Transmedia Narratives for Cultural Heritage focuses on theoretical approaches to the analysis and creative practice of developing non-fiction digital transmedia narratives in the rapidly growing cultural heritage sector. This book applies a media-focused transdisciplinary approach to understand the conventions of emerging digital narrative genres. Considering digital media's impact on narrative creation and reception, the approach, namely remixed transmedia, can aid practitioners in creating strategic non-fiction narratives for cultural heritage. These creations also need to be evaluated and a digital-media focused 'ludonarrative toolkit' allows for the critical analysis of the composition and public participation in interactive digital narratives. This toolkit is applied and exemplified in genres including virtual museums, serious games, and interactive documentaries. The book also includes a seven-phase theoretical framework that can assist future creators (and project managers) of non-fiction transmedia 'mothership' narratives; and a methodology (based on 'big data analysis') for how to invent new cultural heritage narratives through bottom-up remixing that allows for public inclusion. Two transnational case studies on the 11 UNESCO World Heritage Australian Convict Sites and the Irish National Famine Way demonstrate the seven-phase framework's applicability. As many scholars across disciplines are increasingly creating digital narratives on historical topics for public consumption in various forms, the theoretical foundations and practical project management framework will be useful for scholars and project teams in the domains of transmedia studies, interactive narratives, cultural heritage, media studies, comparative literature, and journalism.

Revealing the hidden labour of keeping things as they are, the book highlights the ethical commitments and dilemmas involved in trying to care well. In doing so, it reveals how conservation objects are made literally to matter. Taking debates in the interdisciplinary field of heritage studies forward in important new directions, the book engages with themes of broader interest within the arts, humanities and social sciences, shedding new light on time, authenticity, modernity, materiality, expert knowledge and the politics of care.

1. The book provides informal educators with practical resources that will help them to build dynamic digital engagement experiences within their own cultural organizations. 2. It will be an essential guide for professionals who are tasked with interpreting the content of a cultural organization and building lasting digital engagement opportunities. It will also be of interest to practitioners-in-training. 3. This is the first book on interactive virtual learning to be written for those working in the field of museum education.

Heritage as Community Research explores the nature of contemporary heritage research involving university and community partners. Putting forward a new view of heritage as a process of research and involvement with the past, undertaken with or by the communities for whom it is relevant, the book uses a diverse range of case studies, with many chapters co-written between academics and community partners. Through this extensive work, the Editors show that the process of research itself can be an empowering force by which communities stake a claim in the places they live.

Cultural tourism is an experiential tourism based on searching for and participating in new and deep cultural experiences. This book enhances the tourism literature by testing the tourist attitude toward related issues of Cantonese Opera as a cultural product of the Greater Bay Area. This book starts with a general introduction to the background of Cantonese Opera. Chapter 2 is a historical review of Cantonese Opera development in the GBA. Chapter 3 introduces the concept of the Cantonese Opera as a cultural product. Chapter 4 discusses the related Cantonese Opera on tourism development in the GBA. Chapter 5 describes the trends of modernisation and integration of Cantonese Opera in the GBA. Lastly, Chapter 6 is a case study in Macau. This book focuses on Cantonese Opera and cultural tourism. This means tourism practitioners and arts administrators should be the primary source of market and while people in the rest of the world who are interested in Cantonese Opera and cultural tourism should find this book useful. This book is a valuable resource not only for social science researchers, but also for those in related fields, for example, arts administrators and tourism officers, among many others. This book could serve as a text for an advanced level undergraduate course for students in many of the arts administration and tourism fields. Additionally, this book is a valuable resource for teaching graduate students not only in tourism, but also in related fields. Furthermore, government or practitioners can improve the management of city and tourism service using this book.

This book identifies the-now moribund-Modernist spirit of the twentieth century, with its "make it new" attitude in the arts, and its tendency towards abstraction and the scientific process, as the impetus behind the academic structures of universities and museums, together with the development of discrete scholarly disciplines such as literary theory, sociology, and art history based on quasi-scientific principles. Arguing that the Modernist project is approaching exhaustion and that the insights that it has left to yield are approaching triviality, it explores the Modernist links between the arts and academic pursuits of the West-and their relationship with street protests-in the long twentieth century, considering what might follow this Modernist era. An examination of the broad cultural and intellectual-and now political-trends of our age, and their decline, The End of the Modernist Era in Arts and Academia will appeal to scholars and students of social theory, philosophy, literary studies, and cultural studies.

