88 Dossier Revista d’Etnologia de Catalunya December 2017 Núm. 42

Iñaki Arrieta Urtizberea Iñaki Díaz Mathieu UNIVERSIDAD DEL PAÍS VASCO/EUSKAL Balerdi Viau-Courville HERRIKO UNIBERTSITATEA UNIVERSITY OF EAST UNIVERSIDAD DEL PAÍS ANGLIA Professor at the Department of VASCO/EUSKAL HERRIKO Philosophy of Values and Social UNIBERTSITATEA Research and Anthropology, Universidad del Professor of the Scientific Outreach País Vasco/Euskal Herriko Department of History Advisor at the Unibertsitatea (UPV/EHU). of Art and Music of Musée de la Member of the research group “Cultural and natural the Universidad del País Vasco/Euskal civilisation, Québec, Canada. PhD in heritage in times of crisis: challenges, adaptations Herriko Unibertsitatea (UPV/EHU. Art History from the School of World and strategies in local contexts” (CSO2015-68611-R, Member of the research group “Built Art Studies and Museology, University Ministerio de Economía, Industria y Competitividad). Heritage (GPAC) of the UPV / EHU. of East Anglia, UK. In the Shadow of the Guggenheim-Bilbao: legislation and museum policy in the Basque Country

useums shape identity that is expressed and constructed Keywords: Guggenheim, dominant through heritage can be assumed as being a Basque Country, identity, understand- fixed one (Smith, 2008:159). Indeed, muse- museum policy ingsof a nation; umsare products of their times as well as the Paraules clau: Guggenheim, they connect increasingly complex and plural societies País Basc, identitat, política museística individuals with in which they are asked to play an increas- Palabras clave: Guggenheim, the nation as an “imagined community” ingly greater role. Their processes of identity País Vasco, identidad, política (Anderson,M 1993). As public sites of culture building and museological forms in identity museística and memory, they make use of histories and work are constantly renewed and reinvented collective memories to promote and renovate (Macdonald, 2003). After the French Revo- collective identities and social consciousness lution, for example, museums reflected the (Bouquet, 2012:122; Crooke, 2007:119), new Republic, exhibiting patriotism and and in doing so,also become powerful shaping a national heritage and identity in a agents in legitimizing identity and enact- manner which departed from museum poli- ing national values (Roigé, Boya, Alcalde, cies under the Ancien Regime (Díaz Balerdi, 2010:168). However, as Sharon Macdonald 2008a: 109-110; Duncan, 2007: 46-47; (2003) argued, while museums have aimed Poulot, 2005:61-63). In the 1960s, the first to construct and reinforce national narratives ecomuseums were an alternative to national and identities, they have not always suc- museums and with the aim to promoting ceeded in doing so. This is in part because the development and safeguarding of local the links between collective identity and the and regional identities (Chaumier, 2005: cultural heritage that is exhibited in muse- 23; Duclos, Veillard, 1992: 129). Since the ums cannot be taken for granted, nor is the end of the twentieth century, source com- Current challenges for local ethnological museums Dossier 89 munities and anti-colonial activists have the memory of a given social group. It signi- been advocating for greater reflexivity and fies that museums seek to produce “exposées” the inclusion of diverse voices in exhibition and to develop greater communication tools narratives toward a more ethically respon- for the public’(Davallon, 1992:12).A great sible museum practice (Bouquet, 2012: 98; number of cultural policies today have sub- Harris, O’Hanlon, 2013: 10; Phillips, 2011; ordinated economic models to museological Sandell, 2006: 184; Van Geert, 2016: 28-29; ones, with most public funds programmes Van Geert, Arrieta Urtizberea, Roigé, 2016: favouring those museums expectedto boost 354). the local touristic economy (Mairesse, 2010:105) or to the promotion of a coherent Likewise, museums are products of local and territorial branding (Aronsson and Elgenius, national economic realities and territorial 2011:16; Drouguet, 2015:219), in addition management strategies, and the integra- to generating positive externalities for the tion of marketplace models to museums economy and society. A known example has received a great deal of attention since of such cultural policies to valuing heritage the 1990s. Such models have been seen both is the so-called Guggenheim-Bilbao effect as a way to ensure the financial sustainability (Asensio and Pol, 2012: 165; Esteban, 2007: of museums, namely through highly-attrac- 143; Holo, 2002. 167; Mairesse, 2010: 17; tive blockbuster exhibitions, andthat they Moix, 2010: 255; Pezzini, 2014: 51; Poulot, also remain socially embedded organiza- 2005: 93; Yúdice, 2002: 16), although the tions, through more flexible andcommuni- 2008 economic crisis has since revealed some ty-driven curatorial redistributionsdesigned vulnerabilities to such a model (Bergeron, to narrow the gap between museums and 2012: 66-68, Chaumier, 2011: 87-88). society(Boylan, 2011; McCall, Gray, 2013; Viau-Courville, 2016). As argued by Jean In this paper, we trace both the social and Davalon in 1992: ‘The entry of museums economic contexts that contributed to shap- into a marketplace logic’, he wrote, ‘actually ingthe development museums in the Basque means something else: it signals the muse- Country. We pay particular attention to um’s commitment to acting as a mediator those created since the 1970s and in relation between the public and the display–that is, to changes in legislation and cultural and the objects and sets of knowledge, whether heritage policies. Following a brief review of artwork, scientific knowledge, artefacts or the history of museums in the Basque Coun-

