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This edited collection challenges and re-imagines what is
'heritage' in Britain as a globalised, vernacular, cosmopolitan
'post-nation'. It takes its inspiration from the foundational work
of public intellectual Stuart Hall (1932-2014). Hall was
instrumental in calling out embedded elitist conceptions of 'The
Heritage' of Britain. The book's authors challenge us to reconsider
what is valued about Britain's past, its culture and its citizens.
Populist discourses around the world, including Brexit and 'culture
war' declarations in the UK, demonstrate how heritage and ideas of
the past are mobilised in racist politics. The multidisciplinary
chapters of this book offer critical inspections of these politics,
and dig deeply into the problems of theory, policy and practice in
today's academia, society and heritage sector. The volume
challenges the lack of action since Hall rebuked 'The Heritage'
twenty years ago. The authors featured here are predominantly Black
Britons, academics and practitioners engaged in culture and
heritage, spurred by the killing of George Floyd and the rise of
the Black Lives Matter movement to contest racist practices and
structures that support them. The primary audience will be
academics, but it will also attract culture sector practitioners
and heritage institutions. However, the book is particularly aimed
at scholars and community members who identify as Black, who are
centrally concerned with questions of identity and race in British
society. Its Open Access status will facilitate access to the book
by all groups in society.
Not satisfied with the assertion that museums have taken great
strides in becoming representative, relevant and open in their
preoccupations, A Museum in Public contends that the supposedly
public nature of their institutional role continues to be a
rhetorical one. This book critically examines museums as
institutions of the public sphere, questioning what assumptions are
made about the publicness of their operations. Using as a case
study the Royal Ontario Museum (ROM), Canada's largest museum, the
book interrogates the public nature and political dynamics of the
ROM as it completed a multi-million dollar architectural project
and adopted a new vision of the museum. Providing an engaged
cultural analysis of how publicness is reflected in the attitudes
and behaviours of management, staff and visitors, Ashley claims
that museums often function as a boundary zone between the needs
and concerns of the public and ideas of publicness that serve
corporate and managerial interests and practices. Asking the reader
to seriously consider whether the ideals of contact zone and
engagement are practically possible within an administrative
setting, the book offers insights into how museums might achieve
political publicness through transparent, open and democratic
communicative action. A Museum in Public raises questions at the
intersection of disciplines and, as a result, will appeal to
academics, researchers and postgraduates in a number of fields,
including: museum studies, heritage studies, cultural studies,
cultural policy, public policy, political science, sociology,
geography, architecture, art history, public history, tourism
studies, and cultural management.
Not satisfied with the assertion that museums have taken great
strides in becoming representative, relevant and open in their
preoccupations, A Museum in Public contends that the supposedly
public nature of their institutional role continues to be a
rhetorical one. This book critically examines museums as
institutions of the public sphere, questioning what assumptions are
made about the publicness of their operations. Using as a case
study the Royal Ontario Museum (ROM), Canada's largest museum, the
book interrogates the public nature and political dynamics of the
ROM as it completed a multi-million dollar architectural project
and adopted a new vision of the museum. Providing an engaged
cultural analysis of how publicness is reflected in the attitudes
and behaviours of management, staff and visitors, Ashley claims
that museums often function as a boundary zone between the needs
and concerns of the public and ideas of publicness that serve
corporate and managerial interests and practices. Asking the reader
to seriously consider whether the ideals of contact zone and
engagement are practically possible within an administrative
setting, the book offers insights into how museums might achieve
political publicness through transparent, open and democratic
communicative action. A Museum in Public raises questions at the
intersection of disciplines and, as a result, will appeal to
academics, researchers and postgraduates in a number of fields,
including: museum studies, heritage studies, cultural studies,
cultural policy, public policy, political science, sociology,
geography, architecture, art history, public history, tourism
studies, and cultural management.
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