This book explores the demise of the grand narrative of European modernity. That once commanding narrative located the meaning of the past in the present and the meaning of the present in an ever-receding future. Today, instead, the present defines both the past and the future. The 'contemporary' has replaced 'modern' and 'post-modern' self-understandings. The times of the past and the future have been transformed into versions of 'now' while the present has acquired its own history. History of the Present describes the emergence of this 'contemporary' historical consciousness across a wide spectrum of cultural phenomena ranging from historiography to heritage and museum studies, and from the globalization of the novel to the rise of science fiction. The culture of the 'contemporary' appears particularly clearly in the merging of high and low culture along with art and fashion. This book will appeal to scholars of sociology, cultural and social theory, museum and heritage studies, and literary history and criticism.

Online activities present a unique challenge for museums as they harness the potential of digital technology for sustainable development, trust building, and representations of diversity. This volume offers a holistic picture of museum online activities that can serve as a starting point for cross-disciplinary discussion. It is a resource for museum staff, students, designers, and researchers working at the intersection of cultural institutions and digital technologies. The aim is to provide insight into the issues behind designing and implementing web pages and social media to serve the broadest range of museum stakeholders.

Grounded in the fact that Gunai Kurnai people have never ceded sovereignty, the text reorients dominant temporal and colonial approaches of museum studies to document and theorise Gunai Kurnai self-presentation and community engagement in the Krowathunkooloong Keeping Place. Researched and co-authored by the Cultural Manager of the Keeping Place, Gunai Kurnai Monero Ngarigo man Robert Hudson, and white Historian Shannon Woodcock, the book traces the temporal, social and cultural considerations of the Elders who curated the permanent exhibition in the early 1990s. Discussing community management of a collection growing through the ongoing repatriation of tools, art and Ancestor remains, the text also explores how Robert Hudson engages with visitors to the Keeping Place and local colonial history museums, and theorises the power of Gunai Kurnai work with individuals and institutions in the small museum context. Finally, Hudson and Woodcock demonstrate that the Keeping Place articulates sophisticated Gunai Kurnai-grounded methodologies of museum practice in relation to international critical Indigenous studies scholarship. Self-determined First Nations Museums and Colonial Contestation provides a vital case study of an Indigenous museum space written from an inside perspective. As such, the book will be essential reading for scholars and students engaged in the study of museums and heritage, Indigenous peoples, decolonisation, race, anthropology, culture and history

It's been more than forty years since the second edition of this landmark guide to the preservation and restoration of gardens and landscapes at historic sites was published. Since the last edition came out, author Rudy Favretti, the nation's foremost authority in this area, has worked on many significant sites including both Monticello and Mount Vernon. New to this edition are: *Personal case studies from the authors' extensive experience in landscape restoration-preservation * An in-depth look complete with color images of the archaeological excavations at Bacon's Castle and Monticello in Virginia *Seventy-three illustrations including eight color photos *An enlarged and comprehensive bibliography *Fully updated and added chapters based on new and emerging information in the field Further, Landscape and Gardens for Historic Buildings covers a wide array of topics including researching and planning, maintaining restored landscapes, identifying authentic flora, and selecting the right historical period, or a series of periods to show the evolution of the historic landscape.

Each chapter is organized around a central contradiction, including: finances ("Who will pay for museums?"; demographic shifts ("Who will come to museums?); the roles of narratives ("Whose story is it?"), ownership of objects ("Who owns the artifact?" as well as learning and teaching ("What is learning and how can we teach equitably?" The reculturing stance taken by Ash promotes social justice and equity, 'making change' first, within museums, called inreach, rather than outside the museum, called outreach; challenges existing norms; is sensitive to neoliberal and deficit ideologies; and pays attention to the structure agency dialectic.

Each chapter is organized around a central contradiction, including: finances ("Who will pay for museums?"; demographic shifts ("Who will come to museums?); the roles of narratives ("Whose story is it?"), ownership of objects ("Who owns the artifact?" as well as learning and teaching ("What is learning and how can we teach equitably?" The reculturing stance taken by Ash promotes social justice and equity, 'making change' first, within museums, called inreach, rather than outside the museum, called outreach; challenges existing norms; is sensitive to neoliberal and deficit ideologies; and pays attention to the structure agency dialectic.