The aim of this article is to analyze the Aquest article pretén analitzar l’evolució El objetivo de este artículo es analizar evolution of the creation of museums in de la creació de museus al País Basc des la evolución de la creación de museos the Basque Country since the 1970s. dels anys setanta. Per fer aquesta anàlisi, en el País Vasco desde los años setenta Two criteria will be taken into account es tindran en compte dos criteris. Per teniendo en cuenta dos criterios. Por un in this analysis. On the one hand, the una banda, el criteri de la identitat i, per lado, el criterio de identidad y, por el otro, criterion of identity and, on the other hand, l’altra, el criteri econòmic. Un cop mort el el criterio económico. Tras la muerte del the economic criterion. After the death of dictador Franco l’any 1975, van aparèixer dictador Franco en 1975, surgieron con the dictator Franco in 1975, sociocultural amb força tot de moviments sociocultu- fuerza movimientos socioculturales y and political movements emerged with rals i polítics que defensaven una identitat políticos a favor de una identidad negada force in favor of an identity denied during negada durant la dictadura. És en aquest durante la dictadura. Es en este contexto the Dictatorship. In this context, the first context que apareixen els primers museus que se crearon los primeros museos contemporary museums emerged. Later, contemporanis. Més endavant, a finals del de arte contemporáneo. Más adelante, at the end of the 20th century, the causes segle xx, la creació de noves institucions a finales del siglo xx, las causas de la for the creation of new institutions were va obeir bàsicament a causes econòmi- creación de nuevas instituciones fueron mainly economic. Because of the Gug- ques. L’efecte Guggenheim va fer que principalmente económicas. El efecto genheim effect, many Basque institutions moltes institucions basques donessin Guggenheim hizo que muchas institu- supported the opening of new museums suport a l’obertura de nous museus al ciones vascas apoyaran la apertura de to the public. However, the economic públic. Tanmateix la crisi econòmica de nuevos museos al público. No obstante, crisis of 2008 significantly altered this l’any 2008 va afectar de manera impor- la crisis económica de 2008 alteró de evolution. tant aquesta evolució. manera significativa esta evolución. 90 Dossier Revista d’Etnologia de Catalunya December 2017 Núm. 42 try, we examine the impact of the return opment was also in keeping with different 1 In this paper we focus on the Auto- to democracy on Basque museums at the folk movements also taking place in Europe nomous Community of the Basque end of the Francoist dictatorship (1939- at the time (Rivière, 1936: 61-63). On the Country (Comunidad Autónoma 1975). We describe how the reinstating of other hand, and by sharp contrast, the many del País Vasco) which encompas- ses the territories and provinces democracy in the Basque Country after the fine art museums also being inaugurated of Araba/Álava, Bizkaia and centralistdictatorship produced a series of in the Basque Country during the same Gipuzkoa. These three territories new cultural policies prioritizing intimate period, particularly those in Bilbao such as are administered by the Basque government and each is part of and relations to identity and ‘regional cultures’ the Museo de Bellas Artes and the Museo depends on their corresponding alongside other attempts to reproduce the de Arte Moderno (which today form the Provincial Council (Diputación Guggenheim-Bilbao model. Finally, wealso current Museo de Bellas Artes) reveal efforts Foral). take a sociological and economic approach to highlight a new bourgeois class looking 2 It is worth noting that all these to describethesome financial and manage- to establish social prestige and European museums were located in Bilbao 2 mentchanges that the 2008 economic crisis visibility. Alongside these museums, four and Donostia-San Sebastian, the brought on to Basque museums. other notable heritage institutions were capitals of Bizkaia and Gipuzkoa, respectively. They were subsidised inaugurated during this period: the Aquar- locally by the municipalities and The shaping of a Basque cultural ium (Donostia-San Sebastián), the Museo Provincial Councils since the Bas- conscience de Armería (Eibar), the Museo de Ignacio que government was only created in 1936 following the civil war and, The history of museums in the Basque Coun- Zuloaga (Zumaia) and the Museo de Repro- following the fall of Bilbao, the Bas- try1 is relatively short compared to that in the ducciones Artísticas (Bilbao). que government remained in exile rest of Europe. Their development coincides un the death of Franco in 1975. with the industrialisation and deep social The Spanish civil war (1936-1939) and and economic transformation of the country subsequent Francoist dictatorship (1939- around the turn of the twentieth century. 