LitArk » Books » Politics

Olivia Cadaval (editor) - Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival

Here you can read online Olivia Cadaval (editor) - Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival full text of the book (entire story) in english for free. Download pdf and epub, get meaning, cover and reviews about this ebook. year: 2016, publisher: University Press of Mississippi, genre: Politics. Description of the work, (preface) as well as reviews are available. Best literature library LitArk.com created for fans of good reading and offers a wide selection of genres:

Romance novel Science fiction Adventure Detective Science History Home and family Prose Art Politics Computer Non-fiction Religion Business Children Humor

Choose a favorite category and find really read worthwhile books. Enjoy immersion in the world of imagination, feel the emotions of the characters or learn something new for yourself, make an fascinating discovery.

Book:
Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival
Author:
Olivia Cadaval editor / Sojin Kim editor / Diana Baird NDiaye editor
Publisher:
University Press of Mississippi
Genre:
Books / Politics
Year:
2016
Rating:
5 / 5
Favourites:
Add to favourites
Your mark:
- 100
- 1
- 2
- 3
- 4
- 5

Description
Author's other books
Similar books

Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival: summary, description and annotation

We offer to read an annotation, description, summary or preface (depends on what the author of the book "Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival" wrote himself). If you haven't found the necessary information about the book — write in the comments, we will try to find it.

Since its origins in 1967, the Smithsonian Folklife Festival has gained worldwide recognition as a model for the research and public presentation of living cultural heritage and the advocacy of cultural democracy. Festival curators play a major role in interpreting the Festivals principles and shaping its practices.

Curatorial Conversations brings together for the first time in one volume the combined expertise of the Festivals curatorial staff--past and present--in examining the Center for Folklife and Cultural Heritages representation practices and their critical implications for issues of intangible cultural heritage policy, competing globalisms, cultural tourism, sustainable development and environment, and cultural pluralism and identity.

In the volume, edited by the staff curators Olivia Cadaval, Sojin Kim, and Diana Baird NDiaye, contributors examine how Festival principles, philosophical underpinnings, and claims have evolved, and address broader debates on cultural representation from their own experience. This book represents the first concerted project by Smithsonian staff curators to examine systematically the Festivals institutional values as they have evolved over time and to address broader debates on cultural representation based on their own experiences at the Festival.

Olivia Cadaval (editor): author's other books

Who wrote Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival? Find out the surname, the name of the author of the book and a list of all author's works by series.

Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival — read online for free the complete book (whole text) full work

Below is the text of the book, divided by pages. System saving the place of the last page read, allows you to conveniently read the book "Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival" online for free, without having to search again every time where you left off. Put a bookmark, and you can go to the page where you finished reading at any time.

Light

Font size:

↓

↑

Reset

Interval:

↓

↑

Bookmark:

Make

CURATORIAL CONVERSATIONS

Cultural Representation and the Smithsonian Folklife Festival

Edited by

Olivia Cadaval,
Sojin Kim, and
Diana Baird NDiaye

www.upress.state.ms.us

The University Press of Mississippi is a member of the Association of American University Presses.

Manufactured in the United States of America

First printing 2016

Library of Congress Cataloging-in-Publication Data

Names: Cadaval, Olivia, 1943 editor. | Kim, Sojin, editor. | NDiaye, Diana Baird, editor.

Title: Curatorial conversations : cultural representation and the Smithsonian Folklife Festival / Olivia Cadaval, Sojin Kim, and Diana Baird NDiaye, editors.

Description: Jackson : University Press of Mississippi, [2016] | Includes bibliographical references and index.

Identifiers: LCCN 2015043007 | ISBN 9781496805980 (hardback : alk. paper)

Classification: LCC GR105 .C86 2016 | DDC 394.2/6973dc23 LC record available at http://lccn.loc.gov/2015043007

British Library Cataloging-in-Publication Data available

CONTENTS

C. KURT DEWHURST AND MARSHA MACDOWELL

ROBERT BARON

DIANA BAIRD NDIAYE, OLIVIA CADAVAL, AND SOJIN KIM

JACK SANTINO

DANIEL E. SHEEHY

FRANK PROSCHAN

RICHARD KENNEDY

JAMES I. DEUTSCH

CYNTHIA L. VIDAURRI

OLIVIA CADAVAL

MARJORIE HUNT

JEFF PLACE

BETTY BELANUS

AMY HOROWITZ

DIANA BAIRD NDIAYE

STEVE ZEITLIN

JAMES EARLY

CURATORIAL CONVERSATIONS

PREFACE

C. KURT DEWHURST
AND
MARSHA MACDOWELL

This volume of essays, written from the perspective of program curators at the Smithsonian Folklife Festival, offers a window into the theory and practice of curatorial work. The essayists personal experiences and reflective analyses describe the history and evolving nature of curation in this specific festival context. The essays also provide an opportunity to examine Festival curatorial practices in the broader intellectual history and evolution of museum practice.

