Contemporary Curating, Artistic Reference and Public Reception undertakes a unique critical survey and analysis of prevailing group exhibition-making practices in Europe, the UK and North America. Drawing on curatorial literature and two in-depth case studies of group exhibitions, Bertrand advocates for a mode of curatorial practice that secures the content of artworks, in contrast to prevailing open-ended, indeterminate approaches. Proposing a third exhibition type beyond the current binary exhibition ontology that opposes art historical narratives to curatorial installations or Gesamtkunstwerk, the book directly tackles the enduring critique of curating as a mediating activity that produces sameness in group-exhibition contexts by establishing artistic equivalences. The book relies on the principles of analytical philosophy to assess how different exhibition-making approaches fix reference and determine artistic reception, reintroducing a standard to evaluate exhibitions beyond personal taste and thematic coherence. Bertrand ultimately proposes an alternative conception of practice that affirms the renewed relevance of the institutional group show in the present context. Contemporary Curating, Artistic Reference and Public Reception will be of interest to academics, researchers and students working in museum and curatorial studies, visual cultures, art theory and art history programmes. Art theorists and critics, as well as curators of contemporary art with a research-based practice, should also find much to interest them within the pages of the book.

The Routledge Handbook of Religious and Spiritual Tourism provides a robust and comprehensive state-of-the-art review of the literature in this growing sub-field of tourism. This handbook is split into five distinct sections. The first section covers past and present debates regarding definitions, theories, and concepts related to religious and spiritual tourism. Subsequent sections focus on the supply and demand aspects of religious and spiritual tourism markets, and examine issues related to the management side of these markets around the world. Areas under examination include religious theme parks, the UNESCO branding of religious heritage, gender and performance, popular culture, pilgrimage, environmental impacts, and fear and terrorism, among many others. The final section explores emerging and future directions in religious and spiritual tourism, and proposes an agenda for further research. Interdisciplinary in coverage and international in scope through its authorship and content, this will be essential reading for all students, researchers, and academics interested in Tourism, Religion, Cultural Studies, and Heritage Studies.

This book offers a comprehensive account of the audiovisual translation (AVT) of humour, bringing together insights from translation studies and humour studies to outline the key theories underpinning this growing area of study and their applications to case studies from television and film. The volume outlines the ways in which the myriad linguistic manifestations and functions of humour make it difficult for scholars to provide a unified definition for it, an issue made more complex in the transfer of humour to audiovisual works and their translations as well as their ongoing changes in technology. Dore brings together relevant theories from both translation studies and humour studies toward advancing research in both disciplines. Each chapter explores a key dimension of humour as it unfolds in AVT, offering brief theoretical discussions of wordplay, culture-specific references, and captioning in AVT as applied to case studies from Modern Family. A dedicated chapter to audio description, which allows the visually impaired or blind to assess a film's non-verbal content, using examples from the 2017 film the Big Sick, outlines existing research to date on this under-explored line of research and opens avenues for future study within the audiovisual translation of humour. This book is key reading for students and scholars in translation studies and humour studies.

This Companion is a comprehensive examination of the varied ways in which gender issues manifest throughout culture in Japan, using a range of international perspectives to examine private and public constructions of identity, as well as gender- and sexuality-inflected cultural production. The Routledge Companion to Gender and Japanese Culture features both new work and updated accounts of classic scholarship, providing a go-to reference work for contemporary scholarship on gender in Japanese culture. The volume is interdisciplinary in scope, with chapters drawing from a range of perspectives, fields, and disciplines, including anthropology, art history, history, law, linguistics, literature, media and cultural studies, politics, and sociology. This reflects the fundamentally interdisciplinary nature of the dual focal points of this volume-gender and culture-and the ways in which these themes infuse a range of disciplines and subfields. In this volume, Jennifer Coates, Lucy Fraser, and Mark Pendleton have brought together an essential guide to experiences of gender in Japanese culture today-perfect for students, scholars, and anyone else interested in Japan, culture, gender studies, and beyond.