1975) deeply affected the development of They marked the beginning of consolidated Basque heritage. So-called ‘minimal’ policies efforts to shape a cultural and intellectual (Bolaños, 1997: 374) put in place by the Basque conscience. Alongside the creation centralist and catholic Francoist government of Basque newspapers, and together with aimed at consolidating a unified Castilian the recognition of local writers, painters, identity. This led in many parts of Spain musicians and other intellectuals, Muse- to the repression and revisionism of much ums integrated a broader agenda driven by of its regional cultures, seeing any cultural the ideal of collectively shaping a Basque differences –namely the Basque, Catalan identity and nationality. Such interests were and Galician– as a mere “regionalism” and evident namely at the Museo Municipal derived from the same national identity de Donostia-San Sebastián (today Museo (Bolaños, 1997:378; Ortiz, Prats, 2000: San Telmo) inaugurated in 1902 where its 243). For museums, this meant that insti- first exhibitions dealing with archaeology, tutions such as the Museo Arqueológico de history and the fine arts soon were replaced Vizcaya y Etnográfico Vasco were renamed as by topics highlighting Basque folklore and Museo Histórico de Vizcaya, marginalizing ethnography. Throughout the 1910s and any references to local identity in favour of 1920s, and until the early 1930s, museums promoting the national identity (Museo continued to be created into mainly two Arqueológico, Etnográfico e Histórico types of institutions reflecting some of the Vasco, 1996:10). Other institutions such distinctive characteristics of the Basque as the Museo Municipal de Donostia-San society at the time. On the one hand, the Sebastián would be singled out and approved many folklore and ethnography museums by the Junta to be transformed as an “honor- such as the Museo Arqueologico Vizcaya y able and dignified centre for the new Spain” Etnográfico Vasco (Bilbao) and the Museo (Arrieta Urtizberea, 2012: 41). Municipal de Donostia-San Sebastián, were all dedicated to safeguarding and exhibiting Only a handful of museums were inaugu- the Basque culture and identity, and pro- rated in the Basque Country during the moting Basque nationalism. Their devel- forty years of Dictatorship, most of them Current challenges for local ethnological museums Dossier 91 dealing with religion and military history. to a report from the Basque government, 3 Internal Report 1980-1984 (unda- These were mainly inaugurated in Araba/ were all seriously underfunded, lacked orga- ted).Basque Government, Culture Álava, the most notable being the fine art, nization and qualified staff, and had poor Division. archaeology and history museums of Arm- links to the local population3. The refur- ería, one of few territories not be declared bishment of the Basque museums did not as a “traitor province” by the Franco regime however immediately fall within the govern- (Díaz Balerdi, 2007: 111). By contrast, ment’s new priorities, who instead chose to “traitor” provinces like Bizkaia or Gipuzkoa concentrate the better part of the 1980s to saw their public institutions downgraded to promoting the Basque language –Euskara– minimal administration and representation. and, as a second phase, to launch its own Few local and modest initiatives did how- public television and radio broadcasts. The ever lead to fruitful museum developments Basque Cultural Heritage Law was finally and inaugurations during the dictatorship, approved in July 1990. namely those dedicated to a variety of saints, including Ignacio de Loyola (Gipuzkoa) and Despite of the government’s initial lack of Valentin Berriotxoa (Bizkaia), the Museo del support to museums, however, at least fifteen Pescador in Bermeo (Bizkaia), the Ferrería museums were created in the 1980s and de Mirandaola in Legazpi (Gipuzkoa), and directly resulting from considerable efforts the Casa de la Historia de Urgull in Don- and engagement by members of the different ostia-San Sebastián. Basque communities, small cultural associa- tions and, in some cases, also with the sup- Democracy and museums port of small municipalities. These modest in the Basque Country museums were nearly all created in the hin- Franco’s death in 1975 marked the pro- terlands of the Basque capitals and initially gressive return of democracy in Spain. The managed by volunteers, namely the Museo approval of a new Constitution in 1978 de la Confitería, the Museo Zumalakarregi, recognized Spain’s cultural diversity and the Caserío Iturraran and the Museo Ibar- distinct regions, some eventually acquiring raundi, in Gipuzkoa; the Museo Etnográf- their status as Autonomous Communities. ico de Zalduondo, the Museo Etnográfico The Basque Country, comprised of its histor- de Artziniega, the Museo del Poblado de la ical territories, or provinces, of Araba/Álaba, Hoya and the Museo de Ciencias Naturales Bizkaia y Gipuzkoa, thus gained political in Araba/Álava; and lastly, the Museo Simón and administrative autonomy in addition Bolibar and Museo de Arte e Historia de to establishing its own government in 1979. Durango in Bizkaia. All generally offered In this new context, each Provincial Council no more than one or two exhibition spaces gained particular importance in its capacity designed to showcase the ethnology, history to arrange for the collection and administra- and archaeology of the Basque Country, and tion of taxes. An administrative organization with a clear engagement to safeguarding which remains to this day unique in Spain, and sharing the Basque identity. After forty affording autonomy as well as ensuring the years of dictatorship and cultural repression, relevance of each Provincial Council that these local efforts also reflected the Basque compose the Basque territories. population’s devotion to nationalist claims (Apalategi, 1985; Pérez Agote, 1987). An Autonomous Community, the Basque Country was now empowered with nearly The Basque Cultural Heritage Law of 1990 exclusive control over its cultural policies, allowed some of the above local initiatives including the management of its cultural to be supported by the Basque newly estab- heritage and museums and with minimal lished cultural and heritage policies and intervention from the Spanish government. absorbed