As authors of this preface, we should state that we have been engaged in various roles with the Smithsonian Institutions Center for Folklife and Cultural Heritage (CFCH). We were fieldworkers, curatorial advisors, presenters, and guest curators. We were responsible for one of the first restagings of a Smithsonian Festival program back in its community, and one of us served for a decade as a member and chair of the CFCH Advisory Council. We have curated exhibitions at the Smithsonian Institutions National Museum of the American Indian. At our home institution at Michigan State University, we are both professors who teach museum studies, have published on museums and community engagement, and with many collaborators have developed numerous local, national, and international festival programs and exhibitions (Dewhurst and MacDowell 2013, 26590; 1999, 710; Dewhurst et al. 2008).

Shifting Roles of Museums in Society: Changing Roles of Curators

Because this volume is devoted to conversations about curation of Festival programs at the Smithsonian Institution, it is helpful first to consider the broader meaning of curation within museums and the changing nature of museums in society. In the Western European context, in which the concept of most modern-day museums developed, the historical role of the museum was primarily that of a steward of collections for use by scholars or for the enjoyment of economically elite segments of society. A curator was the person on staff with the responsibility for the intellectual development, care, and use of the museums collections. The curators held institutional power and shaped the intellectual stature and integrity of the museum. Curators built reputations for their museums and helped sustain the museums professional standing. Museum studies scholars Jane R. Glaser and Artemis A. Zenetou describe the historical and traditional role of curators this way:

Years ago the curator was known as the keeper, the person in charge of the collections of the museum, the keeper of the holdings of a particular museum. Today, though called curators, they are still keepers and caretakers of collections. But their responsibilities go far beyond caretaking, as they do extensive research, write both scholarly and popular monographs and books, compose the scenarios and select the objects for exhibitions, and work closely with other staff. They are often the major subject-matter expert in a discipline in the museum. Thus, they have an important responsibility in keeping the museum on track toward its goals and objectives. (2013, 80)

Now, at the beginning of the twenty-first century, the roles and responsibilities of curators are undergoing changes just as their own institutions are changing. Today, museums that meet professional standards are those that serve multiple audiences, are centers of education and civic engagement, use their resources (collections, facilities, and staff expertise) to address local and global issues, and have collections and programs developed in partnership with communities, including those previously unexamined or ignored.

This expectation for contemporary museums to engage with their communities reflects a broader and increasing societal pressure for cultural and educational institutions to share authority, and to use the power and resources of the institution for common good. Reciprocity, mutuality, and the co-creation of knowledge have become key to the formation and evaluation of programs. Institutions of higher education, especially those founded as public institutions, are especially called upon to address the needs of the local and the other 90%.

Museum historian Gail Anderson sees these modern-day public and professional expectations of museums as having a radical impact on the role and the structure of museums: The last century of self-examinationreinventing the museumsymbolizes the general movement of dismantling the museum as an ivory tower of exclusivity and toward the construction of a more socially responsive cultural institution in service to the public (2004, 1). In their reinvention and drive to become more responsive, museums have been undergoing infrastructural changesa necessity, as museum studies scholar Serena Iervolino notes:

When museums seek to promote intercultural dialogue, it is necessary that the outcomes of single intercultural activities are built into the museums institutional fabric in order to sustain a transition from a sporadic engagement with intercultural dialogue to a long-term commitment. In doing so, museums may concretely become sharing spaces for intercultural dialogue, that is, institutions in the public sphere where people of different backgrounds can gather and mediate their differences. In this way museums may succeed in actively contributing to more peaceful societies. (2013, 126)

The audience fans out across the Mall for a performance on this stage - photo 3

Light

Font size:

↓

↑

Reset

Interval:

↓

↑

Bookmark:

Make

Similar books «Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival»

Look at similar books to Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival. We have selected literature similar in name and meaning in the hope of providing readers with more options to find new, interesting, not yet read works.

Sharon Hecker (editor)

Curating Fascism: Exhibitions and Memory from the Fall of Mussolini to Today

Benjamin Jörissen

Cultural Sustainability and Arts Education: International Perspectives on the Aesthetics of Transformation

Wei Liming

Chinese Festivals (中国节日)

Catherine Pawasarat

The Gion Festival: Exploring Its Mysteries

Dr. Wise

Chinese Festival 6: Mid-Autumn Festival

Brett M. Levine

Curatorial Intervention: History and Current Practices

Christoph Antons

Intellectual Property, Cultural Property and Intangible Cultural Heritage

McKay

The pop festival: history, music, media, culture

Anderton

Music festivals in the UK: beyond the carnivalesque

Natsuko Akagawa

Safeguarding Intangible Heritage: Practices and Politics

Michael Dylan Foster

UNESCO on the Ground: Local Perspectives on Intangible Cultural Heritage

Robert Cantwell

Ethnomimesis: Folklife and the Representation of Culture

Reviews about «Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival»

Discussion, reviews of the book Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival and just readers' own opinions. Leave your comments, write what you think about the work, its meaning or the main characters. Specify what exactly you liked and what you didn't like, and why you think so.