Museumsvidenskab og kulturarvsstudier

This book examines the development of Cultural and Creative Industries (CCI) in China through the angle of Chinese Theatre, xiqu. It focuses on the political and socio-economic transition period at the turn of the 21st century, as China evolves from ¿Made in Chinä to ¿Created in Chinä, highlighting associated class reconstruction and cultural production and consumption. There are many forms of Chinese Theatre, the most popular one throughout Chinese history to date is the sing-song drama, collectively refers to as xiqu, which currently has over 300 regional styles across China. In 2014, President Xi Jinping¿s Beijing Talk on Arts and Literature, which serves as Chinäs latest Chinese Communist Party (CCP) ideological direction and cultural policy, stressed that ¿the future of Chinese cultural and creative industries is to be anchored on traditional art forms, such as xiqu¿. Such Chinese cultural and creative industry distinction will be addressed in this book.

"A complete overhaul of the Western museum tradition"-Publishers Weekly"An impressive critique of the universal museum as complicit in the damages inflicted by colonial power"-Isaac Julien, artist and filmmaker"Should fascinate anyone interested in social justice, post-colonialism and the arts"-Euronews"Powerful and so relevant"-DiacritikThe Western museum is a battleground-a terrain of ideological, political and economic contestation. Almost everyone today wants to rethink the museum, but how many have the audacity to question the idea of the universal museum itself?In A Programme of Absolute Disorder, Françoise Vergès puts the museum in its place. Exploring the Louvre's history, she uncovers the context in which the universal museum emerged: as a product of colonialism, and of Europe's self-appointed claim to be the guardian of global heritage.Vergès outlines a radical horizon: to truly decolonize the museum is to implement a "programme of absolute disorder", inventing other ways of apprehending the human and non-human world that nourish collective creativity and bring justice and dignity to the dispossessed.Françoise Vergès is a political scientist, activist, historian, film writer, and public educator. She is the author of A Decolonial Feminism and A Feminist History of Violence. She is also a senior research fellow at the Sarah Parker Remond Centre for the Study of Racism and Racialisation, University College London.

This book provides an interdisciplinary examination of Peruvian cuisine¿s shift from a culinary to a political object and the making of Peru as a food nation on the global stage. It focuses on the contexts, processes and protagonists that have endowed the country¿s cuisine with new meaning, new coherence and prominence, and with the ability to communicate what was important for Peruvians after decades of political violence and economic decline. This work unfolds central processes of the culinary project ranging from the emergence of gastronomy, to the refiguring of indigenous people as producers, to the use of cultural identity as an authenticating force. From the Plate to Gastro-Politics offers a critical reading of what has been called a ¿gastronomic revolution¿, highlighting the ways in which claims to national unity and social reconciliation smooth over ongoing inequalities.This book will be of interest to scholars and students of food studies, cultural anthropology, heritage studies and Latin American studies.

This book summarizes work being undertaken within the School Activates Resources-stitching the lost heritage of the suburbs (ScAR) project, which addressed cultural heritage in a broad sense, as a system of values identified by the populations and in constant evolution. This tangible and intangible heritage fuels the promotion of intergenerational and intercultural dialogue and represents an opportunity for resilient social and territorial development. The book ponders the experience gained and the points of view of the different disciplines involved, examines issues such as children and youth participation in civil life or education in cultural heritage and landscape, and presents real-world experiences of heritage education in everyday landscape in difficult contexts and/or concerning poorly recognized and valued cultural heritage.

Billede for billede er historien om forsikringsdirektør og kunstsamler Wilhelm Hansen (1868-1936). Med udgangspunkt i museets omfangsrige samling af fotografier, breve og ikke mindst kunstværker tegner bogen et portræt af manden bag Ordrupgaard.Bogen former sig som en række udvalgte nedslag i familien Hansen med alt fra dagligdagsepisoder til større begivenheder; fra ophængningen af en gaslampe til konskvenserne af en storbanks krak og strategien for salg af verdenskunst. Vi hører om, hvordan deres tilværelse formede sig, og hvordan de – billede for billede – opbyggede den imponerende kunstsamling, som i dag er tilgængelig for offentligheden i Ordrupgaards sale.Anne-Birgitte Fonsmark (f. 1950) var direktør for Ordrupgaard fra 1995 til 2023. Hun har stået for en lang række af museets udstillinger og har udgivet flere kunstfaglige bøger.

This book brings together empirical and theoretical case-study research on art and heritage crime. Drawn from a diverse group of researchers and professionals, the work presented explores contemporary conceptualisations of art crime within broader contexts. In this volume, we see 'art' in its usual forms for art crime scholarship: in paintings and antiquities. However, we also see art in fossils and in violins, chairs and jewellery, holes in the ground and even in the institutions meant to protect any, or all, of the above. And where there is art, there is crime. Chapters in this volume, alternatively, zoom in on specific objects, on specific locations, and on specific institutions, considering how each interact with the various conceptions of crime that exist in those contexts. This volume challenges the boundaries of what we understand as "e;art and heritage crimes"e; and displays that both art, and criminality related to art, is creative and unpredictable.

