INSIGHTS Fall/Winter 2018-2019 - Volume 29, Issue 1
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Insights Vol
international museum theatre alliance insights Vol. 24, No. 3 Summer 2014 Awarding the First Lipsky A Museum Theatre Adventure by Elizabeth A. Pickard Vice-President, IMTAL, and Chair of the Lipsky Panelt On March 14, 2014, five IMTALers had a meeting that they were actually excited to attend. It started with one of those calls that most of us are flattered to receive and also dread—a call to serve on a commit- tee. As it turned out, this meeting was not a ho-hum yawner with people doing other work and eating Skittles while their line was muted. Oh no. This meet- ing was transformative, it was moving, it was exciting, Brenneman Judy Fort Photo: it was personal, and there was conflict—like a really strong museum theatre piece, in fact. Addae Moon, winner of the Jon Lipsky Award for Playwriting Excellence, with Lipsky Panel Chair Elizabeth Of course, strong museum theatre was the very Pickard. reason we were on this conference call. It was the first ever panel meeting to choose the winner of IMTAL’s inaugural Jon Lipsky Award for Playwriting The winning submission, Four Days of Fury by Excellence. The submissions ran the same gamut the Addae Moon of the Atlanta History Center, begins on field does—there were anthropomorphized animals, page 23 in this newsletter, and an interview with the civil rights struggles, trains, romance, mayhem, calls author begins on page 6. continued on page 4 The International Museum Theatre Alliance (IMTAL) is a nonprofit, professional membership organiza- tion and an affiliate to the American Alliance of Museums. -
Performing the Knowing Archive: Heritage Performance and Authenticity
Performing the knowing archive: heritage performance and authenticity Dr. Jenny Kidd, City University London Abstract This article presents findings from the Performance, Learning and Heritage project at the University of Manchester 2005-2008. Using evidence from four case studies, it provides insight into the ways visitors to museums and heritage sites utilise their understandings of ‘the authentic’ in making sense of their encounters with performances of the past. Although authenticity is a contested and controversial concept, it remains a significant measure against which our respondents have been influenced by the heritage and tourism industries to analyse and critique their encounters with ‘the past’. Beyond superficial analyses however, it is noted that many respondents demonstrate more sensitive and nuanced reflections on the museum as an authentic authoritative voice, analyses that were aided by the very fictionality of the mode of interpretation. Keywords: performance, authenticity, interpretation, heritage Introduction This article outlines a number of findings from the Performance, Learning and Heritage (PLH) research project at the University of Manchesteri. This three year investigation sought to further understand one of the more controversial and contested forms of interpretation employed at museums and heritage sites; performance. Although a number of small scale research and evaluation projects (often institutional) have been carried out in this field, there has been little sustained investigation into the use and impact -
Hip-Hop's Diversity and Misperceptions
The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner. -
Lost Property: the Marginalisation of the Artefact in Contemporary
Lost Property: The marginalisation of the artefact in contemporary museum theatre Joanna Clyne B.A. (Hons) Dip Ed. (Monash) Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy September 2014 Faculty of Arts The University of Melbourne ii iii Abstract The use of performance as an interpretive tool in museums has a long, although largely under-researched, history. Central to this thesis is the paradoxical observation that performance in museums, or ‘museum theatre’, regularly fails to engage with collection items. The title of the thesis, ‘lost property’, refers to both the apparent displacement of collection objects as the subject of museum theatre and the complexities of performing historical artefacts in a museum without reducing their significance to the status of a theatrical prop. Traditionally, the object has been central to the concept of ‘museum’. With the advent of a new museological approach to the running of museums, the exhibition object seems to have taken a subordinate role to the presentation of ideas and concepts through exhibition design and interpretation. This thesis draws on disciplinary literature, case studies, site visits and interviews with museum theatre practitioners to identify and examine the factors that have contributed to the shifting focus of performance based on objects to performance based on ideas. iv Declaration This is to certify that: (i) the thesis comprises only my original work except where indicated in the preface; (ii) due acknowledgement has been made in the text to all other material used; (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, bibliographies and appendices. -