by the Sistema Nacional de Museos It was responsible for a small network of de Euskadi (National Museum System of around twenty museums which, according the Basque Country) which was initially 92 Dossier Revista d’Etnologia de Catalunya December 2017 Núm. 42 implemented to encourage the creation of heim-Bilbao– and another museum “where 4 Garmendia, Mari Karmen, “Kultura a city museums for each community with a ‘Spanish’ art would have been front and ekipamendu handiak. Kulturaren population of 10.000 or more. centre” (Díaz Balerdi 2008b: 84). The Plan Sailburuaren agerraldia”, Basque was further criticised for subordinating her- government, March 15, 1995. The 1994 Plan Nacional de Museos itage policies to political decisions related (National Museums Plan) further high- to equal territorial distribution within the lighted the Basque government’s interest in Basque Country, not taking into account playing a central role in the development the realities and potential contribution of of its national identity. The Plan lay the some of the local economies “in a small groundwork for the creation of “National Country with hardly no museum tradition” Museums” which, as stated by the govern- (Mujika Goñi, 1995: 288). The matter of ment at that time, “the Autonomous Com- equal territorial distribution was in this par- munity should have and for these institu- ticular case a by-product of the Country’s tions to represent important facets of our unique administrative system, designed to collective memory and knowledge that the ensure equal voice to each of the Provin- Basque government should be part of and cial Councils forming the Autonomous contribute in its development”. Likewise, the Community. Plan was meant to facilitate the coordination of what may be referred to as the “museum While the Basque government was aware boom” taking place at the time. of the need to revamp the poor state of its museum network, it also considered the Eleven National Museums were initially implementation of the Plan as relevant planned to be either created or restored insofar as its intrinsic cultural value would within ten years of the approval of the contribute to the region’s economy and soci- Plan, and with a total anticipated budget ety4. Whereas the first years following the of 140 million Euros. National Museums return of democracy in the Country were were further defined as “repositories” of intimately linked to political and identity Basque knowledge and memory and dis- building concerns, rapidly during the 1990s tributed across the Basque Country as fol- culture became the fundamental ingredient lows: Bizkaia: the Museo de Bellas Artes, to economic growth. Thus it was perhaps the Museo Guggenheim-Bilbao, the Museo inevitable that the subordination of her- de la Ciencia y la Técnica and the Museo itage policies to external political realities de Ciencias Naturales. In Araba/Álava: would lead the Basque government to sign the Museo de Bellas Artes, the Museo de the agreement with the Solomon R. Gug- Arqueología and the Museo Fournier del genheim Foundation for the construction Naipe y de las Artes Gráficas. In Gipuzkoa: of its new museum in Bilbao. This moment the Museo de Arquitectura, the Museo de many have argued as significantly marking Antropología Vasca, the Museo Naval, and the Basque cultural landscape and what has the Museo de Cerámica y Artes Populares. since been known as the Guggenheim-effect, Half of these were new National Museums seeing culture as “added value to the touristic to be created while the rest were existing and urban landscapes, and cultural policy as and poorly preserved buildings expected a tool servicing the promotion of economic to be either demolished or rebuilt or set to endeavours” (Zallo, 2011:47), most notably undergo major renovations. through impactful icons that is the Guggen- heim-Bilbao and their branding potential. In spite of the government’s ambitions and general approval, the Plan sparked consid- The National Museums Plan failed to mate- erable debate and generated much con- rialize, just as the idea of a city museum for troversy across the Basque communities, every 10,000 citizens was never enforced. namely for identifying as National Muse- Such policies have since been replaced by ums both a foreign franchise –the Guggen- a new Museums Act signed in 2006 which Current challenges for local ethnological museums Dossier 93 is focused on creating a national system of its hinterlands which had been experienc- museums comprised of a series of Basque ing since the 1980s a steady economic and museums fitting with a series of pre-estab- demographic decline after the deceleration lished requirements and characteristics. of its steel and shipbuilding industries. For the Foundation, the Bilbao project was also Throughout the 1990s, and during the time a significant opportunity to overcome some government was working on establishing of the organization’s economic difficulties at the National Museums Plan, nearly thirty the time. Culture, then, was both a means museums were created and focused on to enhance the Bilbao economic and urban Basque history and ethnography, including: regeneration as well as an internationaliza- the ethnography museums of Félix Murga, tion strategy; it was an international pro- Usatxi, Oyón-Oion and Irubidaur in Araba; jection through an “adornment” (Esteban, the Museo de Euskal Herria, Museo de las 2007) that, for many, was also removed from Encartaciones, Museo del Nacionalismo the Basque country and its heritage. Vasco, Museo de la Paz in Gernika and the Ecomuseo del Caserío Vasco, in Bizkaia; the