For many people, the Victorian period is intrinsically associated with paraphernalia. This collection of essays explores the Victorians through their materiality, and asks how objects were part of being Victorian; which objects defined them, represented them, were uniquely theirs; and how reading the Victorians, through their possessions, can deepen our understanding of Victorian culture. Miscellaneous and often auxiliary, paraphernalia becomes the 'disjecta' of everyday life, deemed neither valuable enough for museums nor symbolic enough for purely literary study. This interdisciplinary collection looks at the historical, cultural and literary debris that makes up the background of Victorian life: Valentine's cards, fish tanks, sugar plums, china ornaments, hair ribbons, dresses and more. Contributors also, however, consider how we use Victorian objects to construct the Victorian today; museum spaces, the relation of Victorian text to object, and our reading - or gazing at - Victorian advertisements out of context on searchable online databases. Responding to thing theory and modern scholarship on Victorian material culture, this book addresses five key concerns of Victorian materiality: collecting; defining class in the home; objects becoming things; objects to texts; objects in circulation through print culture.

In October 1860, at the culmination of the Second Opium War, British and French troops looted and destroyed one of the most important palace complexes in imperial China-the Yuanmingyuan. Known in the West as the "Summer Palace," this site consisted of thousands of buildings housing a vast art collection. It is estimated that over a million objects may have been taken from the palaces in the Yuanmingyuan-and many of these are now scattered around the world, in private collections and public museums. With contributions from leading specialists, this is the first book to focus on the collecting and display of "Summer Palace" material over the past 150 years in museums in Britain and France. It examines the way museums placed their own cultural, political and aesthetic concerns upon Yuanmingyuan material, and how displays-especially those at the Royal Engineers Museum in Kent, the National Museum of Scotland and the Musee Chinois at the Chateau of Fontainebleau-tell us more about European representations and images of China, than they do about the Yuanmingyuan itself.

'Chemical Principles of Textile Conservation' provides must-have knowledge for conservators who do not always have a scientific background. This vital book brings together from many sources the material science necessary to understand the properties, deterioration and investigation of textile artefacts. It also aids understanding of the chemical processes during various treatments, such as: cleaning; humidification; drying; disinfestation; disinfection; and the use of adhesives and consolidants in conservation of historical textiles. Textile conservators will now have ready access to the necessary knowledge to understand the chemistry of the objects they are asked to treat and to make informed decisions about how to preserve textiles. The combination of a chemist and a conservator provides the perfect authorial team. It ensures a unique dual function of the text which provides textile conservators with vital chemical knowledge and gives scientists an understanding of textile conservation necessary to direct their research. The many practical examples and case studies illustrate the utility of the relatively large chemical introduction and the essential chemical information which is included. The case studies, many illustrated in colour, range from the treatment of the Ghandis' clothes, high-altitude flying suits and a Mary Quant raincoat, to the Hungarian Coronation Mantle.

Today, death is being reconceptualised around the world as heritage, replete with material markers and intangible performances. These heritages of death are personal, national and international. They are vernacular as well as official, sanctioned as well as alternative. This book brings together more than twenty international scholars to consider the heritage of death from spatial, political, religious, economic, cultural, aesthetic and emotive aspects. It showcases different attitudes and phases of death and their relationship to heritage through ethnographically informed case studies to illustrate both general patterns and local and national variations. Through analyses of material expressions and social practices of grief, mourning and remembrance, this book shows not only what death means in contemporary societies, but also how individuals, groups and nations act towards death.

This book explores the evolution of two disciplines, design and anthropology, and their convergence within commercial and organizational arenas. Focusing on the transdisciplinary field of design anthropology, the chapters cover the global forces and conditions that facilitated its emergence, the people that have contributed to its development and those who are likely to shape its future. Christine Miller touches on the invention and diffusion of new practices, the recontextualization of ethnographic inquiry within design and innovations in applications of anthropological theory and methodology. She considers how encounters between anthropology and 'designerly' practice have impacted the evolution of both disciplines. The book provides students, scholars and practitioners with valuable insight into the movement to formalize the nascent field of design anthropology and how the relationship between the two fields might develop in the future given the dynamic global forces that continue to impact them both.