Creating Historical Consciousness: a Case Study Exploring Museum Theater
Creating Historical Consciousness: A Case Study Exploring Museum Theater Ann Sorensen Craig Presented to the Arts and Administration Program at the University of Oregon in partial fulfillment of the requirementsfor the degree of Master of Arts in Arts Management. June 2005 Creating Historical Consciousness: A Case Study Exploring Museum Theater Approved: _____________________________ Date: ___________________ Dr. Janice W. Rutherford Arts and Administration Program University of Oregon © Ann Sorensen Craig, June 2006 Acknowledgements I would like to thank the staff members and volunteers at High Desert Museum for their openness and time in discussing their experiences. Without their candor and availability, this project would not have been possible. I would also like to thank Dr. Janice Rutherford, my research advisor, for her enthusiasm and dedication to this study. Her expertise in the museum field and her commitment to academic excellence helped frame the content and delivery of this project. Finally, I would like to thank my parents, John and Sonja, for their enduring support and encouragement. Table of Contents Chapter One: Introduction to the Study 1 Background to the Study 1 Problem Statement 2 America Does Not Know Its History 2 Misapprehensions in Historical Exhibits 2 Museums Can Help American Learn History 5 Significance of the Study 6 Purpose Statement 8 Site Description 8 Museum Theater in the Spirit of the West Exhibit 12 Preliminary Research Questions 15 Chapter Two: Review of Literature 16 Introduction 16 Why Museum Theater? -
Outdoor Living History Museum Interpretation Research Project
THE OUTDOOR LIVING HIStoRY MUSEUM INTERPRETATION RESEARCH PROJECT F INAL TECHNICAL REPO rt . MA R CH 2009 Conducted by: Association of State and Local History Institute for Learning Innovation Conner Prairie Living History Museum Old Sturbridge Village Supported by a leadership grant from the Institute for Museum and Library Services The Outdoor Living History Museum Interpretation Research Project . Technical Report . March 2009 The Outdoor Living History Museum Interpretation Research Project . Technical Report . March 2009 THIS PAGE INTENTIONALLY LEFT BLANK 2 The Outdoor Living History Museum Interpretation Research Project . Technical Report . March 2009 The Outdoor Living History Museum Interpretation Research Project . Technical Report . March 2009 Table of Contents A. Executive Summary 5 B. Introduction 9 Acknowledgements 11 Background and Justification 12 Purpose & Objectives 13 Literature Review 14 C. Project Description: Phase One 19 Exploration of Key Concepts 20 Development of Theatre Script and Control Elements 32 Selection of Interpreters 39 Development of Research Schedule 40 D. Project Description: Phase Two 41 Research Design 42 Implementation of Interpretive Models 46 On-Site Data Collection 48 E. Project Description: Phase Three 51 Follow-up Data Collection with Visitors 52 Data Coding and Analysis 52 Interpreter Interviews 53 F. Findings 59 Visitor Demographics 61 Site Demographics 61 The Visitor’s Experience 62 Clustering of Best Practices 64 Findings by Interpretive Method 66 Relationships Among Various Visitor Outcomes 74 Relationships Between Visitor Demographics and Outcomes 75 Differences Across Interpretive Methods 77 G. Discussion and Recommendations 83 Which Interpretive Method Won? 85 Were the Best Practices Used in this Study Truly Best Practices? 87 Moving Through The Interpretive Experience 90 Participating in the Project Changed Peoples Lives 92 Connecting with the Past is Key to the Future 92 Recommendations for Future Research 94 H. -
Designing Museum Experiences: Storytelling for Museums a Case Study
Designing Museum Experiences: Storytelling for Museums A case study Name: Giorgia Vitiello Hand-in: 16/01/2017 No. of pages: 77 Supervisor: Trine Bille No. of characters including space: 198205 Copenhagen Business School 2017 Designing museum experiences: storytelling for museums Giorgia Vitiello Abstract This thesis aims to explore the use of storytelling in museum experiences and to confront this approach with the literature on museums, experiential marketing and storytelling. The limited literature available on the subject made the need for such exploratory research apparent. Thus, this thesis is based on a case study strategy, focused on the design project of the M9 Museum exhibition experience realized by Storyfactory, a professional storytellers company. This was done through semi-structured interviews with Storyfactory’s