Nevertheless, the Guggenheim-Bilbao Museo Naval, the Museo Vasco del Ferrocar- would rapidly become the icon that it is ril, the Parque Cultural de Zerain, the Museo today, namely a showcase of what Basque Laia del producto artesanal del País Vasco, people can achieve, a museum developed in the Museo de la Sokatira, the Ecomuseo de the Basque Country by and for the Basque Larraul and the Museo de la Máquina-Her- (Esteban, 2007). Its overwhelming eco- ramienta, in Gipuzkoa. Among these new nomic, architectural and urbanistic success museums, the Guggenheim-Bilbao had the has extended to the point that it now embod- most impact following its inauguration in ies the Basque cultural identity, perhaps best 1997. described through the words of the Basque writer Lertxundi Esnal: “heart, mirror and The Guggenheim was a product of a period stem” (2005:50). There is little doubt of the between the late 80s and early 90s during “effect” of this museum across the Basque which the leaders of the Basque National- Country. In the following section, we show ist Party (main party since the democracy, that during the decade of the 2000s, more with the exception of 2009-2012 under than fifty museums were created in the the Euskadi Socialist Party) felt they were Autonomous Community, representing the becoming left-out of the “pomps of ‘92” most significant growth in the Country’s that were being organized throughout Spain, short museum history. most notably the Barcelona Olympics and the Seville Expo ‘92 (Zulaika, 1997:27). Basque museums in twenty-first In this context, the Basque Country was century: a statistical review becoming isolated by comparison to other The Guggenheim effect sparked new interest Autonomous Communities that were gain- from public administrations to open new ing international visibility through such museums or take on a more active role and high-profile sporting, cultural and economic contribution to new museological initiatives events. The partnership between the Basque undertaken by local organizations. These government and the Solomon R. Guggen- new projects all endeavoured to implement heim Foundation (at the time looking to cultural and museum programmes capa- open a new European branch) came in part ble of attracting large numbers of tourists, in response to the above context. More than and in doing so, contribute to boosting the a museum project to promoting the interna- socioeconomic development and image of tional cultural image of the Basque Coun- the rest of the Basque territories –this was try, this association was for the government also fueled by the fact that the Guggen- above all a financial endeavour designed to heim-Bilbao largely surpassed its estimated implement a new economy in Bilbao and 400,000 annual visitors, averaging 900,000 94 Dossier Revista d’Etnologia de Catalunya December 2017 Núm. 42 throughout its first decade in existence (Este- Astigarraga, the Caserío-Museo Igartubeiti 5 Provincial Council of Gipuzkoa, ban 2007:21). in Ezkio, the Museo Romano Oiasso in Irun, Presupuestos generales de 2000, the replica of the Ekain cave – Ekainberri – in p. 224. Clearly, such economic strategies and Zestoa, the Centro Internacional del Títere 6 possibilities to brand the Basque territo- en Tolosa and, in Donostia-San Sebastián, Provincial Council of Bizkaia, ries aligned well with the interests of the the Museo Cemento Rezola, the Museo de Presupuestos generales de 2000, Basque public administrations. As stated in la Ciencia-Eureka and the Museo del equipo p. 449. the Gipuzkoa Provincial Council’s annual de futbol de la Real Sociedad. budget for the year 2000, culture is a “major source of employment [that generates] sig- Ten institutions were inaugurated in the nificant economic drive”.5 That same year, Bizkaia territories, including the Museo the report produced by the Bizkaia Pro- Etnográfico de Orozko, the Museo de la vincial Council’s Department of Culture Minería del País Vasco in Gallarta, the Museo stated that Bilbao and its surroundings de Boinas La Encartada in Balmaseda, the were configured as “one of Europe’s cultural Ferrería El Pobal in Muskiz, the Museo de capitals” thanks to institutions such as the la Industria Rialia in Portugalete, the Museo Guggenheim-Bilbao, the Museo de Bellas Marítimo Ría de Bilbao andthe Museo del Artes and other cultural centres which had equipo de fútbol Athletic Club, the latter stood out as showcasing a “cultural apparatus two located in Bizkaia. Also significant is of global relevance”6. In Araba/Álava, the the renovation of the Museo de Bellas Artes Guggenheim effect materialized through of Bilbao which reopened its doors in 2001 the creation of the Centro-Museo Vasco de following a major public investment of more Arte Contemporáneo-Artium (Díaz Balerdi, than 15 millions euros. 2007: 115) whichrepresented a particularly significant financial investment. More than Finally, ten other museums opened in Araba/ half of the fifty museums created in the Álava, including the Valle Salado in Añana, 2000s were inaugurated in the territories the Centro-Museo del Deportivo Alavés and of Gipuzkoa, including the Centro de la the Centro-Museo Vasco de Arte Contem- Cultura Marítima y el Barco-Museo Mater poráneo-Artium. in Pasaia, the Museo de arte Chillida-Leku in Hernani, the Museo del Hierro Vasco in A majority of the above institutions were Legazpi, the Museo de Arte e Historia in financed through public funds, resulting Zarautz, the Centro de la Música Popular from either official public programmes and in Oiartzun, the Museo de la Sidra Vasca in strategies, or local private or community ini-

