By Jenny Kidd
Not easy background within the Museum explores paintings with tough, contested and delicate heritages in quite a number museum contexts. it truly is in response to the difficult historical past venture, which brings jointly quite a lot of historical past execs, practitioners and teachers to discover history and museum studying programmes with regards to tricky and arguable subjects.The publication is split into 4 sections. half I, 'The Emotional Museum' examines the stability among empathic and emotional engagement and an target, rational knowing of 'history'. half II, 'Challenging Collaborations' explores the possibilities and pitfalls linked to collective, inclusive representations of our history. half III, 'Ethics, possession, id' questions who's best-qualified to spot, signify and 'own' those histories. It demanding situations the idea that of possession and private id as a prerequisite to knowing, and investigates the information and controversies surrounding this premise. half IV, 'Teaching demanding heritage' is helping us to discover the ethics and complexities of the way not easy histories are taught.The booklet attracts on paintings nations worldwide together with Brazil, Cambodia, Canada, England, Germany, Japan, Northern eire, Norway, Scotland, South Africa, Spain and united states and crosses a few disciplines: Museum and history reports, Cultural coverage stories, functionality stories, Media reports and significant conception experiences. it's going to even be of curiosity to students of Cultural heritage and paintings heritage.
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Extra resources for Challenging History in the Museum: International Perspectives
They learned to treat each other with contempt and violence. Residential schools created many dysfunctional people with low self-esteem, and these people in turn created a dysfunctional society. This process has been going on for five or six generations. It will take a long time to heal. (Glenbow Museum 2011) Like the exhibition and the toolkit, the accompanying book specifically addresses the hard truths of colonisation, as Lonetree recommended (2009: 334), but emphases the positive message of survival and reclaiming control: The residential schools were hateful places.
The chapter analyses how, why, and to what extent difficult colonial history, such as the residential school era, is addressed in these two exhibits. By examining the difficulties of discussing sensitive subjects with those who experienced them first hand, the chapter explores the notion of limited sharing and ‘displayed withholding’ (Lawlor 2006: 5). The chapter indicates that culture can be strategically presented to support efforts to rebuild community pride, which can contribute to the process of decolonisation.
In light of this assertion, it might be pertinent to be more wary of seeking emotional responses than ever. If we are not confident that we have the capacity for reflexivity, ethics, responsiveness and above all clarity in our agenda as we work with emotion and ask people to ‘feel’, then perhaps there are serious questions to be asked about the purpose of the museum. References Benjamin, W. 1936. The Work of Art in the Age of Mechanical Reproduction, trans. A. Underwood. London: Penguin .