In this article we consider suitcases: ubiquitous objects in museum exhibitions used to signify incarceration as well as involuntary or forced migration. Building on fieldwork from museums and public spaces, we consider how suitcases themselves are consigned to the “attic of memory:” As museum displays or as piles of discarded remnants, offered as vestiges, as witnesses to human loss and suffering at death camps such as Auschwitz. We consider suitcases firstly as aspects of the extended self, as described in Russell Belk's work, and subsequently as symbolic object figuring imprisonment and mobility in museum exhibitions. We present three different such instances: a suitcase full of personal belongings presented to a museum, a set of concrete facsimile suitcases symbolizing forced migration, and a display of suitcases representing individual stories of confinement and migration. Although some of the life stories in the latter exhibition are presented with happy endings, by and large the museum displays featuring suitcases tell of forced movement and forced immobility. This tension animates our analysis, as we explore the double signification of suitcases as markers of mobility, but also of immobility and imprisonment, as well as the intrusive gaze of the state or other voyeur (including the museum visitor). A suitcase is, thus, not just an extension of the self but represents the lost body, for which the museum becomes the final, very public resting place. It becomes and remains an important memory device, even as its very ubiquity threatens to banalize its meaning into a one‐dimensional shortcut.
{"title":"Holders of battered memories: Exploring suitcases as museum metaphors for travel, exile, and incarceration","authors":"Elizabeth Carnegie, Jerzy Kociatkiewicz","doi":"10.1111/cura.12642","DOIUrl":"https://doi.org/10.1111/cura.12642","url":null,"abstract":"In this article we consider suitcases: ubiquitous objects in museum exhibitions used to signify incarceration as well as involuntary or forced migration. Building on fieldwork from museums and public spaces, we consider how suitcases themselves are consigned to the “attic of memory:” As museum displays or as piles of discarded remnants, offered as vestiges, as witnesses to human loss and suffering at death camps such as Auschwitz. We consider suitcases firstly as aspects of the extended self, as described in Russell Belk's work, and subsequently as symbolic object figuring imprisonment and mobility in museum exhibitions. We present three different such instances: a suitcase full of personal belongings presented to a museum, a set of concrete facsimile suitcases symbolizing forced migration, and a display of suitcases representing individual stories of confinement and migration. Although some of the life stories in the latter exhibition are presented with happy endings, by and large the museum displays featuring suitcases tell of forced movement and forced immobility. This tension animates our analysis, as we explore the double signification of suitcases as markers of mobility, but also of immobility and imprisonment, as well as the intrusive gaze of the state or other voyeur (including the museum visitor). A suitcase is, thus, not just an extension of the self but represents the lost body, for which the museum becomes the final, very public resting place. It becomes and remains an important memory device, even as its very ubiquity threatens to banalize its meaning into a one‐dimensional shortcut.","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141801173","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A large and increasing number of children in the United States are systematically rendered invisible due to the effects of parental incarceration, forced to navigate a correctional system that does not often take their particular needs into account. This trauma can put children at risk of long‐term developmental consequences that can be lasting across generations. Two children's museums, among others, are developing unique partnerships to mitigate this negative impact. The Children's Museum of Manhattan has an ongoing partnership with the NYC Department of Correction to reunite incarcerated parents at Rikers Island with their children for an afternoon at the Museum. Hands On Children's Museum in Olympia, Washington, is partnering with the Washington Department of Corrections to redesign the children's area of visiting rooms in three correctional facilities. Anecdotal evidence of strengthened parent–child bonds and improved behavior of parents during incarceration show that early indications of both efforts are positive.