The book focuses on all typological aspects of arches and vaults within the heritage of design and construction, while bringing attention to new "e;green"e; materials, promoting a circular economy informed by limitations caused by global warming. The multidisciplinary approach involves several different competences in architecture, structural engineering, conservation and restoration, geomatics, BIM, building engineering, the technology and history of construction, graphical methods of assessment, and innovative design that utilizes non-polluting materials. After an overview of the technical and aesthetic advantages of masonry vaults, there is a review of the most up-to-date trends in historic preservation. Classic methods of static assessment and innovative building technologies are detailed. Surveying methods and data acquisition are discussed, particularly laser scanning technology and its applications in heritage masonry curved structures. Next comes the experimental static and dymanic behavior of masonry vaults, followed by a critical revision of Distinct Element innovative computerized Methods. An explanation as to how to pass from classic stability analysis to an adaptive Finite Element Method limit analysis procedure is offered. Reinterpretation of the past is then undertaken, with an eye towards emphasizing sustainability. Finally, the conclusion examines  still existing gaps in knowledge and recommends avenues of future research.

This book investigates approaches to community heritage within the Arab region and the underlying theories associated with these approaches. It aims, within the context of the region, to define 'community' and 'heritage', as well as examine the emergence and development of this field. The volume's contributors deploy a wealth of case studies from the Middle East and North Africa to provide a unique forum for discussion, comparability, analysis and deeper understandings of current trends in community heritage. In particular, the volume explores the relationship between communities and their heritage, the meanings and values placed upon it, the nature and degree of community participation and engagement in its interpretation and management, and how its different registers affect and produce sometimes unexpected community heritage formations. It also examines the level of responsibility held within the profession towards this essentially democratic process of public participation in their heritage in a region shaped by controversial histories, political turmoil and tourism-driven economies. The volume builds on current research and practice in community heritage globally by debating and re-centring a suite of familiar and new issues related to hitherto under-researched regional-specific methodologies, and developing fresh insight into the theoretical underpinning of these practices. It will be of value to heritage scholars and practitioners as well as those interested in politics, identity, education and the dynamics of heritage-based sustainable development.

Published on the occasion of the "Preoccupied: Indigenizing the Museum" initiative at the Baltimore Museum of Art, this book centers Native artist voices and challenges collective understandings of Native peoples' pivotal role in North American history. The written and visual contributions address and refute the oppressive and pervasive hierarchies of colonialism upon which museums are based. The book features essays by heather ahtone (Chickasaw / Choctaw), Paul Chaat Smith (Comanche), and John Lukavic; newly commissioned poetry by Heid E. Erdrich (Ojibwe); a comic conceived, written, and illustrated by Weyodi Old Bear (Comanche), Dale Deforest (Diné), and Lee Francis IV (Pueblo of Laguna); and transcripts of roundtable discussions with contemporary Native artists. Fifty plates spanning a range of media from monographic and thematic exhibitions showcase both historically significant works from the BMA's collection and the works of living artists, many of whom offer their perspectives in the catalog, including Julie Buffalohead (Ponca Tribe of Oklahoma), Dana Claxton (Lakota First Nations-Wood Mountain), Nicholas Galanin (Tlingit and Unangax̂), Duane Linklater (Omaskêko Ininiwak), Cannupa Hanska Luger (Mandan, Hidatsa, Arikara, and Lakota / Three Affiliated Tribes of Fort Berthold), Alan Michelson (Mohawk / Six Nations of the Grand River), Caroline Monnet (Anishinaabe/French), Laura Ortman (White Mountain Apache), Kevin Pourier (Oglala Sioux), Rose B. Simpson (Santa Clara Pueblo), Kay WalkingStick (Cherokee Indian), and Dyani White Hawk (Sičáŋǧu Lakota). The work offers an important contribution to current global conversations around the decolonization of museums.

This book examines the cultural articulation of Spanish History (and histories (remembered, meaningful experiences). It analyzes how real people and fictional characters experience the rupture of post-war repression, as their vindicating collective memory counters the authoritarian narrative and laws that demonized and criminalized them. The book, that breaks the persistent cycle of denial of Francoist malfeasance, is a resource for scholars and students who research the representation of Spain's dictatorship, its aftermath and the recovery of postdictatorial memory.