Art in Science Museums brings together perspectives from different practitioners to reflect on the status and meaning of art programmes in science centres and museums around the world. Presenting a balanced mix of theoretical perspectives, practitioners' reflections, and case-studies, this volume gives voice to a wide range of professionals, from traditional science centres and museums, and from institutions born with the very aim of merging art and science practices. Considering the role of art in the field of science engagement, the book questions whether the arts might help curators to convey complex messages, foster a more open and personal approach to scientific issues, become tools of inclusion, and allow for the production of totally new cultural products. The book also includes a rich collection of projects from all over the world, synthetically presenting cases that reveal very different approaches to the inclusion of art in science programmes. Art in Science Museums should be of great interest to academics, researchers and postgraduate students working in the fields of museum studies, cultural heritage management, material culture, science communication and contemporary art. It should also be essential reading for museum professionals looking to promote more reflective social science engagement in their institutions.

This book: takes media and critical studies approach to the museum and raises questions about the role of privately-owned search engines in facilitating museum experiences. It questions who collects what, for whom objects are collected and what purpose these objects and collections serve. brings attention to an emerging new model of digital ownership and moderation by connecting fieldwork undertaken in Australia and New Zealand with the global practices of technology companies. will be of interest to academics and students working in the fields of museum studies, art, culture, media studies and digital humanities and for practitioners working in museums and galleries around the world.

Museums must change to illuminate the histories, cultures, and social issues that matter to their local population. Based on a unique longitudinal ethnographic study, Transforming Museum Management illustrates how a traditional art museum attempted to transform into a more inclusive and community-based institution. Using open systems theory and the Buddhist concept of mutual causality, it examines the museum's internal management structure and culture, programs and exhibitions, and mental models of museum workers. In providing both theoretical and practical foundations to transform management structures, this accessible volume will benefit stakeholders by proposing a new culture and structure to arts institutions, to change practice to be more relevant, diverse, and inclusive. This book will be an invaluable resource for researchers and advanced students of museum studies, cultural management, arts administration, non-profit management, and organizational studies.

Theatre of the Sphere is Luis Valdez's exploration of the principles that underlie his innovations as a playwright, teacher, and theatrical innovator. He discusses the unique aesthetic, more than five decades in the making, that defines the work of his group El Teatro Campesino-from shows staged on the backs of flatbed trucks by the participants in the Delano Grape Strike of the 1960s to international megahits like Zoot Suit. Opening with a history of El Teatro Campesino, rich with Valdez's insights and remembrances, the book's first part provides context for the development of the Theatre of the Sphere acting method. The second part delivers the conceptual framework for Valdez's acting theory and practice, situating it in Mayan mathematics and metaphysics. The third part of the book applies this methodology to describe the "viente pasos," the 20-element exercise sequence that comprises the core practice of El Teatro Campesino-strengthening the body, balance, precision, and flexibility but also leadership, collaboration, observation, vulnerability, trust, and expression of passion; of consciousness of time, place, self, community, language, and belief; of honour, faith, morality, and commitment. The book concludes with the full text of Valdez's poem, "El Buen Actor/El Mal Actor," and a comprehensive bibliography for further study. This is a vital and indispensable text for today's actor, as well as scholars and students of contemporary theatre, American and Chicano performance, and the process of theatre-making, actor training, and community performance.

The world-class National Palace Museum (NPM) in Taiwan possesses a repository of the largest collection of Chinese cultural treasures of outstanding quality. Through implementing a two-organizational restructuring, and shifting its operational focus from being object-oriented to public-centered, it aims to capture the attention of people and promote awareness of the culture and traditions of China. In this vein, the NPM combines its expertise in museum service with the possibilities afforded by Information Technology (IT). This book analyses the research results of a team sponsored by the National Science Council in Taiwan to observe the development processes and accomplishments, and to conduct scientific researches covering not only the technology and management disciplines, but also the humanities and social science disciplines. The development process of new digital content and IT-enabled services of NPM would be a useful benchmark for museums, cultural and creative organizations and traditional organizations in Taiwan and around the world.