{"title":"Invisible victims: How children's museums are strengthening families through partnerships with correctional facilities","authors":"Violet Hott, Adrienne Testa, Leslie Bushara","doi":"10.1111/cura.12641","DOIUrl":"https://doi.org/10.1111/cura.12641","url":null,"abstract":"A large and increasing number of children in the United States are systematically rendered invisible due to the effects of parental incarceration, forced to navigate a correctional system that does not often take their particular needs into account. This trauma can put children at risk of long‐term developmental consequences that can be lasting across generations. Two children's museums, among others, are developing unique partnerships to mitigate this negative impact. The Children's Museum of Manhattan has an ongoing partnership with the NYC Department of Correction to reunite incarcerated parents at Rikers Island with their children for an afternoon at the Museum. Hands On Children's Museum in Olympia, Washington, is partnering with the Washington Department of Corrections to redesign the children's area of visiting rooms in three correctional facilities. Anecdotal evidence of strengthened parent–child bonds and improved behavior of parents during incarceration show that early indications of both efforts are positive.","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141798788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article reflects on the place and the narratives in which collections of the Afro‐Brazilian diaspora are inscribed in the context of ethnographic museums in the city of Rio de Janeiro. Presenting a brief sociohistorical analysis of two collections, one in the Civil Police Museum and the other in the Édison Carneiro Folklore Museum, it demonstrates how different regimes of knowledge are used to “imprison” objects of faith as museum objects in the eyes of the police or in those of ethnographers. “Incarcerated” in museums, these collections have been kept by state institutions that frame them either as testimonies of offenses to the public order, or as objects of folklore, religious artifacts disconnected from terreiros. Finally, recurring to a theoretical framework of nonduality to provoke museum's stable categories, the article considers the current transformative role of museums in the “liberation” of a diasporic heritage, by proposing dialogue and collaboration as important elements in the liminal work of musealization. Ultimately, what is at stake in the case of Afro‐Brazilian sacred materials kept in museums is the ability of objects disassociated from their ritual context to transmit the sacred in the museum environment.
{"title":"Objects of “imprisonment”: Diasporic museum collections on ethnographic display","authors":"Bruno Brulon Soares","doi":"10.1111/cura.12648","DOIUrl":"https://doi.org/10.1111/cura.12648","url":null,"abstract":"The article reflects on the place and the narratives in which collections of the Afro‐Brazilian diaspora are inscribed in the context of ethnographic museums in the city of Rio de Janeiro. Presenting a brief sociohistorical analysis of two collections, one in the Civil Police Museum and the other in the Édison Carneiro Folklore Museum, it demonstrates how different regimes of knowledge are used to “imprison” objects of faith as museum objects in the eyes of the police or in those of ethnographers. “Incarcerated” in museums, these collections have been kept by state institutions that frame them either as testimonies of offenses to the public order, or as objects of folklore, religious artifacts disconnected from terreiros. Finally, recurring to a theoretical framework of nonduality to provoke museum's stable categories, the article considers the current transformative role of museums in the “liberation” of a diasporic heritage, by proposing dialogue and collaboration as important elements in the liminal work of musealization. Ultimately, what is at stake in the case of Afro‐Brazilian sacred materials kept in museums is the ability of objects disassociated from their ritual context to transmit the sacred in the museum environment.","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141801796","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A. Eardley, Vanessa E. Jones, Lindsay Bywood, Hannah Thompson, Deborah Husbands
This research describes the development of the Workshop for Inclusive Co‐created Audio Description (W‐ICAD) model. Research from psychology and neuroscience explains why the assumption that vision is necessarily sufficient to be able to engage with collections is problematic, and why inclusive museum audio description (AD) (referred to as visual or verbal description in the United States) might begin to provide a solution to this problem. At the same time, the growing recognition of the need to diversify voices and narratives within the international museum sector demands a re‐imagining of how museum AD is created, and who creates it. Underpinned by the axioms of Blindness Gain and created through an iterative action research process by a joint UK‐US team of researchers and museum professionals, in collaboration with a broader team of co‐creators, the W‐ICAD model provides museums and the cultural sector with a tool for producing co‐created AD, created by blind, partially blind and sighted individuals for use in museums by blind, partially blind or sighted audiences. The applications for this model are discussed.
