This book provides an essential resource for educators and museum professionals who wish to develop education focused eMuseums that feature motivational standards-based curriculum for diverse learners. The book is divided into three sections: Section 1. Planning, Developing, and Evaluating eMuseums guides the reader through the stages of planning, creating, and evaluating a user-centered eMuseum. This section provides an overview of the process of planning, creating, and evaluating an eMuseum, giving small and medium sized museums the framework and guidance needed to create an eMuseum. Section 2. Museum and Public School Partnerships: A Step-by-Step Guide for Creating Standards-Based Curriculum Materials in High School Social Studies is the second section. This section includes how to: a) form a partnership, b) create standards-based curriculum materials, and c) provides curriculum material evaluation strategies. Section 3. Developing Accessible Museum Curriculum: A Handbook for Museum Professionals and Educators. Educators in both museums and schools are faced with the task of delivering content to patrons with increasingly diverse interests, skills, and learning needs. This section outlines specific strategies that can be applied to curriculum to expand its application to broader audiences. This section includes: (a) content presentation, (b) content process, and (c) content product. Throughout the book, materials created from the Negro Leagues Baseball Museum (NLBM) and Kansas State University (KSU) partnership are included as product examples.

With the advent of the computer, electronic cataloging of museum collections is becoming a reality. This book is a useful guide to starting a computer cataloging project. It lays out the rudiments of computer retrieval, database organization, and image processing. It does not purport to dictate a particular computer system, since museums have individualized needs, but it offers case studies and examples to help museums make informed decisions. The glossary and bibliography of the book are also helpful. Museum libraries and academic collections supporting museum and computer studies will appreciate this introductory text. ARBA

Written for museum executives, curators, and computer programmers and librarians with museum clients, this book offers a detailed exploration of the use of computers to record and control the physical objects that comprise museum collections. Equally applicable to collections contained in major museums and to those residing in the far more numerous small museums, "Museum Collections and Today's ComputerS" show how computers can be effectively and cost-efficiently used to perform a number of museum activities, including accession, registration, cataloging, inventory control, lending, exhibiting, and research. Throughout, the authors focus on the unique nature of museum collections and the special needs that result from uniqueness.

During the late twentieth century, the number of museums in the UK dramatically increased. Typically small and independent, the new museums concentrated on local history, war and transport. This book asks who founded them, how and why. In order to find out more, Fiona Candlin, a professor in museology, and Toby Butler, an expert oral historian, travelled around the UK to meet the individuals, families, community groups and special interest societies who established the museums. The rich oral histories they collected provide a new account of recent museum history - one that weaves together personal experience and social change while putting ordinary people at the heart of cultural production. Combining academic rigour with a lively writing style, Stories from small museums is essential reading for students and museum enthusiasts alike. -- .

For some time now, museums have been recognized as important institutions of western cultural and social life. The idea of the museum as a ritual site is fairly new and has been applied to the art museums in Europe and the United States so far. This volume expands it by exploring a range of contemporary museums in Europe and Africa. The case studies examine the different ways in which various actors involved in cultural production dramatize and ritualize such sites. It turns out that not only museum specialists, but visitors themselves are engaged in complex performances and experiences that make use of museums in often unexpected ways.

Why has Asmat art, from a remote and small south-coast West Papuan society, had such a significant and prolonged impact on the world stage? This book explores the way major collections were made and examines the motivations of the collectors, their relationships with those from whom they purchased and the circumstances of the exchange. It also considers the involvement of artists and film-makers, anthropologists, representatives of the civil authorities and missionaries. Asmat artists have maintained their unique appeal through constant stylistic innovation and by engagement with new publics, both locally and internationally, as exemplified by the recent displays of women's weaving alongside the men's carved wooden shields, drums and figures. Despite accelerating social changes, Asmat art continues to thrive as a compelling and transformative Melanesian presence in the global art world. 'Awe-inspiring works of Asmat art loom large in the Metropolitan Museum of Art in New York and in dozens of other great museums around the world. Nick Stanley's engagingly written study provides the best history to date of the making of Asmat art traditions and of their avid acquisition by successive European and north American collectors. Most importantly, the book foregrounds the creativity and imagination of Asmat artists themselves. This is a book that will be welcomed by everyone interested in the arts of the Pacific.' Nicholas Thomas, University of Cambridge