Museum Innovation encourages museums to critically reflect upon current practices and adopt new approaches to their civic responsibilities. Arguing that museums have a moral duty to perform, the book shows how social innovation can make them more equitable, relevant and impactful institutions. Including contributions from a diverse group of international scholars, practitioners and researchers, the book investigates the innovative approaches museums are taking to address contemporary social issues. The volume focuses on the concept of social innovation and individual chapters address a range of crucial issues, such as climate change; the COVID-19 pandemic; diversity and inclusion; the travel ban; and the repatriation of museum collections. Exploring the impact that organizational structures have on museums' aspirations to act as agents for social change, the book also unpacks how museums can establish sustainable relationships with minority communities. Proposing steps that museums can take to affirm their relevance as viable community partners, the book breaks down silos and connects ideas across different areas of museum work. Museum Innovation explores the role of contemporary museums in society. It is essential reading for academics, students and practitioners working in the museum and heritage studies field. The book's interdisciplinary nature makes it also an interesting read for those working in business studies, digital humanities, visual culture, arts administration and political science fields.

Museum Innovation encourages museums to critically reflect upon current practices and adopt new approaches to their civic responsibilities. Arguing that museums have a moral duty to perform, the book shows how social innovation can make them more equitable, relevant and impactful institutions. Including contributions from a diverse group of international scholars, practitioners and researchers, the book investigates the innovative approaches museums are taking to address contemporary social issues. The volume focuses on the concept of social innovation and individual chapters address a range of crucial issues, such as climate change; the COVID-19 pandemic; diversity and inclusion; the travel ban; and the repatriation of museum collections. Exploring the impact that organizational structures have on museums' aspirations to act as agents for social change, the book also unpacks how museums can establish sustainable relationships with minority communities. Proposing steps that museums can take to affirm their relevance as viable community partners, the book breaks down silos and connects ideas across different areas of museum work. Museum Innovation explores the role of contemporary museums in society. It is essential reading for academics, students and practitioners working in the museum and heritage studies field. The book's interdisciplinary nature makes it also an interesting read for those working in business studies, digital humanities, visual culture, arts administration and political science fields.

At a time when organized heritage protection in Asia is developing at a rapid pace, Architectural Conservation in Asia provides the first comprehensive overview of architectural conservation practice from Afghanistan to the Philippines. The country-by-country analysis adopted by the book draws out local insights, experiences, best practice and solutions for effective cultural heritage management that will inform study and practice both in Asia and beyond. Whereas architectural conservation in much of the Western world has been extensively documented, this book brings together coverage of many regions where architectural conservation has been understudied. Following on from the highly influential companion volumes on global architectural conservation and architectural conservation in Europe and the Americas, with this book the authors extend their pioneering global examination to the dynamic and evolving field of architectural conservation in Asia. Throughout the book, the authors and regional experts provide local case studies and profile topics that bring depth and insight to this ambitious study. As architectural conservation becomes increasingly global in practice, this book will be of considerable assistance to architectural conservation practitioners, site managers and students of architecture, planning, archaeology and heritage studies worldwide.

This book presents an innovative approach to public archaeology in a rural community, which has had powerful results in terms of empowering a village community in Crete to become long-term guardians of their cultural heritage. Highlighting the theoretical and local contexts of the Philioremos Peak Sanctuary Public Archeology Project, this book explores the methodology and the project outcomes, and assesses best practice in the field of public archaeology within a rural community. As well as expanding the research on Minoan peak sanctuaries, the volume contributes to a greater understanding of how rural communities can be successfully engaged in the management of heritage, and is relevant to archaeologists and other heritage professionals wishing to understand the latest developments in public archaeology.