Museo de Bellas Artes de Bilbao. SOURCE: IÑAKI DÍAZ BALERDI, 2006. Current challenges for local ethnological museums Dossier 95 tiatives soliciting government support. Also The tables reveal a decrease in funding to significant were private donor organizations, Provincial Councils between 2010 and 2016 such as the Basque football teams (financed two football museums), other banking and finance institutions like Kutxa-Kutxabank Table 1: Budgets of the Basque government and (funded the Museo de la Ciencia – Eureka), Provincial Councils (in thousands of Euros). Source: private companies such as FYM Heidel- Presupuestos generales del Gobierno Vasco y berg Cement Group (funded the Museo diputaciones. Cemento Rezola) and private families such as that of the artist Eduardo Chillida. In all 2.000 2005 2010 2016 of these cases public funds were also sig- General budgets nificant, namely supporting the develop- Basque government 5.173.761 7.117.102 10.315.210 10.933.299 ment of each of these museum’s cultural Araba / Álava 1.323.436 1.828.485 2.204.539 2.282.467 programmes and activities. However, an Bizkaia 3.989.117 5.609.266 6.827.498 7.437.778 examination of public fundsalso reveals how Gipuzkoa 2.619.973 3.539.026 4.200.286 4.533.952 the development of museums in the Basque Own Budgets (budget managed independently by each Provincial Council) Country experienced a decline following Araba / Álava 285.604 371.995 516.545 438.194 the 2008 economic crisis, with the most Bizkaia 704.381 1.225.115 1.744.084 1.587.875 significant financial impacts being noticea- Gipuzkoa 507.680 685.384 938.418 813.280 ble from 2010 onwards.Important cuts in the public budget significantly affected the Culture cultural and museums sectors. In conse- Basque government 30.310 40.020 64.562 54.792 quence, few museums opened in the 2010s Araba / Álava 15.183 28.098 22.073 12.229 with the exception the inauguration of those Bizkaia 24.569 42.150 36.375 33.579 museums projects which had already been Gipuzkoa 17.834 24.652 25.773 25.889 initiated in the previous decade, including the Museo Balenciaga, the Conjunto Mon- Museums umental de Igartza, the Centro de Patri- Basque government 18.611 21.804 30.142 18.792 monio Cultural Mueble-Gordailua and the Araba / Álava 3.038 11.246 6.771 4.820 Txakoligunea. Bizkaia 7.389 14.220 14.196 15.501 Gipuzkoa 3.031 4.952 10.115 3.337 Our analysis of the budgets of main Basque public administrations serves to highlight the processes of expansion and contraction Table 2: Proportional expenditures for culture of museum development over the last two and museums by the Basque Government and decades. Budgets have been compiled to include the budgets of the Basque gov- each Provincial Council (%).Source: Presupuestos ernment, specifically its Cultural Heritage generales del Gobierno Vasco y diputaciones.

