Making and Remaking National Identities

Kaplan, Flora Edouwaye S.

doi:10.1002/9780470996836.ch10

Cited by 23 publications

(13 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Ultimately, the determination of cultural heritage and its value is apt to fall into a political game. Here, the central government's discourse centred on the appropriation of Reverón's cultural memory as a flagship of a socialising process, this time in the cultural field, serves as a reminder of the power of culture as an identity constructor, since identity goes hand‐in‐hand with patriotism and nationalism (Kaplan, : 153).…”

Section: Instrumentalised Heritagementioning

confidence: 99%

6 Community, Heritage and the State: Rebuilding Armando Reverón's El Castillete

Domec

2019

Bull Latin American Res

View full text Add to dashboard Cite

Section: Instrumentalised Heritagementioning

confidence: 99%

6 Community, Heritage and the State: Rebuilding Armando Reverón's El Castillete

Domec

2019

Bull Latin American Res

View full text Add to dashboard Cite

“…1 The countries covered by the African Rock Art Image Project and the geographical spread of known major rock art sites (images in full colour online) who increasingly are the curators of their own fieldwork archives. With so much information being created, it raises traditional musicological questions: what is able to be collected (MacDonald 2006), stored (Abt 2006), catalogued (Roberts 1991), and displayed (Prezosi 2006) and how can this be made usable by scholars and the public (Crooke 2006;Kaplan 2006). From this perspective, ARAIP is a pilot project for the British Museum.…”

Section: Rock Art Cataloguesmentioning

confidence: 99%

Museological Approaches to the Management of Digital Research and Engagement: The African Rock Art Image Project

2018

View full text Add to dashboard Cite

The African Rock Art Image Project at the British Museum has documented and disseminated c. 24,000 digital images of rock art from throughout the continent, donated by the Trust for African Rock Art (TARA). The images were registered into the British Museum's permanent collection and treated as objects in their own right, not just digital reproductions of objects. As a wholly born-digital collection, this led to several opportunities and challenges for documentation, dissemination, and digital humanities outputs, including a fully searchable database, social media, website, 3D modelling and printing, and virtual reality, to name a few. Increasingly, digital technologies are being used in standard archaeological research and practice. From digital photography to larger 3D modelling/scanning, the volume of data being created by archaeologists is increasing exponentially, as is the potential for these outputs to change research and community engagement. But with the massive amounts of data being created, are researchers documenting and disseminating their data to their full potential? Here, traditional museum practices of cataloguing, storing, and public engagement can inform archaeological practice to use these data collections for both scholarly research and community engagement. Through a critically reflective description of the work and challenges of the project, this paper argues that there are significant benefits to be gained by engaging digital rock art projects with established museum thinking and practice.Résumé Le projet BAfrican Rock Art Image Projectd u British Museum a permis de documenter et diffuser environ 24.000 images numériques d'art rupestre provenant de tout le continent, offertes par l'organisation BTrust for African Rock Art^(TARA). Les images ont été enregistrées dans la collection permanente du British Museum et traitées comme des objets à part entière, et non pas seulement comme de simples reproductions numériques. Cette collection entièrement numérique a débouché sur plusieurs opportunités et défis pour la documentation et la diffusion, notamment une base de données entièrement consultable, les médias sociaux, le site Web, la modélisation et l'impression 3D, et la réalité virtuelle, pour n'en citer que quelques uns. De plus en plus, les technologies numériques sont utilisées dans la recherche et la pratique archéologique. De la photographie numérique à la plus grande modélisation / numérisation 3D, le volume de données créé par l'archéologue augmente de façon exponentielle, de même que le potentiel de ces productions à changer la recherche et l'engagement communautaire. Mais avec les quantités massives de données créées, les chercheurs documentent-ils et diffusent-ils leurs de façon optimale? Afr Archaeol Rev (2018) 35:321-337 https://doi

show abstract

“…A national museum forms an important foundation for the construction of a nation's cultural heritage and identity (Kaplan 1994(Kaplan , 2011Knell, Aronsson, and Amundsen 2011). Riding atop a burgeoning economy and persistently expanding tourism industry, as well as a successful nationbranding campaign for domestic and international consumption (Silverman 2015;Silverman and Hallett 2015), Peru is now embarking on a project to replace the 90-year-old National Museum of Anthropology, Archaeology, and History.…”

Section: Articlementioning

confidence: 99%