This wide-ranging, comparative, and multidisciplinary collection addresses the significance of books in creating the idea of home. The chapters present cases that reveal the affective and sensory dimensions of books and reading in the practice of everyday life of individuals, in communities, and in society. The complex relationship of books, reading, and home is explored through American and European case studies both in bourgeois and middle-class homes, and in working-class and immigrant families and communities with limited possibilities for reading. The volume combines the conceptions and representations of domesticity, the materiality of reading, and library as a place, drawing on book history and material culture studies as well as anthropology and sociology of the home.

Critical Heritage Studies is a new and fast-growing interdisciplinary field of study seeking to explore power relations involved in the production and meaning-making of cultural heritage. Politics of Scale offers a global, multi- and interdisciplinary point of view to the scaled nature of heritage, and provides a theoretical discussion on scale as a social construct and a method in Critical Heritage Studies. The international contributors provide examples and debates from a range of diverse countries, discuss how heritage and scale interact in current processes of heritage meaning-making, and explore heritage-scale relationship as a domain of politics.

Drawing on analysis of articles published in national newspapers and interviews with individuals involved in return claims, the book demonstrates that such claims are inherently political. Focusing on Colombia, Mexico, and Peru, the book analyses how return claims contribute to the strengthening of state-sponsored discourses on the nation; the policy formation process that leads to the formulation of return claims; and who the main actors of the claims are, including civil society individuals, experts, state authorities, and Indigenous communities. The book proposes explanations for why Latin American countries are interested in specific objects held in Western museums and why these claims have come to light over the past three decades. The Return of Cultural Heritage to Latin America argues that return claims ought to be the object of public debate, allowing contemporary societies to address the legacy of colonialism. The book will be essential reading for scholars and students engaged in the study of museums and heritage, political science, history, anthropology, cultural policy and Latin America.

The Art of Access: A Practical Guide for Museum Accessibility is a one-stop guide to the incremental ways your museum can build a comprehensive approach to accessibility that can be easily integrated into the fabric of your museum. Highlights include: Consultation with leaders in the field and calling on practitioners from across the disciplines (art, science, history, business, living collections) Concrete examples and specific resources Partnerships Physical/environmental access Sensory access Inclusive spaces, exhibitions, and programs Staff training and institutional buy-in Each chapter presents practical actions that any museum or cultural institution (regardless of the size, budget, or scope) can take to better engage and welcome visitors of all ages and abilities. This book will illuminate the incremental ways in which accessibility can be easily integrated into the fabric of museums, thus enabling institutions to better engage with audiences who would otherwise not visit the museum.

Designing Museum Experiences is a "how-to" book for creating visitor-centered museums that emotionally and intellectually connect with museum visitors, stakeholders, and donors. Museums are changing from static, monolithic, and encyclopedic institutions to institutions that are visitor-centric, with shared authority that allows museum and visitors to become co-creators in content creation. Museum content is also changing, from static content to dynamic, evolving content that is multi-cultural and transparent regarding the evolution of facts and histories, allowing multi-person interpretations of events. Designing Museum Experiences leads readers through the methods and tools of the three stages of a museum visit (Pre-visit, In-Person Visit, and Post-visit), with a goal of motivating visitors to return and revisit the museum in the future. This museum visitation loop creates meaningful intellectual, emotional, and experiential value for the visitor. Using the business-world-proven methodologies of user centered design, Museum Visitor Experience leads the reader through the process of creating value for the visitor. Providing consistent messaging at all touchpoints (website, social media, museum staff visitor services, museum signage, etc.) creates a trusted bond between visitor and museum. The tools used to increase understanding of and encourage empathy for the museum visitor, and understand visitor motivations include: Empathy Mapping, Personas, Audience segmentation, Visitor Journey Mapping, Service Design Blueprints, System Mapping, Content Mapping, Museum Context Mapping, Stakeholder Mapping, and the Visitor Value Proposition. In the end, the reason for using the tools is to empower visitors and meet their emotional and intellectual needs, with the goal of creating a lifelong bond between museum and visitor. This is especially important as museums face a new post COVID-19 reality; only the most nimble, visitor-centered museums are likely to survive. The companion website to Designing Museum Experiences features: Links to additional visitor-centered museum information Downloadable sample documents and templates Bibliography of sources for further reading Online glossary of museum visitor experience terms Daily checklists of "how-to" provide and receive visitor-centered experiences More than 50 associated Designing Museum Experiences documents