*The study and conservation of four ancient Egyptian funerary portraits: provenance, conservation history and structural treatment* Maker, material and method: reinstating an indigenously made chair from KwaZulu-Natal, South Africa* A Bulgarian kukeri mask: a diplomatic gift and the conservation of its polyurethane foam decorations* A traditional Chinese method for weakening silk for use in the conservation of silk paintings* Analytical study of the first royal Egyptian heart-scarab, attributed to a Seventeenth Dynasty king, Sobekemsaf* Scientific analysis of a Buddha attributed to the Yongle period of the Ming dynasty

Contemporary Cases in Heritage Tourism: Volume 1 examines 9 international cases under the sections of Managing Heritage Sites, World Heritage Sites, and Heritage Tourism. Cases include: Festivals as Expressions of Heritage: A Viking Case Study, Ethnic Enclaves as Visitor Attractions: Singapore's Little India, Managing Religious Heritage Attractions: The Case of Jerusalem Challenges faced by heritage projects in a rapidly changing society: The case of Wutai Shan, China, Edinburgh WHS: A Heritage Case Study, Indigenous Tourism and Heritage: A Maori Case Study and more. Written by established experts in the field, the volume comprises substantial, in-depth and detailed case studies, written with specific learning objectives in mind. Furthermore, each case is fully referenced in academic style and accompanied by a wealth of supplementary material including discussion questions, further reading and links to websites. Teaching notes, slides, essay questions, exam questions with guide answers, links to further resources are also available from the website (www.goodfellowpublishers.com). All cases within Contemporary Cases in Heritage Tourism: Volume 1 are available for individual download from the Contemporary Cases Online website (see www.goodfellowpublishers.com) or for e-readers (Kindle, Kobo), and can be purchased in a 'pick-and-mix' fashion to suit the needs of the reader. The online cases are packed with hyperlinks to original sources, further readings and websites. Readers can follow these links to obtain further information about the specific concepts, terms, issues and organisations identified in each case. Features of this book and those in the series include: * Topical currency: a series of up-to-date, topical case studies in the allied fields of tourism, heritage, hospitality, leisure, retail, events and sport; * Rich, in-depth treatment of material: extensive case studies with copious illustrative material to draw students in to the cases; * Additional student material: discussion questions, further reading, links to websites; * Tutor resources: teaching notes, slides, essay questions, exam questions with guide answers, links to further resources; * Online purchase: individual cases chapters will be available for purchase individually or in volume packages.

For some time now, museums have been recognized as important institutions of western cultural and social life. The idea of the museum as a ritual site is fairly new and has been applied to the art museums in Europe and the United States so far. This volume expands it by exploring a range of contemporary museums in Europe and Africa. The case studies examine the different ways in which various actors involved in cultural production dramatize and ritualize such sites. It turns out that not only museum specialists, but visitors themselves are engaged in complex performances and experiences that make use of museums in often unexpected ways.

Golden Mummies of Egypt presents new insights and a rich perspective on beliefs about the afterlife during an era when Egypt was part of the Greek and Roman worlds (c. 300 BCE-200 CE). This beautifully illustrated book, featuring photography by Julia Thorne, accompanies Manchester Museum's first-ever international touring exhibition. Golden Mummies of Egypt is a visually spectacular exhibition that offers visitors unparalleled access to the museum's outstanding collection of Egyptian and Sudanese objects - one of the largest in the UK. -- .

Hadrian's Wall is the largest, most spectacular and one of the most enigmatic historical monument in Britain. Nothing else approaches its vast scale: a land wall running 73 miles from east to west and a sea wall stretching at least 26 miles down the Cumbrian coast. Many of its forts are as large as Britain's most formidable medieval castles, and the wide ditch dug to the south of the Wall, the vallum, is larger than any surviving prehistoric earthwork. Built in a ten-year period by more than 30,000 soldiers and labourers at the behest of an extraordinary emperor, the Wall consisted of more than 24 million stones, giving it a mass greater than all the Egyptian pyramids put together. At least a million people visit Hadrian's Wall each year and it has been designated a World Heritage Site. In this book, based on literary and historical sources as well as the latest archaeological research, Alistair Moffat considers who built the Wall, how it was built, why it was built and how it affected the native peoples who lived in its mighty shadow. The result is a unique and fascinating insight into one of the Wonders of the Ancient World.

In this comparative, international study Marilena Alivizatou investigates the relationship between museums and the new concept of "intangible heritage." She charts the rise of intangible heritage within the global sphere of UN cultural policy and explores its implications both in terms of international politics and with regard to museological practice and critical theory. Using a grounded ethnographic methodology, Alivizatou examines intangible heritage in the local complexities of museum and heritage work in Oceania, the Americas and Europe. This multi-sited, cross-cultural approach highlights key challenges currently faced by cultural institutions worldwide in understanding and presenting this form of heritage.