Division which manages funds to heritage, 2000 2005 2010 2016 libraries, archives and museums, as well as Culture those of its three Provincial Councils (Araba/ Basque government 0,59 0,56 0,63 0,50 Álava, Bizkaia and Gipuzkoa). The latter Araba / Álava 5,32 7,55 4,27 2,79 also includes specific expenditures related to museums and, where available, budgets Bizkaia 3,49 3,44 2,09 2,11 from cultural divisions for each Council. Gipuzkoa 3,51 3,60 2,75 3,18 Museums Table 1 shows the attribution of public funds Basque government 0,36 0,31 0,29 0,17 to culture and museums by the Basque Gov- Araba / Álava 1,06 3,02 1,31 1,10 ernment and split by Provincial Council. Bizkaia 1,05 1,16 0,81 0,98 Table 2 highlights the proportions of attrib- Gipuzkoa 0,60 0,72 1,08 0,41 uted total budget. 96 Dossier Revista d’Etnologia de Catalunya December 2017 Núm. 42 ranging from 10-15%, whereas that of the 0,36% in 2010 to 0,17% in 2016, should government’s increased by 6%. Additionally, also be contrasted against the fact that several Provincial Councils proportionally allocated new museums were also inaugurated during more resources to culture than the govern- these years and, consequently, a reduced ment. General decreases in funding begin in overall budget also meant lesser funds for 2010 and continuethroughout 2016, with each individual museum. the exception of Gipuzkoa which showed agrowthdue to its nomination as European Graph 1. Expenditure in museums by Provincial Council proportional to own budget (%). Capital of Culture alongside major reno- vations of its Centro Internacional de Arte 3,5 Contemporáneo-Tabakalera. 3,0

