Museum-Making as Serious Leisure

Moncunill-Piñas, Mariona

doi:10.7238/d.v0i17.2647

Cited by 4 publications

(5 citation statements)

References 19 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…In terms of serious leisure, only a couple of articles use this conceptual framework to understand community heritage initiatives. Moncunill-Piñas (2015: 21) explores amateur museums as (serious) ‘leisure projects’ that are ‘parallel and comparable to professional museum-making’ but with their ‘own validity, processes, structure and motivations’. In terms of the experiences of volunteers, Moncunill-Piñas (2015) notes that workers are required to fulfil multiple roles, as simultaneously archivist, curator, educator and security guard.…”

Section: Literature Reviewmentioning

confidence: 99%

“…Moncunill-Piñas (2015: 21) explores amateur museums as (serious) ‘leisure projects’ that are ‘parallel and comparable to professional museum-making’ but with their ‘own validity, processes, structure and motivations’. In terms of the experiences of volunteers, Moncunill-Piñas (2015) notes that workers are required to fulfil multiple roles, as simultaneously archivist, curator, educator and security guard. In a case study of the AJM, Cantillon and Baker (2018) investigate how the serious leisure of volunteers worked to create a sense of community and promote wellbeing.…”

Section: Literature Reviewmentioning

confidence: 99%

See 1 more Smart Citation

Career volunteering as good work in do-it-yourself heritage institutions: A serious leisure perspective

Cantillon

Baker

2020

Journal of Sociology

View full text Add to dashboard Cite

In recent decades, the heritage sector has become increasingly precarious amid the rise of austerity neoliberalism, impacting both the efficacy of heritage institutions and the labour experiences of those who run them. While scholarly literature has regularly examined these impacts for mainstream heritage institutions, little work considers volunteer-run, do-it-yourself (DIY) community heritage organisations. This article takes a serious leisure perspective to explore what constitutes ‘good work’ for volunteers in a DIY heritage institution, the Australian Jazz Museum (AJM). Drawing on interviews with 26 AJM volunteers, we discuss some of the ‘rewards’ and ‘costs’ of career volunteering in this institution. Our research suggests that the conditions for good work are contingent on the efforts of volunteers in management roles, while the conditions for bad work are heightened by austerity policies affecting funding opportunities. The case study also highlights the need to consider the value of work beyond remuneration.

show abstract

Section: Literature Reviewmentioning

confidence: 99%

Section: Literature Reviewmentioning

confidence: 99%

Career volunteering as good work in do-it-yourself heritage institutions: A serious leisure perspective

Cantillon

Baker

2020

Journal of Sociology

View full text Add to dashboard Cite

show abstract

“… 2. Further justification of my understanding of museum making as an amateur activity and as serious leisure can be found in a previous article (Moncunill-Piñas, 2015). …”

mentioning

confidence: 90%

“… 4. The blurred delimitations between amateur museums and other kinds of more professionalized and institutionalized museums have been developed as well in ‘Museum-making as Serious Leisure’ (Moncunill-Piñas, 2015). …”

mentioning

confidence: 99%

The practice of everyday museum making: Naturalization and empowerment in the amateur consumption of museographic language

Moncunill-Piñas

2017

European Journal of Cultural Studies

Self Cite

View full text Add to dashboard Cite

Amateur museum making is museum practice (museography) performed as serious leisure. This article proposes an analytical approach to amateur museum making that understands it as a simultaneous practice of production and consumption of museography: this is as a use of museum practice or as the consumption of one’s own museographic activity. With this approach, I specifically attempt to detect how processes of naturalization of museographic conventions, and of empowerment through their amateur use, are intimately linked to the use of museography as a whole and not only to its production or to its consumption as separate processes. For this purpose, I propose an extension of De Certeau’s ideas of the production of consumption in The Practice of Everyday Life and the article presents on in-depth interviews with amateur museum makers and participant observation on three case studies: The Bread Museum (Catalonia, Spain), The House of Butterflies (Catalonia, Spain) and the Toy Museum (Antioquia, Colombia).

show abstract

“…Situating these informal, non-institutional museums within information studies, I similarly learned to justify my academic existence, rooting through theories and methods grounded in the positivism and reductionism of science. These were places I loved because of how they exposed unique perspectives through their sensory richness, creating unexpected experiences for me and others (Candlin, 2016; Mihalache, 2009; Moncunill-Piñas, 2015, 2017; Taimre, 2013). Yet, I've been troubled by the tensions I encountered theorizing personal museums through institutional thinking that anthropologist Mary Douglas describes as: “… Telling one another what right thinking is and passing blame on wrong thinking.…”

mentioning

confidence: 99%

Towards a vernacular aesthetics of liking for information studies

Klimaszeweski

2023

View full text Add to dashboard Cite

PurposePersonal museums provide the conceptual catalyst for liking as a research approach and inclusivity around “idiosyncratic” knowledges within information research. An adapted research paper format echoes the approach of personal museums: as a commentary on the limits of institutional shaping for the field.Design/methodology/approachPersonal museums are conceptualized as spaces of knowing in-formation, ontological openings that are literally and figuratively entered into, that make a difference to human and material ways of knowing. Karen Barad's agential realism and Sianne Ngai's vernacular aesthetic categories provide the theoretical lenses through which the researcher's 2018 visit to one personal museum is revisited.FindingsAn ethnographic account of the author's visit to the Communist Consumer Museum (CCM) in Timişoara, Romania shows how its improvisational, friendly and intimate atmosphere exposes it as a space of entanglements in a quantum sense, emphasizing the inseparability of human and material realms and how knowledges are always in-formation. Such entanglements create atmospheres generative of different ways of thinking about information and knowledge.Originality/valueHuman expressions of liking reveal material agencies as ways of knowing and information beyond the realm of human experience and meaning. A vernacular aesthetics of liking is presented as a way to resist the marginalizing tendencies of knowledges classified as unconventional, idiosyncratic or eccentric. This approach is one way of resisting the assumptions of channel thinking that often shape how information is studied.

show abstract

Museum-Making as Serious Leisure

Cited by 4 publications

References 19 publications

Career volunteering as good work in do-it-yourself heritage institutions: A serious leisure perspective

Career volunteering as good work in do-it-yourself heritage institutions: A serious leisure perspective

The practice of everyday museum making: Naturalization and empowerment in the amateur consumption of museographic language

Towards a vernacular aesthetics of liking for information studies

Contact Info

Product

Resources

About