Contemporary Art in Heritage Spaces considers the challenges that accompany an assessment of the role of contemporary art in heritage contexts, whilst also examining ways to measure and articulate the impact and value of these intersections in the future. Presenting a variety of perspectives from a broad range of creative and cultural industries, this book examines case studies from the past decade where contemporary art has been sited within heritage spaces. Exploring the impact of these instances of intersection, and the thinking behind such moments of confluence, it provides an insight into a breadth of experiences - from curator, producer, and practitioner to visitor - of exhibitions where this juncture between contemporary art and heritage plays a crucial and critical role. Themes covered in the book include interpretation, soliciting and measuring audience responses, tourism and the visitor economy, regeneration agendas, heritage research, marginalised histories, and the legacy of exhibitions. Contemporary Art in Heritage Spaces will be essential reading for academics and students engaged in the study of museum and heritage studies and contemporary art around the globe. Museum practitioners and artists should also find much to interest them within the pages of this volume. Chapter 9 of this book is available for free in PDF format as Open Access from the individual product page at www.routledge.com. It has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license

Independent Museums and Culture Centres in Colonial and Post-colonial Zimbabwe presents case studies that grapple with the issue of ‘decolonising practice’ in privately owned museums and cultural centres in Zimbabwe.

Including contributions from academics and practitioners, this book focusses on privately run cultural institutions and highlights that there has, until now, been scant scholarly information about their existence and practice. Arguing that the recent resurgence of such museums, which are not usually obliged to endorse official narratives of the central government, points to some desire to decolonise and indigenise museums, the contributors explore approaches that have been used to reconfigure such colonially inherited institutions to suit the post-colonial terrain. The volume also explores how privately owned museums can tap into or contribute to current conversations on decoloniality that encourage reflexivity, inclusivity, de-patriarchy, multivocality, community participation, and agency. Exploring the motives and purpose of such institutions, the book argues that they are being utilised to confront deeply entrenched stigmatisation and marginalisation.

Independent Museums and Culture Centres in Colonial and Post-colonial Zimbabwe demonstrates that post-colonial African museums have become an arena for negotiating history, legacies, and identities. The book will be of interest to academics and students around the world who are engaged in the study of museums and heritage, African studies, history, and culture. It will also appeal to museum practitioners working across Africa and beyond.

Table of Contents

Introduction: Chapter 1: Museum diversity in Africa: museums, related exhibitionary institutions and non-state players

Jesmael Mataga, Thomas Panganayi Thondhlana, & Dawson Munjeri

Part I: Colonial museology, "un-inherited pasts" and decolonial possibilities

Chapter 2: Saving Modern Heritage: The National Railways of Zimbabwe’s Railways Museum, Bulawayo

Rob Burrett

Chapter 3: Legacies of the British Empire: Remembering Rhodes at the Rhodes Nyanga Historical Exhibition, Eastern Highlands of Zimbabwe

Meshullam Mudzedze, Thomas Panganayi Thondhlana, & Edmore Nyamutowa

Chapter 4: Colonial Wounds and The Demand for Social Justice: The Case of The Murray MacDougall Museum

Thomas Panganayi Thondhlana & Tawanda Mukwende

Chapter 5: Museums in Small Places: The Milton High School Museum, Bulawayo

Francis Muchemwa

Chapter 6: Colonial Vestiges, Difficult Heritage, and The Post-Colony: Rescuing Ian Smith’s Collections at The Gwenoro Ecomuseum, Shurugwi

Simbarashe Shadreck Chitima

　

Part II: Liberation heritage, museum-making, and new narratives

Chapter 7: African Liberation Heritage in The Post-Colonial Period: The Museumisation of Joshua Nkomo’s House in Bulawayo

Henry Chiwaura

Chapter 8: Liberation Heritage And "Patriotic History": Preserving the Legacy of the ‘Soul of The Nation’ At KwaVaMuzenda House Museum

Lesley Hatipone Machiridza & Ndinaishe Mazvihwa

　

Part III: Independent players, communities, and cultural rights

Chapter 9: Independent Living Museums, Intangible Heritage, and Sustainability: The Kambako Living Museum, Chiredzi

Jesmael Mataga & Thomas Panganayi Thondhlana

Chapter 10: Local Narratives and Decolonised Knowledge Production at Amagugu International Heritage Centre, Matobo District