professional storytellers and the M9 Museum head-curator and a participant observation taking place during the design of the M9 Museum exhibition experience. They were conducted to better understand the meaning of storytelling in the museum context as well as how it can be implemented. Unlike the previous researches on this topic, this thesis is informed by a phenomenologist perspective, which aims to understand a social phenomenon from the very actors’ perspective. By combining the existent literature with the case study’s findings, this elaborate attempts to answer the following research question: How can storytelling be implemented in museum experiences? The research results revealed that storytelling can be used as a tool to design museum experiences, and, as such, it consists in creating narrative paths around and through the exhibitions’ content. Its purpose is to create experiences that are immersive, emotional, memorable, educative, entertaining and easily understandable, without trivialising the content. -
Museological Cinema: an Ideal Approach to a Modern Art Form Steven Groff [email protected]
State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State Museum Studies Theses History and Social Studies Education 5-2017 Museological Cinema: An Ideal Approach to a Modern Art Form Steven Groff [email protected] Advisor Cynthia Conides, Ph.D., Associate Professor of History First Reader Cynthia Conides, Ph.D., Associate Professor of History Second Reader Nancy Weekly, M.A., Instructor of Museum Studies Third Reader Andrew D. Nicholls, Ph.D., Professor of History Department Chair Andrew D. Nicholls, Ph.D., Chair and Professor of History To learn more about the History and Social Studies Education Department and its educational programs, research, and resources, go to http://history.buffalostate.edu/. Recommended Citation Groff, Steven, "Museological Cinema: An Ideal Approach to a Modern Art Form" (2017). Museum Studies Theses. 11. http://digitalcommons.buffalostate.edu/museumstudies_theses/11 Follow this and additional works at: http://digitalcommons.buffalostate.edu/museumstudies_theses Part of the Archival Science Commons, History Commons, and the Museum Studies Commons Abstract of Thesis This paper is dedicated to finding a way to better incorporate cinema into museums. The answer as to how came through a number of ways that some museums currently operate that could be adopted by others, a few new ideas, as well as an expansion in the number of museum theatres. A key theme of this is to expand the limited selection of films typically found in museums and galleries to include more popular fare, which would better attract visitors with frequency. I also endorse the idea of constructing new theatres for museums that do not already possess one, so that they can enjoy the profound benefits cinema rings. -
Tony Jackson 22.12.10
... the challenges for actors in this field, the skills required of them, and indeed the institutional obligations upon them, are immense. Tony Jackson Tony Tony Jackson Left: Starfish, 2010 © Sheila Burnett OF Y TOURING Below: Breathing Country, 2009 © Robert Workman 21 YEARS “So are you really a theatre company then?” By Tony Jackson This question was asked by a member of the student worry about the relationship between fact and fiction - that audience following Y Touring’s performance of Breathing the performed scenes were somehow diminished because Country at Manchester University (March 2010). Posed by lacking in the factual status of other parts of the programme? someone possibly unfamiliar with this kind of participatory – or that the facts themselves had now become suspect theatre practice, and seemingly intrigued and perplexed in because they might merely be pegs on which to hang the equal measure, it nicely captures I think the ‘in-between’ drama? – or was it simply that the switching backwards and territory that Y Touring and other similar companies occupy. forwards between factual investigation and performed The programme had begun with a context-setting fictional drama was surprising enough to require more time introduction followed by a short drama that played out some to process? of the key issues in fictional but highly credible form, and culminated in a workshop, in which the actors answered The student’s question has prompted me to consider some questions in role, and a debate involving the whole audience of the challenges faced by performers working in such ‘in about the use of electronic media in the NHS. -
Download SHCG Journal Volume 43.Pdf
