Local museums

Kültür, çok geniş kapsamlı bir kavramdır. Kültürün farklı açılardan pek çok tanımı yapılmıştır. Sosyal miras ve gelenekler birliği olarak kültür; varlığımızın yapısını belirleyen, sosyal bir süreçle öğrendiğimiz uygulama ve inançların, maddi ve manevi öğelerin birliğidir. Yaşam biçimi olarak kültür; bir toplumun tüm hayat biçimidir veya bir gurubun yaşama biçimidir. Değerler, idealler ve davranışlar olarak kültür; sosyal-kültürel çevredeki eylemlerin ve araçların ortaya koyduğu ve nesnelleştirdiği anlamlar, değerler ve kurallar, bunların etkileşim ve ilişkilerinin oluşturduğu guruplardır. Ancak kültür için kapsayıcı bir tanım belki de "insanoğlunun ürettiği her şeydir" şeklindeki tanımdır. Genel olarak bir toplumun ya da bir milletin ürettiği maddi ve manevi değerlerin bütünü olarak tanımlanan "kültür" terimi, somut ve somut olmayan kültür olarak ayrılır. Somut ve somut olmayan kültürel varlıkların birbirleriyle etkileşim içinde oldukları ve aynı derecede önem taşıdıkları burada vurgulanmalıdır. Kültür bir toplumun ortak değerleridir. Kültür saklanan, öğrenilen ve öğretilen; eğitimle yeni kuşaklara aktarılan, aşılanan bir içeriğe sahiptir. Bu bağlamda kazandığı alışkanlıkları, sahip olduğu yeni bilgi ve değerleri yavrusuna öğretebilen tek varlığın insan olduğuna vurgu yapmak yerinde olacaktır. Bu da kültürün ve kültürel değerlerin eğitim yoluyla yeni kuşaklara aktarılması ile mümkün olmaktadır. Kültürün bütünleştirici bir yönü de vardır. Geçmişi olmayanın geleceği de olmaz. Her toplumun bir dünü, önceki günü, kısacası bir tarihi vardır. Bir topluma ait kültür bu tarihi süreçte var olagelmiştir. Çoğu zaman yazılı bir tarihi olmamakla birlikte, kültürel kaynaklarımızın, gelenek ve göreneklerimizin de bir tarihi vardır.

Η αξιοποίηση των τοπικών μουσείων αποτελεί ένα ενδιαφέρον πεδίο διερεύνησης, ειδικότερα όταν συνδυαστεί με μελέτες οικονομικής και τουριστικής αξιοποίησης μικρών περιοχών με πλούσια ιστορική παράδοση. Στο παρόν άρθρο, θα συζητηθούν οι παράγοντες αυτοί που συγκροτούν τη φύση των σύγχρονων ελληνικών τοπικών μουσείων τα οποία μπορούν να δημιουργηθούν σε μικρές κοινότητες.
Στον πυρήνα της προβληματικής που θα αναπτυχθεί, θα προσδιοριστούν τα στοιχεία αυτά, τα οποία συνδέονται με την οργάνωση των τοπικών μουσείων και, κατ ́ επέκταση, με την ανάπτυξη των πολιτιστικών και οικονομικών δεδομένων μιας περιοχής.

Η αξιοποίηση των τοπικών μουσείων αποτελεί ένα
ενδιαφέρον πεδίο διερεύνησης, ειδικότερα όταν συν-
δυαστεί με μελέτες οικονομικής και τουριστικής αξι-
οποίησης μικρών περιοχών με πλούσια ιστορική πα-
ράδοση. Στο άρθρο που ακολουθεί, θα συζητηθούν
οι παράγοντες αυτοί που συγκροτούν τη φύση των
σύγχρονων ελληνικών τοπικών μουσείων τα οποία
μπορούν να δημιουργηθούν σε μικρές κοινότητες.
Στον πυρήνα της προβληματικής που θα αναπτυχθεί,
θα προσδιοριστούν τα στοιχεία αυτά, τα οποία συνδέ-
ονται με την οργάνωση των τοπικών μουσείων και,
κατ΄ επέκταση, με την ανάπτυξη των πολιτιστικών
και οικονομικών δεδομένων μιας περιοχής.

W  tej  książce  prezentujemy metodę  interpretacji  dziedzictwa. Może ona  być  wykorzystana  do  opracowywania różnych form udostępniania treści przez muzeum: do tworzenia  wystaw, programów  edukacyjnych
i planowania działań promocyjnych. Poradnik  jest  adresowany  do  pracowników  instytucji upowszechniających  dziedzictwo  kulturowe:  muzeów, izb regionalnych, galerii, archiwów, bibliotek.

