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Panama is an ethnically diverse country with a recent history of political conflict which makes the representation of historical memory an especially complex and important task for the country’s museums. This book studies new museum projects in Panama with the aim of identifying the dominant narratives that are being formed as well as those voices that remain absent and muted. Through case analyses of specific museums and exhibitions the author identifies and examines the influences that form and shape museum strategy and development.
Molas, the distinctive blouses made and worn by Kuna women in Panama, are collected by thousands of enthusiasts as well as by anthropological museums all over the world. They are recognized everywhere as an identifier of the Kuna people and also of Panama. This book, based on original research, explores the origin of the mola in the early twentieth century, how it became part of the everyday dress of Kuna women, and its role in creating Kuna identity. Images drawn from more than twenty museums as well as private collections show the development of designs and techniques and highlight changes in the garment as an item of indigenous fashion. Applying an interdisciplinary approach—fusing historical, ethnographic, and material culture studies—author Diana Marks contributes to ongoing debates on cultural authenticity, the invention of traditions, and issues of gender and politics.
Online activities present a unique challenge for museums as they harness the potential of digital technology for sustainable development, trust building, and representations of diversity. This volume offers a holistic picture of museum online activities that can serve as a starting point for cross-disciplinary discussion. It is a resource for museum staff, students, designers, and researchers working at the intersection of cultural institutions and digital technologies. The aim is to provide insight into the issues behind designing and implementing web pages and social media to serve the broadest range of museum stakeholders.
It is widely acknowledged that all archaeological research is embedded within cultural, political and economic contexts, and that all archaeological research falls under the heading ‘heritage’. Most archaeologists now work in museums and other cultural institutions, government agencies, non-government organisations and private sector companies, and this diversity ensures that debates continue to proliferate about what constitutes appropriate professional ethics within these related and relevant contexts. Discussions about the ethics of cultural heritage in the 20th century focused on standards of professionalism, stewardship, responsibilities to stakeholders and on establishing public trust in the authenticity of the outcomes of the heritage process. This volume builds on recent approaches that move away from treating ethics as responsibilities to external domains and to the discipline, and which seek to ensure ethics are integral to all heritage theory, practice and methods. The chapters in this collection chart a departure from the tradition of external heritage ethics towards a broader approach underpinned by the turn to human rights, issues of social justice and the political economy of heritage, conceptualising ethical responsibilities not as pertaining to the past, but to a future-focused domain of social action.
Bringing together theory and practice, this collection critically examines emerging conceptual, methodological and production frameworks for the study of immersive journalism. Having first begun in academia, the practice of virtual reality/360 ̊ video immersive journalism has seen a steep rise in the professional arena in recent years. Uniting contributions from scholars and practitioners at the cutting-edge of this vibrant field, this book provides a summary of the history, development and key debates in immersive journalism and considers issues such as conceptualising and researching immersive journalism, teaching and producing immersive journalism, and situating immersive journalism in a wider theoretical and ethical context. Each chapter introduces readers to the key terms and concepts in that area and provides study questions to help them engage with the text. Encouraging further enquiry and theorisation, and experimental design and production, Insights on Immersive Journalism is an invaluable resource for students and scholars interested in Immersive Journalism and Media.
Museums are usually seen as arenas for the authorised presentations of reality, based on serious, professional knowledge. Yet, in spite of the impossibility of giving anything but a highly abstract and extremely selective impression in an exhibition, very few museums problematize this or discuss their priorities with their public. They don’t ask “what are the other truths of the matter?” Though the essays in this collection are not written with museums and truth as their explicit subject, they highlight contested truths, the absence of the truth of the underprivileged, whether one truth is more worthy than the other, and whether lesser truths can dilute the value of greater truths. One of the articles included here lets youngsters choose which truth is most probable or just, while another talks about an exhibition where the public must choose which truth to adhere to before entering. One shows how a political change gives a new opportunity to finally restore valuable truths of the past to the present, and another describes the highly dangerous task of making museums and memorials for the truths of the oppressed. Lastly, one explores whether we live in a period where the sources for authorized truths are fragmented and questioned, and asks, what should the consequences for museums be?
"This edition fosters multidisciplinary discussion and research on the adoption of information and communication technologies (ICT) in the contexts of culture and tourism, investigating how emerging technologies and new managerial models and strategies can promote sustainable development for culture and tourism"--Provided by publisher.
In its 11,000 year human history, the Isthmus of Panamá has been dominated by its relationship to the sea and the rivers that feed it. A unique marine environment, the land bridge shaped its inhabitants’ activities, and those inhabitants shaped the Isthmus—from harvesting resources to physically transforming the land to link two oceans. This seminal work explores this intersection between people and the environment, mining the archaeological and ethnological record created during the formation and development of Panamá's maritime cultural landscape. Assessing sites both submerged and on land, the authors explore the maritime history of the isthmus through its many stages: from its prehistoric period through Spanish colonialism to the building of the canal and its function as a route for modern-day maritime traffic. Combining archaeology, history, geography, and economic history, this volume situates Panamá's canal and isthmus in the global economy and world maritime culture, while providing a more complex understanding of human adaptation and the persistence of culture.
Experimental Museology scrutinizes innovative endeavours to transform museum interactions with the world. Analysing cutting-edge cases from around the globe, the volume demonstrates how museums can design, apply and assess new modes of audience engagement and participation. Written by an interdisciplinary group of researchers and research-led professionals, the book argues that museum transformations must be focused on conceptualizing and documenting the everyday challenges and choices facing museums, especially in relation to wider social, political and economic ramifications. In order to illuminate the complexity of these challenges, the volume is structured into three related key dimensions of museum practice - namely institutions, representations and users. Each chapter is based on a curatorial design proposed and performed in collaboration between university-based academics and a museum. Taken together, the chapters provide insights into a diversity of geographical contexts, fields and museums, thus building a comprehensive and reflexive repository of design practices and formative experiments that can help strengthen future museum research and design. Experimental Museology will be of great value to academics and students in the fields of museum, gallery and heritage studies, as well as architecture, design, communication and cultural studies. It will also be of interest to museum professionals and anyone else who is interested in learning more about experimentation and design as resources in museums. “The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license."