Social History in Museums Volume 43 SHCG Social History in Museums Volume Social History in Museums Volume 43 Social History in Museums Edited by Amy Rowbottom and Jessie Petheram Volume 43 (2019) Published by the Social History Curators Group 2019 ISSN 1350-9551 © SHCG and contributors Contents Amy Rowbottom Editors’ Foreword 5 and Jessie Petheram 2017 Conference Papers Tony Butler Keynote: ‘Changing Tides’ 7 Claire Frampton Developing Museum Audiences Through Theatre: 15 Performance in museums and galleries which engages with migration and cultural identity. Adrienne Wallman Beyond the Family Tree: Using genealogy to 25 explore cultural identity. 2018 Conference Papers Isabelle Lawrence Faith, Hope and Fear: Interpreting the human 35 experience of medicine and health at the Science Museum Kitty Ross The Trouble with Women Artists 45 Kevin Kerrigan Benny Lynch: The little king of the Gorbals 51 Simon Brown Engaging new audiences at Newstead Abbey 61 Collecting and Interpreting Collections Vyki Sparks Creating a (S)hit show 67 4 Editors’ Foreword Longstanding readers of Social History in Museums will be aware that the previous two issues have focused on commemorating milestones of British legislation and how this has been reflected in the curation and contemporary collecting in our museums and cultural organisations. Whilst 2017 examined ‘Collecting, interpreting and displaying LGBTQ histories’, 2018 looked at how the centenary of some women gaining the vote in 1918 was celebrated in heritage sites across the UK. These consecutive special issues prevented the inclusion of papers from two very successful and thought-provoking SHCG conferences, 2017’s ‘Changing Tides’ and ‘A True Reflection?: Displays, Stories and Exhibitions’ in 2018. -
Museums on the Move Stamford, Connecticut November 7-9, 2018 100Th NEMA Conference
Museums on the Move Stamford, Connecticut November 7-9, 2018 100th NEMA Conference NEMA is Turning 100! Celebrate with us and enjoy a 3-day adventure of learning, growing, and professional development in Stamford, Connecticut. Sharpen your skills with practical ideas and useful how-to tips from top museum experts. Meet key colleagues and expand your professional network. Share your opinion in lively discussions with museums big and small. Whether you're new to the ranks or a seasoned veteran, the NEMA conference is the place to build your museum skills. So get ready for the best conference ever! Registration is open at nemanet.org/conference. Happy Birthday NEMA! It all started 100 years ago, when Delia Isabel Griffin, the founding director of the Boston Children’s Museum, gathered a group of colleagues at the Hotel Westminster in the Back Bay to organize a regional conference for people who couldn’t make it to the national meetings of the American Association of Museums. A few months later, the tradition started: the very first “New England Conference,” held at the New England Society of Natural History with 40 attendees. Thus began NEMA. And though our conferences are a little larger these days, they share the same spirit as that first one: bringing people together to build skills and professional friendships that make a difference. Our 100th birthday celebration kicks off with the 2018 conference. Enjoy our special NEMA Timeline exhibit, courtesy of our friends at 42 Design/Fab and Brad Larson Media. Spend a few minutes recording your recollections and dreams for NEMA and the field. -
Social Critiques in Three Prose Plays by Maxwell Anderson: Saturday's Children, Both Your Houses, and the Star-Wagon
SOCIAL CRITIQUES IN THREE PROSE PLAYS BY MAXWELL ANDERSON: SATURDAY'S CHILDREN, BOTH YOUR HOUSES, AND THE STAR-WAGON __________________________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia ____________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by Fonzie Delbert Geary II Dr. Cheryl Black, Dissertation Supervisor May 2011 © Copyright by Fonzie D. Geary II 2011 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled SOCIAL CRITIQUES IN THREE PROSE PLAYS BY MAXWELL ANDERSON: SATURDAY'S CHILDREN, BOTH YOUR HOUSES, AND THE STAR-WAGON presented by Fonzie D. Geary II, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. __________________________________________________ Professor Cheryl Black ___________________________________________________ Professor David Crespy ____________________________________________________ Professor Al Devlin ____________________________________________________ Professor Steven Watts For my dearest Laura, who endured so many nights alone, yet never wavered in her devotion, support, and love. May we cherish each other forever and always. For my son, Fonzie III, born during this process, may he recognize the possibilities of his intellect and eternally seek the betterment of himself for the sake of others. Not the least, I pay my gratitude to God and Jesus Christ. My time in Missouri has reaped such extraordinary blessings. In the absence of faith, I can achieve nothing. ACKNOWLEDGEMENTS I would like to thank the members of my committee, collectively, for taking the time to offer their critical eyes and expert intellects to my research.