Museums and Memory: The Enchanted Modernity

Santos, Myrian Sepúlveda dos

doi:10.1080/1479758032000079765

Cited by 12 publications

(6 citation statements)

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“…The fact that art museums became 'battlegrounds' and 'sites of persuasion' for the Suffragettes has clear similarities with the Brazilian case study in 2017 (Hunter 1991;Macleod 2006;Sepulveda dos Santos 2003). However, in contrast to the protests in Brazil that aimed to impose more conservative, moralistic ideals on society, the Suffragettes wanted to create a more equal, open, progressive society.…”

Section: Uk Case Studymentioning

confidence: 94%

“…8, 9) The power, the struggle and debate described by Duncan (1995) reinforce a key point for this article: that while art museums and the objects within them still, to an extent, convey and reinforce ideologies and shape how society sees itself and is viewed by others, many art museums are 'sites of contestations' that have provided, and continue to provide, 'battlegrounds' to challenge dominant discourses (Barrett 2011, p. 89;Calirman 2012;Dubin 2006, p. 481). The 'battlegrounds' are parts of 'culture wars' (Hunter 1991;Sepulveda dos Santos 2003). Hunter (1991) articulates these wars as fights between the 'impulse towards orthodoxy' from 'the impulse toward progressivism' (Hunter, 1991, pp.…”

Section: Art As Power and Politicsmentioning

confidence: 99%

“…Sepulveda dos Santos (2003) highlights the role of art museums in this significant growth. In light of the part that art museums can play in reproducing social order and the justified criticisms that they can promote universalisations of particular values (Berger 1972;Bourdieu and Darbel 1969;Sepulveda dos Santos 2003), it is significant that, as locations of identity building, art museums were not forming a single collective identity but, instead, were offering the possibility that cultural ownership could be shared. Identity could be explored in these spaces rather than imposed (Sepulveda dos Santos 2003).…”

Section: Brazil Case Studymentioning

confidence: 99%

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The Art of Violent Protest and Crime Prevention

Kerr

2018

Arts

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This article examines violent protest in art museums. There is a long history of art museums being used as sites of protest. As spaces full of meaning, they represent ideal locations for people to try to shape the present and the future. From peaceful demonstrations to terrorist attacks, the current risks of protest to art museums is high. Motivated by ideological, political and social reasons, these protests include those that specifically target art objects within the art museums, as well as others that use the sites as stages on which to protest. This article is based predominantly on secondary sources; however, it also uses empirical research data collected by the author during observation research at art museums in London in March 2017 and July 2017. The article begins by considering why art museums attract so many protests. It argues that as ‘sites of persuasion’, art museums can be battlegrounds on which people look to shape how society is constructed and perceived. It then examines contemporary and historical case studies in Brazil and the UK to help our understanding of violent protests and the challenges they pose to art museums. Following this, the article proposes that as art museums are important sites of persuasion, there must be more awareness of the threats they face from violent protests in order to shape crime prevention approaches. The article finishes by arguing that although protests can be highly problematic for people involved with art museums, the ongoing appeal of these spaces as sites of protest shows the significance of art museums as important locations of cultural meaning.

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Section: Uk Case Studymentioning

confidence: 94%

Section: Art As Power and Politicsmentioning

confidence: 99%

Section: Brazil Case Studymentioning

confidence: 99%

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The Art of Violent Protest and Crime Prevention

Kerr

2018

Arts

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“…Thus, museums can contribute to the continuation of official historic narratives (Stanard, 2011) in order to reinforce the perception of the state as the guardian of history and traditions. Alternatively, other scholars claim that museums can also be used to empower indigenous peoples (Child, 2009;Santos, 2003;Shannon, 2009), not only because the latter can select the exhibits but also because they can provide visitors with their own accounts of historic events through the accompanying texts.…”

Section: Museums and Translationmentioning

confidence: 97%

Colonial museums in the US (un)translated

Valdeón

2015

Language and Intercultural Communication

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This paper examines the role of museums in the creation of anglophone stories in the USA, and how the (non-)translation of signs contributes to create a narrative of exclusion vis-à-vis other groups, notably native Americans, the Spanish, and the French. Particular attention is paid to open-air museums that preserve old buildings and areas reminiscent of the colonial past. The analysis will rely on the concept of 'knower,' a term referring to those in charge of selecting and arranging the information that accompanies the exhibits, and 'propaganda,' as used by Stanard in his study of the official discourse used to justify the Belgian empire. The article also draws on Kress and van Leeuwen's model for the analysis of multimodal texts.Este artículo analiza el papel de los museos en la creación de historias del pasado colonial de los Estados Unidos, así como la función de la (no-)traducción en la promoción de una narrativa de exclusión con respecto a otros grupos, en especial a los nativos americanos, los españoles y los franceses. El análisis utilizará el concepto de 'conocedor,' un término que ha sido utilizado para referirse a los individuos encargados de la selección y organización de la información que acompaña a los objetos expuestos. Igualmente se recurrirá al concepto de 'propaganda,' tal y como lo maneja Stanard en el estudio del dicurso oficial utilizado para justificar la existencia del imperio belga. El artículo recurre al modelo de Kress and van Leeuwen para el análisis de los textos multimodales.

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“…Cultural heritage locations are ‘sites of persuasion’ (Dubin, 2006: 478) and are significant for maintaining, encouraging or restricting the plurality of memories of Brazil’s diverse peoples and, therefore, it is no surprise that they are important sites in concocted culture wars (Dos Santos, 2003, 2005; Kerr, 2018; Schneider and Atencio, 2016). With a long history of cultural production being used to contest or reinforce power in the country (Calirman, 2012; Pelegrini, 2015), Brazil is an ideal case study to examine contested cultural heritage governance and culture wars, and the effects they can have on the protection of cultural heritage.…”

Section: Introductionmentioning

confidence: 99%

Culture wars in Brazil: The far-right and their failure to protect cultural heritage

Kerr

2022

Crime, Media, Culture

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Far-right politicians in Brazil are attacking and censoring cultural heritage and enacting policies that go far beyond cultural heritage. These politicians are also dismantling the structural frameworks that protect, secure, encourage and enable cultural heritage at a time when it is experiencing serious and systematic crime threats. This is despite legal obligations in the Brazilian Constitution to protect it. In addition, these politicians are missing opportunities in the sector from which they could benefit hugely, as could the Brazilian population and the cultural heritage. Instead of waging ‘culture wars’, politicising security, and failing to adequately protect cultural heritage, a viable alternative is to govern the cultural economy.

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Museums and Memory: The Enchanted Modernity

Cited by 12 publications

References 10 publications

The Art of Violent Protest and Crime Prevention

The Art of Violent Protest and Crime Prevention

Colonial museums in the US (un)translated

Culture wars in Brazil: The far-right and their failure to protect cultural heritage

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