Download Free Engaging Creative Minds The Luthuli Museum Book in PDF and EPUB Free Download. You can read online Engaging Creative Minds The Luthuli Museum and write the review.

The Digital Memory Toolkit aims to address a lack of digital literacy in community memory projects by giving project teams the insight and tools necessary to undertake digital memory projects. Projects of this nature commonly have twofold relevance – helping to preserve local knowledge and also empowering community members through skills training and engagement. This digital toolkit therefore takes the form of an introductory training manual that serves as a knowledge resource, providing information on how to set up a digital memory project, including sections on project planning and management, which software to use, training, oral history methodology and digital resource management. The sections in this toolkit provide information for African NGOs, libraries, archives, museums and schools to initiate and run their own digital memory projects, using free, open-source technology and community volunteers.
The persistence of indigenous African markets in the context of a hostile or neglectful business and policy environment makes them worthy of analysis. An investigation of Afrocentric business ethics is long overdue. Attempting to understand the actions and efforts of informal traders and artisans from their own points of view, and analysing how they organise and get by, allows for viable approaches to be identified to integrate them into global urban models and cultures. Using the utu-ubuntu model to understand the activities of traders and artisans in Nairobis markets, this book explores how, despite being consistently excluded and disadvantaged, they shape urban spaces in and around the city, and contribute to its development as a whole. With immense resilience, and without discarding their own socio-cultural or economic values, informal traders and artisans have created a territorial complex that can be described as the African metropolis. African Markets and the Utu-buntu Business Model sheds light on the ethics and values that underpin the work of traders and artisans in Nairobi, as well as their resilience and positive impact on urbanisation. This book makes an important contribution to the discourse on urban economics and planning in African cities.
At the Apartheid Museum in Johannesburg, South Africa, visitors confront the past upon arrival. They must decide whether to enter the museum through a door marked "whites" or another marked "non-whites." Inside, along with text, they encounter hanging nooses and other reminders of apartheid-era atrocities. In the United States, museum exhibitions about racial violence and segregation are mostly confined to black history museums, with national history museums sidelining such difficult material. Even the Smithsonian's National Museum of African American History and Culture is dedicated not to violent histories of racial domination but to a more generalized narrative about black identity and culture. The scale at which violent racial pasts have been incorporated into South African national historical narratives is lacking in the U.S. Desegregating the Past considers why this is the case, tracking the production and display of historical representations of racial pasts at museums in both countries and what it reveals about underlying social anxieties, unsettled emotions, and aspirations surrounding contemporary social fault lines around race. Robyn Autry consults museum archives, conducts interviews with staff, and recounts the public and private battles fought over the creation and content of history museums. Despite vast differences in the development of South African and U.S. society, Autry finds a common set of ideological, political, economic, and institutional dilemmas arising out of the selective reconstruction of the past. Museums have played a major role in shaping public memory, at times recognizing and at other times blurring the ongoing influence of historical crimes. The narratives museums produce to engage with difficult, violent histories expose present anxieties concerning identity, (mis)recognition, and ongoing conflict.
Seven years after the death of Anton Chekhov, his sister, Maria, wrote to a friend, "You asked for someone who could write a biography of my deceased brother. If you recall, I recommended Iv. Al. Bunin . . . . No one writes better than he; he knew and understood my deceased brother very well; he can go about the endeavor objectively. . . . I repeat, I would very much like this biography to correspond to reality and that it be written by I.A. Bunin." In About Chekhov Ivan Bunin sought to free the writer from limiting political, social, and aesthetic assessments of his life and work, and to present both in a more genuine, insightful, and personal way. Editor and translator Thomas Gaiton Marullo subtitles About Chekhov "The Unfinished Symphony," because although Bunin did not complete the work before his death in 1953, he nonetheless fashioned his memoir as a moving orchestral work on the writers' existence and art. . . . "Even in its unfinished state, About Chekhov stands not only as a stirring testament of one writer's respect and affection for another, but also as a living memorial to two highly creative artists." Bunin draws on his intimate knowledge of Chekhov to depict the writer at work, in love, and in relation with such writers as Tolstoy and Gorky. Through anecdotes and observations, spirited exchanges and reflections, this memoir draws a unique portrait that plumbs the depths and complexities of two of Russia's greatest writers.
Under the aegis of the post-apartheid government, much emphasis has been placed on the transformation and democratisation of the heritage sector in South Africa since 1994. The emergent new landscape of memory relies heavily on commemorative monuments, memorials and statues aimed at reconciliation, nation-building and the creation of a shared public history. But not everyone identifies with these new symbolic markers and their associated interpretation of the past. Drawing on a number of theoretical perspectives, this book critically investigates the flourishing monument phenomenon in South Africa, the political discourses that fuel it; its impact on identity formation, its potential benefits, and most importantly its ambivalences and contradictions.
The influence of digital media on the cultural heritage sector has been pervasive and profound. Today museums are reliant on new technology to manage their collections. They collect digital as well as material things. New media is embedded within their exhibition spaces. And their activity online is as important as their physical presence on site. However, ‘digital heritage’ (as an area of practice and as a subject of study) does not exist in one single place. Its evidence base is complex, diverse and distributed, and its content is available through multiple channels, on varied media, in myriad locations, and different genres of writing. It is this diaspora of material and practice that this Reader is intended to address. With over forty chapters (by some fifty authors and co-authors), from around the world, spanning over twenty years of museum practice and research, this volume acts as an aggregator drawing selectively from a notoriously distributed network of content. Divided into seven parts (on information, space, access, interpretation, objects, production and futures), the book presents a series of cross-sections through the body of digital heritage literature, each revealing how a different aspect of curatorship and museum provision has been informed, shaped or challenged by computing. Museums in a Digital Age is a provocative and inspiring guide for any student or practitioner of digital heritage.