This interdisciplinary book argues that museums can offer a powerful, and often overlooked, arena for both exploring and acting upon the interrelated issues of immigration and social justice. Based on three in-depth European case studies, spanning France, Denmark, and the UK, the research examines programs developed by leading museums to address cultural, economic, social and political inequalities. Where previous studies on museums and immigration have focused primarily on issues of cultural inequalities in collection and interpretation, Museums, Immigrants, and Social Justice adopts a more comprehensive focus that extends beyond the exhibition hall to examine the full range of programs developed by museums to address the of cultural, economic, social and political inequalities facing immigrants. Museums, Immigrants, and Social Justice offers compelling insights on the ability of museums to offer positive contributions to the issues surrounding immigration and social justice at a time when both are pressing issues in Europe. It will be of interest to scholars and students of museum studies, migration studies, sociology, human geography and politics.

Expanding Nationalisms at World's Fairs: Identity, Diversity, and Exchange, 1851-1915 introduces the subject of international exhibitions to art and design historians and a wider audience as a resource for understanding the broad and varied political meanings of design during a period of rapid industrialization, developing nationalism, imperialism, expanding trade and the emergence of a consumer society. Its chapters, written by both established and emerging scholars, are global in scope, and demonstrate specific networks of communication and exchange among designers, manufacturers, markets and nations on the modern world stage from the second half of the nineteenth century into the beginning of the twentieth. Within the overarching theme of nationalism and internationalism as revealed at world's fairs, the book's essays will engage a more complex understanding of ideas of competition and community in an age of emergent industrial capitalism, and will investigate the nuances, contradictions and marginalized voices that lie beneath the surface of unity, progress, and global expansion.

Heritage projects in the Arabian Peninsula are developing rapidly. Museums and heritage sites are symbols of shifting national identities, and a way of placing the Arabian Peninsula states on the international map. Global, i.e. Western, heritage standards and practices have been utilised for the rapid injection of heritage expertise in museum development and site management and for international recognition. The use of Western heritage models in the Arabian Peninsula inspires two key areas for research which this book examines: the obscuring of indigenous concepts and practices of heritage and expressions of cultural identity; and the tensions between local/community concepts of heritage and identity and the new national identities being constructed through museums and heritage sites at a state level.

Over the last twenty years the educational role of the museum has come to be central to its mission. There are now far more educational opportunities, new spaces, new interfaces - both digital and physical, and a growing number of education and interpretation departments, educational curators and public engagement programmes. Despite these developments, however, higher education has remained a marginal collaborator compared to primary and secondary schools and to other forms of adult learning. This has meant that the possibilities for partnerships between universities, colleges, museums and galleries has remained relatively unexplored, especially in relation to their potential for generating innovative patterns of research and learning. This book addresses the key issues which are preventing such partnerships and examines how to enable more effective and creative connections between museums and higher education. The authors identify conceptual and practical barriers and explore whether current academic models are fit for purpose. They argue that as pressures mount on public educational resources around the world, there needs to be an urgent increase in the exchange of knowledge across these sectors and the forging of world-class scholarly partnerships. Examples of research undertaken internationally offer best practice models for collaboration and integration. This book will be compulsory reading for museum and educational specialists and those interested in engaging in museum/higher education partnerships. It will also be of interest to those involved in policy and decision-making in education, the museum sector and national and local government.

First published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.

Few perspectives have invigorated the development of critical museum studies over the late twentieth and early twenty-first centuries as much as Foucault's account of the relations between knowledge and power and their role in processes of governing. Within this literature, Tony Bennett's work stands out as having marked a series of strategic engagements with Foucault's work to offer a critical genealogy of the public museum, offering an account of its nineteenth-century and early twentieth-century development that has been constantly alert to the politics of museums in the present. Museums, Power, Knowledge brings together new research with a set of essays initially published in diverse contexts, making available for the first time the full range of Bennett's critical museology. Ranging across natural history, anthropological art, geological and history museums and their precursors in earlier collecting institutions, and spanning the eighteenth to the twenty-first centuries in discussing museum practices in Britain, Australia, the USA, France and Japan, it offers a compelling account of the shifting political logics of museums over the modern period. As a collection that aims to bring together the 'signature' work of a museum theorist and historian whose work has long occupied a distinctive place in museum/society debates, Museums, Power, Knowledge will be of interest to researchers, teachers and students working in the fields of museum and heritage studies, cultural history, cultural studies and sociology, as well as museum professionals and museum visitors.

Apart from Christianity and the Oriental Cults, religion in Roman Britain is often discussed as though it remained basically Celtic in belief and practice, under a thin veneer of Roman influence. Using a wide range of archaeological evidence, Dr Henig shows that the Roman element in religion was of much greater significance and that the natural Roman veneration for the gods found meaningful expression even in the formal rituals practised in the public temples of Britain.