Shaila Bhatti's immersive study of the Lahore Museum in Pakistan is one of the first books to offer an in-depth historical and ethnographic analysis of a South Asian museum. Bhatti thus presents an alternative example of visitor experience and museum practice to that of the West, which has been the dominant museological model to date. This examination of the Lahore Museum's objects, staff, and visitors (past and present) provides an informative case study that reveals local perceptions and uses of museums in non-Western societies to be fraught with social, political, and cultural implications and appropriations. Through Lahore, Bhatti examines the history of exchange between Britian and South Asia and advances our current understanding of what constitutes postcolonial museum interpretation and its public.

Museum Objects provides a set of readings that together create a distinctive emphasis and perspective on the objects which lie at the heart of interpretive practice in museums, material culture studies and everyday life. This reader brings together classic and up to date texts on the nature and definition of the object itself, the senses and embodied experience of objects. No other volume brings together such perspectives in this way, and no other volume includes such a focus on the museum context.

Museum Objects incorporates both theorised and more practical readings from a range of international academic and contextual perspectives. The overall result is a definitive set of readings that offers a comprehensive understanding of objects and their place within the museum context.

The last two decades have seen concerns for equality, diversity, social justice and human rights move from the margins of museum thinking and practice, to the core. The arguments -- both moral and pragmatic -- for engaging diverse audiences, creating the conditions for more equitable access to museum resources, and opening up opportunities for participation, now enjoy considerable consensus in many parts of the world. A growing number of institutions are concerned to construct new narratives that represent a plurality of lived experiences, histories and identities which aim to nurture support for more progressive, ethically-informed ways of seeing and to actively inform contemporary public debates on often contested rights-related issues. At the same time it would be misleading to suggest an even and uncontested transition from the museum as an organisation that has been widely understood to marginalise, exclude and oppress to one which is wholly inclusive. Moreover, there are signs that momentum towards making museums more inclusive and equitable is slowing down or, in some contexts, reversing.Museums, Equality and Social Justice aims to reflect on and, crucially, to inform debates in museum research, policy and practice at this critical time. It brings together new research from academics and practitioners and insights from artists, activists, and commentators to explore the ways in which museums, galleries and heritage organisations are engaging with the fast-changing equalities terrain and the shifting politics of identity at global, national and local levels and to investigate their potential to contribute to more equitable, fair and just societies.

Over recent decades, many museums, galleries and historic sites around the world have enjoyed an unprecedented level of large-scale investment in their capital infrastructure, in building refurbishments and new gallery displays. This period has also seen the creation of countless new purpose-built museums and galleries, suggesting a fundamental re-evaluation of the processes of designing and shaping of museums.

Museum Making: Narratives, Architectures, Exhibitions examines this re-making by exploring the inherently spatial character of narrative in the museum and its potential to connect on the deepest levels with human perception and imagination. Through this uniting theme, the chapters explore the power of narratives as structured experiences unfolding in space and time as well as the use of theatre, film and other technologies of storytelling by contemporary museum makers to generate meaningful and, it is argued here, highly effective and affective museum spaces. Contributions by an internationally diverse group of museum and heritage professionals, exhibition designers, architects and artists with academics from a range of disciplines including museum studies, theatre studies, architecture, design and history cut across traditional boundaries including the historical and the contemporary and together explore the various roles and functions of narrative as a mechanism for the creation of engaging and meaningful interpretive environments.

Preventive Conservation in Museums makes available and comprehensible the diverse literature and ideas of preventive conservation to an audience with a limited scientific background, principally those studying museum studies or engaged in the museum profession. It bridges the gap between the basic museum generated literature and technical and detailed conservation literature.

The area of preventative conservation has developed greatly in recent years and has adopted a far more holistic approach. The development of the concepts of risk analysis, management of conservation and how preventative conservation relates to the importance of traditional beliefs and approaches to artefacts have all made an impact on the subject in recent years along with the advance of instrumentation over the last thirty years. The next generation of ideas that will affect preventive conservation practice are just starting to emerge, including: detailed modelling of the environments of buildings and the sustainability of the artefactual and building heritage.