Over the past 50 years, Indigenous Australian theatre practice has emerged as a dynamic site for the discursive reflection of culture and tradition as well as colonial legacies, leveraging the power of storytelling to create and advocate contemporary fluid conceptions of Indigeneity. Performing Indigenous Identities on the Contemporary Australian Stage offers a window into the history and diversity of this vigorous practice. It introduces the reader to cornerstones of Indigenous Australian cultural frameworks and on this backdrop discusses a wealth of plays in light of their responses to contemporary Australian identity politics. The in-depth readings of two landmark theatre productions, Scott Rankin's Namatjira (2010) and Wesley Enoch & Anita Heiss' I Am Eora (2012), trace the artists' engagement with questions of community consolidation and national reconciliation, carefully considering the implications of their propositions for identity work arising from the translation of traditional ontologies into contemporary orientations. The analyses of the dramatic texts are incrementally enriched by a dense reflection of the production and reception contexts of the plays, providing an expanded framework for the critical consideration of contemporary postcolonial theatre practice that allows for a well-founded appreciation of the strengths yet also pointing to the limitations of current representative approaches on the Australian mainstage. This study will be of great interest to students and scholars of Postcolonial, Literary, Performance and Theatre Studies.

This book is an examination of race, Black African objects, identity, museums at the turn of the 19th century in the U.S. via the history of the earliest collectors of Black African objects in the U.S.. Misrepresenting Black Africa in American Museums explores black identity as a changing, nuanced concept. Focusing on racial history in the United States, this book examines two of the earliest collectors of Black African objects in the United States. First, there is a history of race and ideas of primitiveness is presented. Next, there is a discussion of western concepts of race. Then there is an examination of Karl Steckelmann, the first collector who is a united states citizen. After which there is a critical account of William H. Sheppard, the second collector who is also a black Presbyterian Minister from Virginia. Then a broader discussion of public appearances of Black African images in public. This is followed by a detailed look at museum formation and practices. Next, there is a theoretical discussion of identity and race, and finally, a look at the impact of historical practices that continue into the 21st century. This book will be of interest to scholars of race and racism, African visual culture, heritage and museum studies.

Drawing on expertise in art history, exhibition studies and cultural studies as well as politics and international relations, China in Australasia presents significant new perspectives on the role of art in the cultural diplomacy of the People's Republic of China. The book tells the forgotten story of the loan, exchange, and gifting of Chinese art, museum exhibitions-and the use of Chinese arts more broadly-in growing diplomatic relations with Australia and New Zealand, from 1949 to the present day. Its scope includes pre-modern, modern and contemporary sculpture, painting and peasant art, as well as ancient artefacts, performance arts and gardens. In considering the geopolitical connections opened by the arts, this book presents new insights into some of the ways in which China, often in conjunction with local supporters, sought to present itself to the people of Australia and New Zealand. It also considers how, for their part, New Zealanders and Australians worked to expand understandings of their powerful northern neighbour within changing political contexts. The first of its kind, this book-length interdisciplinary study of Chinese soft diplomacy in Australasia will be invaluable to students and scholars of Chinese studies, cultural diplomacy, museum studies and art history.

Mannequins in Museums is a collection of historical and contemporary case studies that examine how mannequins are presented in exhibitions and shows that, as objects used for storytelling, they are not neutral objects. Demonstrating that mannequins have long histories of being used to promote colonialism, consumerism, and racism, the book shows how these histories inform their use. It also engages readers in a conversation about how historical narratives are expressed in museums through mannequins as surrogate forms. Written by a select group of curators and art historians, the volume provides insight into a variety of museum contexts, including art, history, fashion, anthropology and wax. Drawing on exhibition case studies from North America, South Africa, and Europe, each chapter discusses the pedagogical and aesthetic stakes involved in representing racial difference and cultural history through mannequins. As a whole, the book will assist readers to understand the history of mannequins and their contemporary use as culturally relevant objects. Mannequins in Museums will be compelling reading for academics and students in the fields of museum studies, art history, public history, anthropology and visual and cultural studies. It should also be essential reading for museum professionals who are interested in rethinking mannequin display techniques.