{"title":"The W‐ICAD model: Redefining museum access through the Workshop for Inclusive Co‐created Audio Description","authors":"A. Eardley, Vanessa E. Jones, Lindsay Bywood, Hannah Thompson, Deborah Husbands","doi":"10.1111/cura.12649","DOIUrl":"https://doi.org/10.1111/cura.12649","url":null,"abstract":"This research describes the development of the Workshop for Inclusive Co‐created Audio Description (W‐ICAD) model. Research from psychology and neuroscience explains why the assumption that vision is necessarily sufficient to be able to engage with collections is problematic, and why inclusive museum audio description (AD) (referred to as visual or verbal description in the United States) might begin to provide a solution to this problem. At the same time, the growing recognition of the need to diversify voices and narratives within the international museum sector demands a re‐imagining of how museum AD is created, and who creates it. Underpinned by the axioms of Blindness Gain and created through an iterative action research process by a joint UK‐US team of researchers and museum professionals, in collaboration with a broader team of co‐creators, the W‐ICAD model provides museums and the cultural sector with a tool for producing co‐created AD, created by blind, partially blind and sighted individuals for use in museums by blind, partially blind or sighted audiences. The applications for this model are discussed.","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141802114","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study aimed to explore prospective teachers' views and experiences of the utilization of virtual museums for gifted and talented education. The study was conducted at the College of Education of a large Western University in Turkey. The participants were prospective teachers (seniors at the undergraduate level) from the Department of Gifted and Talented Teacher Education, who were expected to become classroom teachers responsible for teaching a wide range of subjects, including reading, mathematics, science, and social studies. Ten prospective teachers voluntarily participated in the study. The study employed a qualitative phenomenological design. The research illuminated the ways in which participants perceived and understood these experiences. This study provided valuable insights into the potential use of virtual museums in the education of gifted students, general education, and teacher education, and considered the positive and negative experiences of pre‐service teachers who have visited virtual museums.
{"title":"Exploring virtual museums: Pre‐service teachers' experiences of virtual museums in gifted and talented education","authors":"Nihat Gürel Kahveci","doi":"10.1111/cura.12647","DOIUrl":"https://doi.org/10.1111/cura.12647","url":null,"abstract":"This study aimed to explore prospective teachers' views and experiences of the utilization of virtual museums for gifted and talented education. The study was conducted at the College of Education of a large Western University in Turkey. The participants were prospective teachers (seniors at the undergraduate level) from the Department of Gifted and Talented Teacher Education, who were expected to become classroom teachers responsible for teaching a wide range of subjects, including reading, mathematics, science, and social studies. Ten prospective teachers voluntarily participated in the study. The study employed a qualitative phenomenological design. The research illuminated the ways in which participants perceived and understood these experiences. This study provided valuable insights into the potential use of virtual museums in the education of gifted students, general education, and teacher education, and considered the positive and negative experiences of pre‐service teachers who have visited virtual museums.","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141805675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Brazil, the decolonial turn has prompted a discursive reconfiguration of art museums over the last decade, primarily through exhibitions driven by critical and reparative thinking. Consequently, alternative perspectives have emerged, aiming to propose exhibition narratives rooted in marginalized knowledge and imaginaries. Focusing on the Museu de Arte do Rio (Rio Museum of Art) as a privileged place of thought, this article delves into the curatorial methodologies employed for two exhibitions: Mulheres na Coleção MAR and Casa Carioca. These exhibitions have paved the way for another way of being a museum, holistically committed to its decolonization. While the sustainability of the changes brought about by these exhibitions may be questioned, it is recognized to acknowledge their role in collaborating to establish other interpretative frameworks for understanding local realities, defining as the primary beneficiaries of this process, not the museums themselves but the communities and individuals who grapple with the daily impacts of coloniality.
