Pub Date : 2014-12-31DOI: 10.1515/transcript.9783839424940.177
H. Dibbits, M. Willemsen
In this essay we want to introduce a new programme that we have just embarked on. It seeks to develop intangible cultural heritage methodology and is introduced in this publication as it aims to also offer handles for museal collecting strategies. The programme investigates the development of the heritage field – in particular that of intangible cultural heritage, and including cultural-historical museums – as a shared public space in which contemporary formations are present and represented towards collecting present-day social repertoires. A laboratory in which we may have to let go of items that are disappearing or losing their use or relevance, and in which collecting is a multifaceted act of negotiating meanings and prompting mutual understanding.
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Pub Date : 2014-12-31DOI: 10.1515/transcript.9783839424940.199
S. Elpers, Anna Palm
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Pub Date : 2014-03-01DOI: 10.1515/transcript.9783839424940.51
S. Reijnders, G. Rooijakkers, Hélène Verreyke
__Introduction__ It’s undeniable: collecting the contemporary is hot. More and more ethnographic museums and city museums in the Western world look beyond their walls and go out into the street searching for contemporariness. What’s motivating them? At the basis of this development appears to be a more fundamental shift in the social role and significance of museums – a shift that started in the 1970s and is still far from complete. The classic function of the museum, as a temple and patron of cultural heritage, is no longer an apt label to most museum professionals. There is a call for change, both from within the ranks of museums as well as on the level of governmental policies. The museum as such needs to transform from a closed and elite institution into an open venue aimed at a broader audience. Limiting a collection to the highlights of art and culture as landmarks of a national history does no longer suffice. At the same time, our notion of cultural heritage itself has been widened to include other domains of culture, such as intangible heritage, digital heritage or popular heritage.
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