This book calls for re-conceptualising urban recovery by exploring the intersection of reconstruction and displacement in volatile contexts in the Global South. It explores the spatial, social, artistic, and political conditions that promote urban recovery. Reconstruction and displacement have often been studied independently as two different processes of physical recovery and human migration towards safety and shelter. It is hoped that by intersecting or even bridging reconstruction with displacement we can cross-fertilize and exploit both discourses to reach a greater understanding of the notion of urban recovery as a holistic and multi-layered process. This book brings multidisciplinary perspectives into conversation with each other to look beyond the conflict-related displacement and reconstruction and into the greater processes of crises and recovery. It uses empirical research to examine how trauma, crisis, and recovery overlap, coexist, collide and redefine each other. The core exploration of this edited collection is to understand how the oppositional framing of destruction versus reconstruction and place-making versus displacement can be disrupted; how displacement is spatialized; and how reconstruction is extended to the displaced people rebuilding their lives, environments, and memories in new locations. In the process, displacement is framed as agency, the displaced as social capital, post-conflict urban environments as archives, and reconstructions as socio-spatial practices. With local and international insights from scholars across disciplines, this book will appeal to academics and students of urban studies, architecture, and social sciences, as well as those involved in the process of urban recovery.

Artefacts, Archives, and Documentation in the Relational Museum provides the first interdisciplinary study of the digital documentation of artefacts and archives in contemporary museums, while also exploring the implications of polyphonic, relational thinking on collections documentation. Drawing on case studies from Australia, the United Kingdom, and the United States, the book provides a critical examination of the history of collections management and documentation since the introduction of computers to museums in the 1960s, demonstrating how technology has contributed to the disconnection of distributed collections knowledge. Jones also highlights how separate documentation systems have developed, managed by distinct, increasingly professionalised staff, impacting our ability to understand and use what we find in museums and their ever-expanding online collections. Exploring this legacy allows us to rethink current practice, focusing less on individual objects and more on the rich stories and interconnected resources that lie at the heart of the contemporary, plural, participatory 'relational museum.' Artefacts, Archives, and Documentation in the Relational Museum is essential reading for those who wish to better understand the institutional silos found in museums, and the changes required to make museum knowledge more accessible. The book is a particularly important addition to the fields of museum studies, archival science, information management, and the history of cultural heritage technologies.

Intangible Heritage and Participation examines participation as an intellectual and operational frame in safeguarding intangible heritage. Including case studies from the Netherlands, Belgium, Aotearoa New Zealand, Greece, Peru, Britain, Denmark, Sweden and Japan, the book provides an analysis of safeguarding as a museological framework and further investigates safeguarding practices in participatory research, memory-work and cultural transmission. Drawing on conversations about 'the tyranny of participation', the book looks into the complexities of participatory projects on the ground, from community research and collecting to the mapping of Indigenous values in environmental conservation and processes of active remembering of 'difficult intangible heritage' of forced migration, political violence and mental illness. Cautioning against the uncritical adoption of participation as a universal ethical discourse, Alivizatou argues that the ethics of cosmopolitanism should guide safeguarding practices at an international level. Intangible Heritage and Participation offers an original approach to thinking about and working with intangible heritage and, as such, should be essential reading for academics, researchers and students in, among others, the fields of cultural heritage studies, museology, anthropology and cultural development. It should also be of interest to heritage and museum professionals and anyone else interested in cultural heritage theory and practice.