Preventive Conservation in Museums highlights the wide variety of threats, develops the concept of an holistic appreciation of these threats, and too appreciates the need to prioritise the appropriate forms of response. It uses a careful balance of sources, some technical, some theoretical, some practical as well as case studies to explore threats and their mitigation. For all those people involved in preventive conservation, be they students or professionals, this volume will be an invaluable summary of the past, present and future of the discipline.

In his book, Graham Black argues that museums must transform themselves if they are to remain relevant to 21st century audiences and this root and branch change would be necessary whether or not museums faced a funding crisis. It is the result of the impact of new technologies and the rapid societal developments that we are all a part of, and applies not just to museums but to all arts bodies and to other agents of mass communication.

Through comment, practical examples and truly inspirational case studies, this book allows the reader to build a picture of the transformed 21st century museum in practice. Such a museum is focused on developing its audiences as regular users. It is committed to participation and collaboration. It brings together on-site, online and mobile provision and, through social media, builds meaningful relationships with its users. It is not restricted by its walls or opening hours, but reaches outwards in partnership with its communities and with other agencies, including schools. It is a haven for families learning together. And at its heart lies prolonged user engagement with collections, and the conversations and dialogues that these inspire.

The book is filled to the brim with practical examples. It features:

• an introduction that focuses on the challenges that face museums in the 21st century
• an analysis of population trends and their likely impact on museums
• boxes showing ideas, models and planning suggestions to guide development
• examples and case studies illustrating practice in both large and small museums
• an up-to-date bibliography of landmark research, including numerous websites

Sitting alongside Graham Black 's previous book, The Engaging Museum, we now have a clear vision of a museum of the future that engages, stimulates and inspires the publics it serves, and plays an active role in promoting tolerance and understanding within and between communities.

Museums are at a critical moment in their history. In order to ensure survival into the next century, museums and galleries must demonstrate their social relevance and use. This means developing their public service functions through becoming more knowledgeable about the needs of their visitors and more adept at providing enjoyable and worthwhile experiences. Museums and Their Visitors aims to help museums and galleries in this crucial task. It examines the ways in which museums need to develop their communicative functions and, with examples of case-studies, explains how to achieve best practice. The special needs of a number of target audiences including schools, families and people with disabilities are outlined and illustrated by examples of exhibition, education and marketing policies. The book looks in detail at the power of objects to inspire and stimulate and analyses the use of language in museums and galleries. This is the first book to be written to guide museum and gallery staff in the development of provision for their visitors. It will be of interest to students of museum, heritage and leisure and tourism studies, as well as to international museum professionals.

The key to the survival of museum collections is a stable indoor environment and vital to this is a well-maintained building with effective environmental services. Environmental Management sets out clearly the theory and practice of achieving an appropriate museum environment for both collections and people. The book emphasises the need for planning and places the environmental needs of museum collections at the forefront of the responsibilities of museum managers. May Cassar stresses the role of the building as the first line of defence against environmental instability, recognising the importance of regular environmental monitoring and control, and the division of museum spaces into critical areas housing collections and non-critical areas accommodating offices, cafes and communal spaces. Environmental Management presents a strategic approach to environmental management, in contrast to the piecemeal approach to environmental monitoring and control still practised by many museums. However, rather than providing ready solutions and rigid rules, the book introduces principles and ideas on which to base decisions about creating the appropriate environment.

The museum boom, with its accompanying objectification and politicization of culture, finds its counterpart in the growing interest by social scientists in material culture, much of which is to be found in museums. Not surprisingly, anthropologists in particular are turning their attention again to museums, after decades of neglect, during which fieldwork became the hallmark of modern anthropology - so much so that the "social" and the "material" parted company so radically as to produce a kind of knowledge gap between historical collections and the intellectuals who might have benefitted from working on these material representations of culture. Moreover it was forgotten that museums do not only present the "pastness" of things. A great deal of what goes on in contemporary museums is literally about planning the shape of the future: making culture materialize involves mixing things from the past, taking into account current visions, and knowing that the scenes constructed will shape the perspectives of future generations. However, the (re-)invention of museum anthropology presents a series of challenges for academic teaching and research, as well as for the work of cultural production in contemporary museums - issues that are explored in this volume.