U  podstaw  metody  leży  założenie,  że  muzeum  jest  jak opowieść – przekazuje swoim odbiorcom treści, ilustruje je ekspozycją i tworzy wokół nich narracje. Interpretacja służy  do  udzielenia  odpowiedzi  na  pytania,  które  można  postawić,  tworząc  opowieść:  o  czym,  komu  i  po  co opowiadamy,  jakimi  środkami  dysponujemy,  by  przeka-
zać  te  treści  i  jak  wobec  tego  może  przebiegać  nasza opowieść?  Co  chcemy  poprzez  nią  powiedzieć  naszym odbiorcom i światu?
Według  naszej  metody,  proces  interpretacji  składa  się z trzech kolejnych kroków – rozdziałów tej książki:

Poznaj siebie! Od zasobów do tematu
Miej odwagę myśleć inaczej! Od tematu do esencji
Działaj! Od esencji do wdrożenia

Рамочная концепция разработана в рамках реализации проекта
"Музей в городе". Проект-победитель грантового конкурса 2017 года на поддержку программ межмузейного сотрудничества Благотворительной программы "Музейный десант" Благотворительного фонда Владимира Потанина

Local museums are struggling to survive in a society that demands far more for their museum experience.  This essay explores two local museums, History Cottage in Galston, and Netherby Homestead, in Arcadia, NSW, and explores the difficulties they both experience as well as any potential plans to evolve and thrive in what has become a highly competitive area.

Does a small local museum deserve to live? How successful, sustainable and inclusive can it be without archival research, field work, collection enrichment, oral history recordings, collective activity, outreach programs? What sort of institutional framework could guaranty such diversified functions in terms of museums that belong to local cultural associations without financial or any other support but occasionally? The paper is a case study of the local museum of Portitsa (prefecture of Karditsa), the only diachronic private museum in the region of Thessaly. It focuses on its extraordinary vivid activity between 1998 and 2003, In order to stress the social need, that such museums fulfill as well as their possibilities to produce a high quality cultural product, raising the question of their future chances to become a viable part of the cultural landscape of Greece.

Resumo: O nosso enfoque será para sinalizar uma possível compreensão do que representa o museu da e na contemporaneidade. Quer se trate de museus tradicionais, quer se trate de museus locais que se reconhecem no cerne da Sociomuseologia, encontraremos sempre a ideia de patrimonialização, de cenarização, de teatralização, de apresentação pública de bens culturais, de processos educativos mais ou menos formais. Encontraremos também a socialização das referências de património e memória coletiva, no contexto do território de grupos sociais determinados, que dão forma à lógica própria dos museus entendidos e assumidos como narradores. Palavra-chave: Sociomuseologia; teatralização; memória colectiva. Abstract: Our focus will be to indicate a possible understanding of what is a contemporary museum. Whether it's traditional museum, whether a local museum recognized at the heart of Sociomuseology we always find the idea of patrimonialization of theatricality, public presentation of cultural goods, more or less formal educational processes. Wr also find the socialization of heritage references and collective memory, in the context of the territory of certain social groups, that give shape the very logic of museums understood and assumed as storytellers and intervenors.

Το σύγχρονο μουσείο οφείλει να είναι κομμάτι της κοινωνίας που το περικλείει, της κοινωνίας που αναφέρεται. Τα μουσεία, πλέον, θα πρέπει να προστατεύουν, αλλά και να προβάλουν ξεχασμένες ιστορίες, λαούς και αφηγήσεις. Να αποτελούν κέντρα συνάντησης διαφορετικών κοινοτήτων, φωνών και πολιτισμών. Νέες έννοιες και λέξεις ξεπροβάλλουν για να σκιαγραφηθεί ένα επιτυχημένο μουσείο και η σχέση του με την κοινωνία: συμμετοχή, συνεργασία, ποιότητα ζωής, αλληλεγγύη. Το ενδιαφέρον των μουσείων εστιάζει, πλέον, στην επικοινωνία, στη συμμετοχή του κοινού, στην ίδια τη λειτουργία και τη δομή των δράσεων του οργανισμού. Το Συμμετοχικό Μουσείο και οι πρακτικές του συναντώνται σε μουσεία της Ελλάδας, αλλά και του εξωτερικού. Θα παρουσιαστούν συμμετοχικά μοντέλα που προσδιορίζουν ευρείες κατηγορίες κατά τις συμμετοχικές δράσεις, όπως το μοντέλο της συνεισφοράς, της συνεργασίας, της φιλοξενίας κ.α. Ως παραδείγματα θα αναφερθούν εκτενώς το Santa Cruz Museum of Art and History και το Εθνολογικό Μουσείο Θράκης στην Αλεξανδρούπολη. Ως μελέτη περίπτωσης θα παρουσιαστεί το Θρακικό, Εθνολογικό, Ιστορικό και Πολιτιστικό Μουσείο Κομοτηνής και Θράκης, Αρχοντικό Βασιλικής Σκουτέρη-Δίντσογλου και θα διατυπωθούν οι προτάσεις μας για εφαρμογή συμμετοχικών πρακτικών.