Intangible Heritage and Participation examines participation as an intellectual and operational frame in safeguarding intangible heritage. Including case studies from the Netherlands, Belgium, Aotearoa New Zealand, Greece, Peru, Britain, Denmark, Sweden and Japan, the book provides an analysis of safeguarding as a museological framework and further investigates safeguarding practices in participatory research, memory-work and cultural transmission. Drawing on conversations about 'the tyranny of participation', the book looks into the complexities of participatory projects on the ground, from community research and collecting to the mapping of Indigenous values in environmental conservation and processes of active remembering of 'difficult intangible heritage' of forced migration, political violence and mental illness. Cautioning against the uncritical adoption of participation as a universal ethical discourse, Alivizatou argues that the ethics of cosmopolitanism should guide safeguarding practices at an international level. Intangible Heritage and Participation offers an original approach to thinking about and working with intangible heritage and, as such, should be essential reading for academics, researchers and students in, among others, the fields of cultural heritage studies, museology, anthropology and cultural development. It should also be of interest to heritage and museum professionals and anyone else interested in cultural heritage theory and practice.

1. The book analyses cutting-edge examples of innovative museological practice from around the globe, thus demonstrating how museums can design, apply and assess new modes of audience engagement and participation. 2. Taken together, the chapters offer a new paradigm in approaching museum practice. As a result, the book will be of great value to academics and students in the fields of museum, gallery and heritage studies, as well as architecture, design, communication and cultural studies. It will also be of interest to museum professionals. 3. The book includes contributions from a number of established academics, as well as a practitioner perspective, which sets it apart from competing titles.

1. The book analyses cutting-edge examples of innovative museological practice from around the globe, thus demonstrating how museums can design, apply and assess new modes of audience engagement and participation. 2. Taken together, the chapters offer a new paradigm in approaching museum practice. As a result, the book will be of great value to academics and students in the fields of museum, gallery and heritage studies, as well as architecture, design, communication and cultural studies. It will also be of interest to museum professionals. 3. The book includes contributions from a number of established academics, as well as a practitioner perspective, which sets it apart from competing titles.

The Routledge Companion to Automobile Heritage, Culture, and Preservation explores automotive heritage, its place in society, and the ways we might preserve and conserve it. Drawing on contributions from academics and practitioners around the world and comprising six sections, this volume carries the heritage discourse forward by exploring the complex and sometimes intricate place of automobiles within society. Taken as a whole, this book helps to shape how we think about automobile heritage and considers how that heritage explores a range of cultural, intellectual, emotional, and material elements well outside of the automobile body itself. Most importantly, perhaps, it questions how we might better acknowledge the importance of automotive heritage now and in the future. The Routledge Companion to Automobile Heritage, Culture, and Preservation is unique in that it juxtaposes theory with practice, academic approaches with practical experience, and recognizes that issues of preservation and conservation belong in a broad context. As such, this volume should be essential reading for both academics and practitioners with an interest in automobiles, cultural heritage, and preservation.

Cultural Diplomacy and the Heritage of Empire analyzes the history of the negotiations that led to the atypical return of colonial-era cultural property from the Netherlands to Indonesia in the 1970s. By doing so, the book shows that competing visions of post-colonial redress were contested throughout the era of post-World War II decolonization. Considering the danger this precedent posed to other countries, the book looks beyond the Dutch-Indonesian case to the "Elgin (Parthenon) Marbles" and "Benin Bronzes" controversies, as well as recent developments relating to returns in France and the Netherlands. Setting aside the "universalism versus nationalism" debate, Scott asserts that the deeper meaning of post-colonial cultural property disputes in European history has more to do with how officials of former colonial powers negotiated decolonization, while also creating contemporary understandings of their nations' pasts. As a whole, the book expands the field of cultural restitution studies and offers a more nuanced understanding of the connections drawn between postcolonial national identity making and the extension of cultural diplomacy. Cultural Diplomacy and the Heritage of Empire offers a new perspective on the international influence of the UNGA and UNESCO on the return debate. As such, the book will be of interest to scholars, students and practitioners engaged in the study of cultural property diplomacy and law, museum and heritage studies, modern European history, post-colonial studies and historical anthropology.