Butholezwe Kgosi Nyathi

Chapter 11: Cultural Restoration, Self-Representation, and Community Development: A Case Study of Paiyapo Arts Development and Heritage Centre, Chipinge

Phillip Kusasa, Elias Gwenzi Konyana, & Fortune Sibanda

Chapter 12: African Aesthetics and Decolonial Aesthesis: Revisiting the Art and Non-Art Debate At The Independent Art Museum In Masvingo

Thomas Panganayi Thondhlana, Vongai Gloria Chinuwo, & Jesmael Mataga

Chapter 13: Towards Community-Driven Curatorship: Traditional Chiefs and Cultural Connoisseurs at The Avuxeni Community Museum, Chiredzi South District

Herbert Pikela, Thomas Panganayi Thondhlana, & Steyn Khesani Madlome

Index

　

Engaging audiences through costumed staff at museums and historic sites is one of the most effective ways to interpret the past for a public used to multimedia presentations on their TVs and computers. Here, David Allison, who has worked at several museums known for effective enactments, provides: *the fascinating stories of three large living history museums as they adapt to changing audience expectations. *a solid overview of the types of interpretation that living history museums use. *best practices (and practices for you to avoid) from the reams of data and studies compiled by evaluators over the past 10 years. *an exploration of the the intersection of public history, individual agency, and business imperatives at museums and historic sites. Living History: Effective Costumed Interpretation and Enactment at Museums and Historic Sites looks at the history of these compelling techniques, provides best practices and strategies for implementing them today, and provides a roadmap for the future of costumed interpretation.

Situated at the crossroads of performance practice, museology, and cultural studies, live arts curation has grown in recent years to become a vibrant interdisciplinary project and a genuine global phenomenon. Curating Live Arts brings together bold and innovative essays from an international group of theorist-practitioners to pose vital questions, propose future visions, and survey the landscape of this rapidly evolving discipline. Reflecting the field's characteristic eclecticism, the writings assembled here offer practical and insightful investigations into the curation of theatre, dance, sound art, music, and other performance forms-not only in museums, but in community, site-specific, and time-based contexts, placing it at the forefront of contemporary dialogue and discourse.

The book is largely focused on biennales, which it argues are the contemporary exhibition models with the greatest capacity to offer new perspectives and propose alternative ways of connecting with our social and natural environments. The author demonstrates this by showing how curators of these high-profile exhibitions are responding in creative and engaging ways to the issues that preoccupy artists and society more broadly, of which the ecological crisis is paramount. Drawing on case studies from different parts of the world, the author reveals how biennales can make a constructive contribution to debates and attitudes around climate change, and how the role of the curator has evolved to embrace a duty of care not just to art but to the natural world. Curating in a Time of Ecological Crisis investigates how large-scale exhibitions of contemporary international art can become agents of change. As such, the book will be essential reading for scholars, students and practitioners with an interest in exhibitions, curating, contemporary art and environmental sustainability.

Assessment as Information Practice provides information about a range of collection and service-based assessment approaches that can be applied in different contexts to benefit institutions and the users they serve by enhancing quality, efficiency, and effectiveness. With contributions from practitioners and researchers in Australia, New Zealand, Thailand, and the United States, the chapters discuss practical and theoretical aspects of assessment in collecting institutions. Each chapter focuses on specific assessment approaches or contexts while providing guidance on method and use. The chapters can be read alone or as a series to gain an appreciation of assessment approaches, including assessment-oriented research; storytelling; design thinking; data visualisation; mixed methods assessment for digital resources; data for institutional repository assessment; bibliometric methods; and impact assessment. Assessment as Information Practice serves as a resource for practitioners involved in assessment activities. Detailing the processes and considerations that will contribute to more effective and sustainable assessment programmes, the book is also relevant to faculty, researchers, and students working in the information sector.

1. This book provides the first extended study of heritage from the point of view of design history. 2. Demonstrating that design historical methods of inquiry contribute significantly to critical heritage studies, the book will be of great interest to academics, researchers and students engaged in the study of heritage, design history, material culture, folklore, art history, architectural history, and social and cultural history. 3. There are no existing titles which directly focus on the relationship between design (history) and heritage (studies).

1) The book provides an understanding of GI from legal and policy perspectives. 2) It focuses on the handloom industry in India. 3) The book will be of interest to departments of development studies, IPR studies, policy studies and South Asian studies across UK and USA.