Routledge Companion to Museum Ethics is a theoretically informed reconceptualization of museum ethics discourse as a dynamic social practice central to the project of creating change in the museum. Through twenty-seven chapters by an international and interdisciplinary group of academics and practitioners it explores contemporary museum ethics as an opportunity for growth, rather than a burden of compliance. The volume represents diverse strands in museum activity from exhibitions to marketing, as ethics is embedded in all areas of the museum sector. What the contributions share is an understanding of the contingent nature of museum ethics in the twenty-first century -- its relations with complex economic, social, political and technological forces and its fluid ever-shifting sensibility. The volume examines contemporary museum ethics through the prism of those disciplines and methods that have shaped it most. It argues for a museum ethics discourse defined by social responsibility, radical transparency and shared guardianship of heritage. And it demonstrates the moral agency of museums: the concept that museum ethics is more than the personal and professional ethics of individuals and concerns the capacity of institutions to generate self-reflective and activist practice.

Visitors to museums, galleries, heritage sites and other not for profit attractions receive their information in changing ways. Communications channels are shifting and developing all the time, presenting new challenges to cultural PR and Marketing teams. Marketing and Public Relations for Museums, Galleries, Cultural and Heritage Attractions, as well as providing some of the theory of marketing, provides the latest available case studies coupled with comments and advice from professionals inside and outside the cultural sector to describe the possibilities and outline strategies for the future. A strong theme of change runs through each chapter. The economic climate is already affecting the publicly funded sectors and business and private sponsorship. How will it change over the next few years? The print media is contracting; reading and viewing patterns are changing as online and mobile media grow. What are the trends here, in Europe, US and elsewhere? Sustainability and global warming are not just buzz words but will have a real impact on public and private institutions and their visitor patterns. Population patterns are also changing with new immigrants arriving and the proportion of over 60s increases in Western countries. Cultural tourism has enjoyed a great surge in popularity and huge investments are being made in museums, galleries and events. Marketing and PR play a crucial role in the success of such ventures and will be illustrated with case studies from the UK, US, Canada, Australia, Middle East and China. Marketing and Public Relations for Museums, Galleries, Cultural and Heritage Attractions is aimed at students of marketing, museums, culture and heritage as well as professionals working in a range of cultural organisations from small to large and at different stages of market development from new entrants to those offering mature products. This includes museums, galleries, heritage and visitor attractions, community organisations, as well as organisers of festivals, markets, craft fairs and temporary exhibitions.

Essays exploring the relationship between museums and biographies, with worldwide examples and from the early nineteenth century to the present day. Museums and biographies both tell the stories of lives. This innovative collection examines for the first time biography - of individuals, objects and institutions - in relationship to the museum, casting new light on the many facets of museum history and theory, from the lives of prominent curators, to the context of museums of biography and autobiography. Separate sections cover individual biography and museum history, problematising individual biographies, institutional biographies, object biographies, and museums as biographies/autobiographies. These articles offer new ways of thinking about museums and museum history, exploring how biography in and of the museum enrichesmuseum stories by stressing the inter-related nature of lives of people, objects and institutions as part of a dense web of relationships. Through their widely ranging research, the contributors demonstrate the value of thinkingabout the stories told in and by museums, and the relationships which make up museums; and suggest new ways of undertaking and understanding museum biographies. Dr Kate Hill is Principal Lecturer in History at the University of Lincoln. Contributors: Jeffrey Abt, Felicity Bodenstein, Alison Booth, Stuart Burch, Lucie Carreau, Elizabeth Crooke, Steffi de Jong, Mark Elliott, Sophie Forgan, Mariana Francozo, Laura Gray, Kate Hill, Suzanne MacLeod, Wallis Miller, Belinda Nemec, Donald Preziosi, Helen Rees Leahy, Linda Sandino, Julie Sheldon, Alexandra Stara, Louise Tythacott, Chris Whitehead, Anne Whitelaw

Gender, Sexuality and Museums provides the only repository of key articles, new essays and case studies for the important area of gender and sexuality in museums. It is the first reader to focus on LGBT issues and museums, and the first reader in nearly 15 years to collect articles which focus on women and museums. At last, students of museum studies, women's studies, LGBT studies and museum professionals have a single resource.

The book is organised into three thematic parts, each with its own introduction. Sections focus on women in museum work, applications of feminist and LGBT theories to museum exhibitions, exhibitions and collections pertaining to women and individuals who are LGBT. The Case studies in a fourth part provide different perspectives to key topics, such as memorials and memorializing; modernism and museums; and natural history collections. The collection concludes with a bibliographic essay evaluating scholarship to date on gender and sexuality in museums.

Amy K. Levin brings together outstanding articles published in the past as well as new essays. The collection's scope is international, with articles about US, Canadian, and European institutions. Gender, Sexuality and Museums: A Routledge Reader is an essential resource for those studying gender and sexuality in the museum.