The modern museum should be part of the society surrounding it, the society reported. Museums now, you need to protect and raise forgotten stories and people narrations. They are meeting places of different communities, cultures and voices. New concepts and words pop out to delineate a successful museum and its relationship with society: participation, collaboration, quality of life, solidarity. The most interesting museum focuses on communication, public participation in the same operation and structure of the organization's actions. The Participatory Museum and the practices found in museums in Greece and abroad. They will be presented participatory models that identify broad categories in participatory activities such as the contribution model, cooperation, hospitality etc. As examples extensively reported the Santa Cruz Museum of Art and History and the Ethnological Museum of Thrace in Alexandroupolis. As a case study will be presented the Thracian, Ethnology, Historical and Cultural Museum of Komotini and Thrace Mansion Skouteri-Dintsoglou and our proposals will be made for implementing participatory practices.

Daily routine which should be valued as intangible cultural heritage is usually ignored as part of common regular life for local inhabitants until it has been promoted and shared in proper ways. A historic rice granary and an old temple were adapted to local cultural and life museums for exhibiting and boosting up the community’s culture and history at Er-Jie community, Taiwan. The granary became Rice Agriculture Museum of Er-Jie Granary, and the temple was transformed into Er-Jie Life Culture Museum. The two museums helped the community on organising regional custom events and religious rituals and teaching participates the knowledge and skills of these intangible cultural heritages. For those people who are interested in Er-Jie community’s culture, but cannot present the events, the museums set up exhibitions with guides to share and communicate the culture with visitors. Moreover, the exhibitions and guides are not only displayed in the museums, but the whole community are part of the exhibitions. Visitors learned Er-Jie community’s culture from the exhibitions and then went to the site to experience real atmosphere and communicate with inhabitants. For extending their affection, the museums joined the network of the I-Lan Museum Association to involve other cultural organisations in conserving cultural heritage. Through contributing on running events, training and exhibitions, the two museums work as hubs for sharing and promoting inhabitants’ intangible culture and supporting the community to keeping their traditional life sustainable.

Le present article se propose de rendre compte de la situation contemporaine des musees publics des beaux‑arts en Grece. Ces musees ont connu un developpement apres 1950, ainsi la periode etudiee s’etend des annees 1950 a 2011. Ce choix permet d’avoir une vision macroscopique sur le processus de patrimonialisation de la modernite ainsi que de mettre en evidence les moments majeurs de transformation de ces musees. Les premiers musees des beaux‑arts fondes en Grece apres-guerre etaient publics, voire municipaux. En s’appuyant sur la notion du « monde de l’art », telle que definie par Howard Becker (1982), l’article revele les divers acteurs impliques : artistes, collectionneurs, individus, societes savantes, collectivites territoriales et Etat. Le role de tous ces agents est eclaire par trois etudes de cas qui font apparaitre une micro-histoire de la fondation des musees modernes. La Pinacotheque municipale de Ioannina, celle de Thessalonique et la Pinacotheque municipale de Larissa-m...

Abstract:  In the countries of southern Europe, the economic adjustment policies being applied are causing a progressive weakening of the museological action in its various forms. Questioned within the transformation process involving a profound change of the management models and of the prevailing values, museums seek a Sustainable Museology.
In this context, new museological formulas emerge associating sustainability to social creativity and to valorization of diversity. This is the case of the Costume Museum in São Brás de Alportel (MuT), in the Algarve, and its "Museology on layers". A model based on shared management, taking as its starting point a deep knowledge of the territory, the collective construction of senses and local cultural meanings, and the reframing and reuse of ancestral knowledge, with the objective of contributing to an equitable development.
In this paper we present the structure, the method and the results of one of the reference projects: Photography, memory and identity (FMId). In this case, a contrastive analysis between the collaborative research and the cartography of meanings associated with pictures of each family is performed. This exercise of memorial archaeology leads to decoding diverse segments of local culture: traditional knowledge, history and local memory, balanced uses of the resources of the territory, forms of alternative economy, community organization ways, etc.
Its resonances reach every one of the museological functions and processes of MuT, but also each of the families involved in the project, have now a current account of memory in their hometown Museum.

The concept of "museum" is complex and contains a well of different institutions. This article discusses one kind of Norwegian local community museum, the bygdetun, from the time it was musealized during the 1930s and through several processes of change. I claim that those who first argued for the bygdetun rendered it a specific genre of museum, in contrast to other museums. From the 1970s onwards, the bygdetun museum genre was "remusealized" more than once, and the bygdetun appears in today's museum landscape as smaller units of larger organizations. The concluding question of this paper concerns how the historic concept can be part of today's discussions of what a museum should be.