Museum practice has undergone significant changes in recent decades, particularly since the advent of New Museology. One of these transformations has profoundly altered the work of exhibition making and curatorship. In a number of institutions, particularly in Francophone Canada, France, and Northern Europe, the ethnographic or disciplinary approach ensured by scholar‐curators has been progressively abandoned as exhibition making and other curatorial tasks have been taken over by professional project managers and administrators. This departure from traditional curatorship, which grew out of a desire to narrow the gap between museums and society, has slowly made community engagement and citizen participation into a central institutional objective. This change in museum priorities has significantly impacted the nature of museum management. One such impact has been the emergence of a professional non‐curatorial managerial class, a phenomenon that has received relatively little attention as an academia‐divorced practice. This paper draws from endeavours at the Muséee de la civilisation (Quebec City, Canada) to address managerial practices in exhibition making. Tracing the history of this museum, which is both the heir and instigator of the managerial‐based structures that emerged out of 1980s social museology, it highlights the limits, but also the many possibilities, of managerial‐based exhibition making. The paper analyses two participatory exhibitions inaugurated in 2015, one exclusively dedicated to contemporary dance, and the other to the cultural history of First Nations and Inuit communities in Quebec, and asks how knowledge was exchanged and meaning created in the exhibition space by sharing the curatorship between the communities and exhibition project managers. Notwithstanding the importance of the social scope of managerial models in exhibition‐making, the paper also highlights the importance of renewing links between research and exhibition making, particularly those that are better adapted to non‐academic community‐driven institutions.
Dance involves a set of movements that embody social memory. Such forms of intangible heritage have presented emerging challenges for curatorship. This paper draws from the experience of the Musées de la civilisation (Quebec City, Canada) to address ideas of collecting and curating in the performing arts. By presenting the travelling exhibition Rebel Bodies, an international collaborative project that highlights contemporary dance and movement as universal modes of creativity and expression, the paper reflects on the social role of the museum in sustaining creativity within the community as well as on the use of ethnographic material to collectively (through museums and artists) curate the intangible. In treating notions of natural, virtuoso, urban, multi, political, and atypical bodies, this exhibition brings together performers and creative artists as well as industries in the museum setting. Such interplays, it is argued, encourage the sustainable participation of artistic communities/industries and further highlight museums as dynamic loci for the promotion of social change.Keywords: performing arts, intangible cultural heritage, museum, dance, performance, participation, reenactment, artists
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