This book explores the lived experience of cultural entrepreneurship examining the challenges associated with cultural labour including the insecurities of managing precarious working conditions. Drawing on interviews conducted with cultural workers, Cultural Entrepreneurship focuses on how individuals articulate their experience of entrepreneurship in the cultural and creative industries. Noting the importance of place, the local cultural milieu is examined as a means of situating entrepreneurial practices through cultural and enterprise policies, local networks, and significant relationships. Within this framework, the cultural entrepreneurs' stories reveal means of subverting or re-interpreting identities and the possibility for 'rethinking cultural entrepreneurship.' Aimed at researchers, academics and students investigating cultural entrepreneurship, cultural policy and cultural labour, Cultural Entrepreneurship will additionally be of value to creative industry consultants, cultural policymakers, and those setting up creative enterprises. Researchers from fields such as geography, investigating different aspects of the cultural industries in relation to cultural policy and place, will also find this book to be a useful contribution.

Collecting is a key function of museums. Its apparent simplicity belies a complexity of questions and issues which make all collecting imprecise and unrepresentative. This book exposes the many meanings of collections, the different perspectives taken by different cultures, and the institutional response to the collecting problem. One major concern is omission, whether this be determined by politics, professional ethics, the law or social agenda. How did curators collect during the war in Croatia? What were the problems of trying to collect the "old" South Africa when the new one was born? Can museums collect from groups which seem to "deviate" from society's norms? How has the function of museums affected the practices of international trade? Can museums collect successfully if collecting agenda are being set externally? Museums and the Future of Collecting encourages museums to move away from the collecting of isolated tokens; to move beyond the collecting policy and to understand more clearly the intellectual function of what they do. Here examples are given from Australia, Sweden, Canada, Spain, Britain and Croatia which provide this intellectual understanding and many practical tools for evaluating a future collecting strategy.

First published in 2001. Routledge is an imprint of Taylor and Francis, an informa company.

Migration is, and has always been, a disruptive experience. Freedom from oppression and hope for a better life are counter-balanced by feelings of loss - loss of family members, of a home, of personal belongings. Memories of the migration process itself often fade quickly away in view of the new challenges that await immigrants in their new homelands. This volume asks, and shows, how migration memories have been kept, stored, forgotten, and indeed retrieved in many different archives, in official institutions, and in heritage centres, as well as in personal and family collections. Based on a variety of examples and conceptual approaches - from artistic approaches to the family archive via 'smell and memory as archives', to a cultural history of the suitcase - this volume offers a new and original way to write Jewish history and the history of Jewish migration in the context of personal and public memory. The documents reflect the transitory character of the migration experience, and they tell stories of longing and belonging. This book was originally published as a special issue of Jewish Culture and History.

This volume provides an unparalleled exploration of ethics and museum practice, considering the controversies and debates which surround key issues such as provenance, ownership, cultural identity, environmental sustainability and social engagement. Using a variety of case studies which reflect the internal realities and daily activities of museums as they address these issues, from exhibition content and museum research to education, accountability and new technologies, Museums, Ethics and Cultural Heritage enables a greater understanding of the role of museums as complex and multifaceted institutions of cultural production, identity-formation and heritage preservation. Benefitting from ICOM's unique position in the museum world, this collection brings a global range of academics and professionals together to examine museums ethics from multiple perspectives. Providing a more complete picture of the diverse activities now carried out by museums, Museums, Ethics and Cultural Heritage will appeal to practitioners, academics and students alike.

Walter Gropius associated standardisation with promoting civilisation in 1935, yet Andrew Carnegie's influence on the proliferation of pattern book public library plans internationally predated these observations by 50 years. Through the first twenty years of his programme, he supported the erection of almost three thousand public buildings across Britain and America. Though better acknowledged in the US than the UK, this philanthropic contribution radically extended the scope of public provision and remains incomparable in its scale and scope in both nations. Frequently engraved with the self-deifying slogan Let there be Light , open access to navigate these new interior public spaces after work coincided with the first provision of electric light. Towards the end of the nineteenth century, professional groups had sought to specify minimum standards of natural light and air for schools and hospitals. However, the commercial quantification of electricity accelerated the development of a readily comparable vocabulary to prescribe adequate quantities of light for all tasks regardless of their location or orientation. Seeking to gauge the extent of universal values, this book concentrates on the design and performance of a handful of early Carnegie library buildings in Britain and America, identifying their response to contemporary design theory, but also by contrast to their respective local environmental contexts. It examines whether their standards of provision were equitable and if these privately financed public buildings were the first roots of generically standardised public environments to be shared transatlantically. The book also argues that the public library building type can provide a datum for acknowledging the twentieth century legacy of shared international environmental standards for public spaces more broadly.