在巴西，非殖民主义转向在过去十年中促使艺术博物馆进行了话语重组，主要是 通过批判性和补偿性思维驱动的展览。因此，出现了另一种视角，旨在提出植根于边缘化知识和想象的展览叙事。本文以里约艺术博物馆（Museu de Arte do Rio）这一特殊的思考场所为重点，深入探讨了两个展览所采用的策展方法：Mulheres na Coleção MAR 和 Casa Carioca。这些展览为博物馆的另一种方式铺平了道路，全面致力于博物馆的非殖民化。虽然这些展览所带来的变革的可持续性可能会受到质疑，但我们承认它们在合作建立其他解释框架以了解当地现实方面所发挥的作用，并将这一进程的主要受益者定义为不是博物馆本身，而是那些努力应对殖民主义日常影响的社区和个人。
{"title":"Other museums: The disruptive potency of curatorship for the emergence of other modes of power, knowing, and being","authors":"Elisa Noronha, Michelle Dona","doi":"10.1111/cura.12639","DOIUrl":"https://doi.org/10.1111/cura.12639","url":null,"abstract":"<p>In Brazil, the decolonial turn has prompted a discursive reconfiguration of art museums over the last decade, primarily through exhibitions driven by critical and reparative thinking. Consequently, alternative perspectives have emerged, aiming to propose exhibition narratives rooted in marginalized knowledge and imaginaries. Focusing on the Museu de Arte do Rio (Rio Museum of Art) as a privileged place of thought, this article delves into the curatorial methodologies employed for two exhibitions: Mulheres na Coleção MAR and Casa Carioca. These exhibitions have paved the way for another way of being a museum, holistically committed to its decolonization. While the sustainability of the changes brought about by these exhibitions may be questioned, it is recognized to acknowledge their role in collaborating to establish other interpretative frameworks for understanding local realities, defining as the primary beneficiaries of this process, not the museums themselves but the communities and individuals who grapple with the daily impacts of coloniality.</p>","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141631200","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ellie King, M. P. Smith, Paul F. Wilson, Janet Stott, M. A. Williams
Underpinned by the Model for Museum Exhibit User Experience (MEUX; King et al., Visitor Studies, 2023, 26, 59), this paper develops and presents an evaluation methodology for museum exhibits that utilizes existing methodologies from the user experience sector adapted for the museum and cultural heritage sectors. Two studies are presented: an in‐depth evaluation of the Meat the Future exhibition at Oxford University Museum of Natural History and then a comparative study between this exhibition and two other permanent exhibits at the museum. Quantitative and qualitative data provide a nuanced picture of each exhibit from the visitor perspective and showcase the benefits of the MEUX methods of evaluation. Results show how three different exhibits are constructed in different ways, providing different visitor experiences and outcomes. They are directly compared with identify statistical differences, but do not impose a judgment as to whether any exhibit is better than another. With detailed, nuanced and rigorous data capturing visitor experiences of engaging with exhibits, the MEUX evaluation methodology allows for more sophisticated, standardized and efficient evaluation practices within the sector, with results that directly support further development of exhibits and exhibitions.
{"title":"Evaluating museum exhibits: Quantifying visitor experience and museum impact with user experience methodologies","authors":"Ellie King, M. P. Smith, Paul F. Wilson, Janet Stott, M. A. Williams","doi":"10.1111/cura.12637","DOIUrl":"https://doi.org/10.1111/cura.12637","url":null,"abstract":"Underpinned by the Model for Museum Exhibit User Experience (MEUX; King et al., Visitor Studies, 2023, 26, 59), this paper develops and presents an evaluation methodology for museum exhibits that utilizes existing methodologies from the user experience sector adapted for the museum and cultural heritage sectors. Two studies are presented: an in‐depth evaluation of the Meat the Future exhibition at Oxford University Museum of Natural History and then a comparative study between this exhibition and two other permanent exhibits at the museum. Quantitative and qualitative data provide a nuanced picture of each exhibit from the visitor perspective and showcase the benefits of the MEUX methods of evaluation. Results show how three different exhibits are constructed in different ways, providing different visitor experiences and outcomes. They are directly compared with identify statistical differences, but do not impose a judgment as to whether any exhibit is better than another. With detailed, nuanced and rigorous data capturing visitor experiences of engaging with exhibits, the MEUX evaluation methodology allows for more sophisticated, standardized and efficient evaluation practices within the sector, with results that directly support further development of exhibits and exhibitions.","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141349499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Wilson C. Sherman, Ashley J. A. Terry, Alison W. Bowers
To achieve their conservation missions, zoos and aquariums must understand how their audiences make judgments about animal wellbeing, as public trust and learning outcomes hinge on the extent to which animals living in these institutions seem well cared for. While previous research has investigated public perceptions of animal wellbeing, the majority of this work has focused on specific species or programs, with few studies employing qualitative research methods. Using qualitative analysis of data from 37 semi‐structured interviews with visitors to the Oakland Zoo, this study explores the indicators visitors used to assess animal wellbeing and the ways visitors employ empathy and anthropomorphism in their thinking about animal wellbeing. Our findings describe the suite of factors influencing visitors' perceptions of animal wellbeing: animal activity, animal habitats, interactions with zoo personnel, and animal health. We also describe the ways interviewees negotiate empathy and anthropomorphism with varying degrees of accuracy and reflectiveness.