This book seeks to highlight some of the difficult imperial histories and legacies embedded in the Ethnographic Collection of the National Museum of Ireland and enable dialogue with source communities as well as Irish audiences. Ethnographic material acquired as part of the British Empire, represents the duality of Irish participation with the structure and practices of Empire and Ireland's own experience as Britain's oldest colony.From the late 18th to the early 20th century, Irish explorers, soldiers, colonial officers, and administrators enforced British rule abroad against a backdrop of calls for self-governance, the repeal of the Union, rebellion, and civil war. Irish emigrants contributed to the advance of the colonial frontier. Trophies from battlefields in South Africa, Sudan and Ethiopia and taken during sanctioned looting of the royal palaces of Benin, Nigeria and Kumasi, Ghana, were displayed as symbols of their victory and evidence of the 'civilizing' power of the Empire. However, expeditions also depended on local experts for supplies and were reliant on what Indigenous people were prepared to trade. Indigenous artists actively engaged with colonial markets and enriched precontact art forms with tradegoods and created portable souvenirs. Diplomatic gifts also drew Western visitors into their own networks of influence. The collections therefore also offer insights into Indigenous creativity and innovation, as well as resistance. Examining the Collection through a modern lens of biographies as part of decolonizing practices reveals the multi-layered identities of the collectors, the objects themselves and their creators. Part I offers in-depth histories of the institutions whose collections were transferred to the Dublin Museum of Science and Art in 1877, reconnects donors and traces objects' journeys to the museum, as gifts, loot, military and missionary collecting. Part II is divided geographically and focuses on the individual donors and artists and the life histories of specific objects, their contexts and uses.

Das ¿Wunder von Meiningen¿ ist keine Erfindung des Feuilletons. Musik und Theater gehören im südthüringischen Meiningen zum Alltag und sind jederzeit Stadtgespräch. Dank seiner kunstbegeisterten Herzöge behielt Meiningen über die Jahrhunderte hinweg seinen Rang als wichtiges mitteldeutsches Musikzentrum. Hier wirkten Mitglieder der Bach-Familie, sowie die Komponisten Johannes Brahms und Max Reger. Hofkapelle und Theater hatten eine europaweite Ausstrahlung. Ihre kulturelle Blütezeit erlebte die Residenzstadt an der Werra unter dem ¿Theaterherzog¿ Georg II. von Sachsen-Meiningen.Die Berliner Journalistin Antje Rößler begibt sich auf Spurensuche nach dem Wunder von Meiningen. In 21 kurzweiligen Kapiteln beleuchtet sie musikalische Facetten der tausendjährigen Stadtgeschichte.

**THE SUNDAY TIMES ART BOOK OF THE YEAR****A Financial Times Best Book of 2023**A revelatory portrait of a great museum and the moving story of one guard's quest to find solace and meaning in art'Who would have thought that the outstanding art book of you would have been written not by a curator or an art historian or even an artist - but by a museum guard?' Sunday TimesWhen Patrick's older brother dies at twenty-six, all he wants is to retreat. So, he does. He quits his job and seeks refuge in the most beautiful place he can think of: New York's Metropolitan Museum of Art.All the Beauty in the World recounts Patrick's time as a museum guard, keeping quiet vigil over some of our greatest treasures and uncovering the Met's innermost secrets. As his connection to the art and the life that swirls around it grows, so does Patrick - and gradually he emerges transformed by heartbreak, community and the power of art to illuminate life in all its pain, pleasure and hope.'As luminous as the old masters paintings' Daily Mail'Consoling and beautiful' Guardian'Marvellous' Daily Telegraph'A beautiful tale about beauty. It is also a tale about grief, balancing solitude and comradeship, and finding joy in both the exalted and the mundane' Washington Post

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This book provides a multifaceted view on the relation between the old and the new in music, between tradition and innovation. This is a much-debated issue, generating various ideas and theories, which rarely come to unanimous conclusions. Therefore, the book offers diverse perspectives on topics such as national identities, narrative strategies, the question of musical performance and musical meaning. Alongside themes of general interest, such as classical repertoire, the music of well-established composers and musical topics, the chapters of the book also touch on specific, but equally interesting subjects, like Brazilian traditions, Serbian and Romanian composers and the lullaby. While the book is mostly addressed to researchers, it can also be recommended to students in musicology, ethnomusicology, musical performance, and musical semiotics.

Forgeries present a daunting problem to art historians, museums, galleries and curators who face challenges in determining the authenticity of paintings. Recent progress in science has led to the development of new methods for investigating works of art, and can provide new insights into the materials found in paintings. The rise in the value of paintings together with the knowledge and skills of forgers highlights the need to develop reliable scientific procedures to identify fakes. Given the complexity of materials in paintings and the convergence of various disciplines, a methodological approach for nvestigations of paintings is based on art historical, curatorial, aesthetic, technical and scientific evaluation. In this book sophisticated digital and analytical techniques are reviewed for the identification of materials (pigments, binders, varnishes, adhesives) and the physical characteristics of paintings such as brushstrokes, craquelure and canvas weaves. This book presents an updated overview of both non-invasive and micro-invasive techniques that enable the material characterization of paintings. The materials constituting a painting are reviewed, as are ways that changes in materials over time can provide insights into chronology and physical history. State-of the art digital metods including multi and hyper-spectral imaging and computational approaches to data treatment will be presented. Analytical techniques developed and optimized to characterize binders, varnishes, and pigments are reviewed, focusing on materials which can provide information on ageing or provenance. Case studies of applications of synchrotron-based methods and the analysis of paintings are given, as are chapters devoted to legal aspects related to authenticity. Chapter 1 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.