{"title":"Identifying indicators, empathy, and anthropomorphism in zoo visitors' perceptions of animal wellbeing through qualitative interviews","authors":"Wilson C. Sherman, Ashley J. A. Terry, Alison W. Bowers","doi":"10.1111/cura.12635","DOIUrl":"https://doi.org/10.1111/cura.12635","url":null,"abstract":"To achieve their conservation missions, zoos and aquariums must understand how their audiences make judgments about animal wellbeing, as public trust and learning outcomes hinge on the extent to which animals living in these institutions seem well cared for. While previous research has investigated public perceptions of animal wellbeing, the majority of this work has focused on specific species or programs, with few studies employing qualitative research methods. Using qualitative analysis of data from 37 semi‐structured interviews with visitors to the Oakland Zoo, this study explores the indicators visitors used to assess animal wellbeing and the ways visitors employ empathy and anthropomorphism in their thinking about animal wellbeing. Our findings describe the suite of factors influencing visitors' perceptions of animal wellbeing: animal activity, animal habitats, interactions with zoo personnel, and animal health. We also describe the ways interviewees negotiate empathy and anthropomorphism with varying degrees of accuracy and reflectiveness.","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141350797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Two‐eyed tinkering with museum practice","authors":"John Fraser","doi":"10.1111/cura.12638","DOIUrl":"https://doi.org/10.1111/cura.12638","url":null,"abstract":"","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141378894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Safeguarding and inheriting a society's intangible cultural heritage (ICH) music is essential for preserving cultural identity and fostering cultural diversity. A primary motivation for the formation and continuous activities of the heritage preservation community is the concern over losing valuable cultural assets. Incomplete histories, missing documents, and limited access to both tangible and intangible resources are all repercussions of lost heritage, affecting both the public and scholarly sectors. Given the inherent fragility of intangible cultural forms such as dance, language, and music, archives tasked with preserving these records face unique challenges. These forms can easily vanish without proper documentation and preservation, reinforcing the vital role of the relevant organizations. So, this study explores the unique musical traditions of the Chongqing Three Gorges Reservoir area (CTGRA), along with the various methods for protecting and promoting this ICH. In‐depth information on regional musical traditions, as well as the challenges and possibilities related to conserving and transmitting these practices, was gathered via participant observation, interviews, and field study. The major ways of preserving and transmitting ICH music are storytelling and oral practices that connect communities and musical histories and promote their identity. This study reveals several practices of preserving and transmitting ICH music, such as raising awareness of people, encouraging local artists, and using digital media and advanced technology. This study argues that the rich cultural heritage of the CTGRA is preserved and inherited to future generations by implementing strategies that leverage the power of narrative and support the continuation of these musical practices.
{"title":"Safeguarding and inheriting intangible cultural heritage music in the Chongqing Three Gorges Reservoir area: A case study on Lore","authors":"Su Yang","doi":"10.1111/cura.12636","DOIUrl":"https://doi.org/10.1111/cura.12636","url":null,"abstract":"Safeguarding and inheriting a society's intangible cultural heritage (ICH) music is essential for preserving cultural identity and fostering cultural diversity. A primary motivation for the formation and continuous activities of the heritage preservation community is the concern over losing valuable cultural assets. Incomplete histories, missing documents, and limited access to both tangible and intangible resources are all repercussions of lost heritage, affecting both the public and scholarly sectors. Given the inherent fragility of intangible cultural forms such as dance, language, and music, archives tasked with preserving these records face unique challenges. These forms can easily vanish without proper documentation and preservation, reinforcing the vital role of the relevant organizations. So, this study explores the unique musical traditions of the Chongqing Three Gorges Reservoir area (CTGRA), along with the various methods for protecting and promoting this ICH. In‐depth information on regional musical traditions, as well as the challenges and possibilities related to conserving and transmitting these practices, was gathered via participant observation, interviews, and field study. The major ways of preserving and transmitting ICH music are storytelling and oral practices that connect communities and musical histories and promote their identity. This study reveals several practices of preserving and transmitting ICH music, such as raising awareness of people, encouraging local artists, and using digital media and advanced technology. This study argues that the rich cultural heritage of the CTGRA is preserved and inherited to future generations by implementing strategies that leverage the power of narrative and support the continuation of these musical practices.","PeriodicalId":10791,"journal":{"name":"Curator: The Museum Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141377854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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