2,5

Graphs1 through 5 illustrate the evolution 2,0 of overall budgets attributed to museums 1,5 from 2000 to 2016 by Provincial Council. While thereare certain variations in budget 1,0 spent throughout the years, there is also an 0,5 overall consistency in budget attributions 0,0 2000 2005 2010 2016 in both the years 2000 and 2016. However, Araba/Álaba Bizkaia Gipuzkoa the overall decrease in budget allocation to the government’s Culture Division, from SOURCE: PRESUPUESTOS GENERALES DE LAS DIPUTACIONES

Graph 2. Graph 3. Budget variations – Basque government (index numbers). Budget variations – Araba/Álava (index numbers).

400 400

300 300

200 200

100 100 2000 2005 2010 2016 2000 2005 2010 2016 General Budget Cultural Heritage Division Own Budget Museums

SOURCE: PRESUPUESTOS GENERALES DEL GOBIERNO VASCO Y DIPUTACIONES SOURCE: PRESUPUESTOS GENERALES DEL GOBIERNO VASCO Y DIPUTACIONES

Graph 4. Graph 5. Budget variations – Bizkaia Budget variations – Gipuzkoa (index numbers). (index numbers).

400 400

300 300

200 200

100 100 2000 2005 2010 2016 2000 2005 2010 2016 Own Budget Museums Own Budget Museums

SOURCE: PRESUPUESTOS GENERALES DEL GOBIERNO VASCO Y DIPUTACIONES SOURCE: PRESUPUESTOS GENERALES DEL GOBIERNO VASCO Y DIPUTACIONES Current challenges for local ethnological museums Dossier 97

Table 3 shows the detailed expenditures of museums which are useful to deepen the Table 3. Budget attributions in museums by type analysis of museum management during of expenditure. Source: Presupuestos generales del the economic crisis. The table details budgets Gobierno Vasco y diputaciones. in personnel costs, operating budget, and 2000 2005 2010 2016 general transfers of assets.7 Basque Government Table 3, along with the below graphs 6 Personnel 1.190.605 1.500.510 1.934.400 2.806.100 through 9, show steady increases in per- Operations 2.563.317 2.267.713 2.615.600 3.272.000 sonnel costs which coincide with normal Transfers and assets 14.857.020 18.036.164 25.591.500 12.714.100 expectations given that staff in all museums are permanent public servants. Operational 18.610.942 21.804.387 30.141.500 18.792.200 costs, however, showed greater variation. Araba / Álaba Budgets allocations to the Governments Personnel 826.548 1.079.840 1.685.823 1.677.044 Cultural Division remained more or less Operations 236.505 255.514 482.515 432.700 stable. In Araba/Álava they followed a Transfers and assets 1.975.433 9.910.470 4.603.130 2.710.275 steady increase according to normal antic- 3.038.487 11.245.824 6.771.468 4.820.019 ipated inflation. Bizkaia and Gipuzkoa revealed the greatest variations which can Bizkaia be accounted for not only in terms of higher/ Personnel 395.967 562.197 718.261 446.992 lower expenses but also because of changes Operations 563.299 606.716 2.248.677 84.000 in the type of management chosen by these Transfers and assets 6.430.229 13.050.861 11.229.219 14.970.000 Provincial Councils. This latter point does 7.389.494 14.219.774 14.196.157 15.500.992 not affect the government’s Culture Divi- Gipuzkoa sion given that the public administration Personnel 367.831 448.345 569.552 603.168 is not involved in the micromanagement Operations 287.885 417.700 1.208.550 1.231.200 of its different museums and only provides budgetary support. Transfers and assets 2.375.590 4.085.927 8.336.961 1.502.950 3.031.307 4.951.972 10.115.063 3.337.318

There are currently four museums in Araba/ FONT: PRESSUPOSTOS GENERALS DEL GOVERN BASC I DE LES DIPUTACIONS Álava: Museo de Bellas Artes, Museo de Ciencias Naturales, Museo de Armería and the BIBAT (inaugurated 2009 and integrates Naval and Caserío-Museo Igartubeiti, the 7 the old Museo de Arqueología and Museo latter inaugurated in 2006: The Araba/Álava Transfer of assets includes a) current transfers, b) investments, c) Fournier de Naipes); and three museums in museums are managed by the museum transfers of capital, and d) holdings Gipuzkoa: Museo Zumalakarregi, Museo staff of the Provincial Council. In Gipuz- and assets.

Graph 6. Graph 7. Budget variations in museum costs – Basque government Budget variations in museum costs – Araba/Álava (index numbers). (index numbers).

600 600

500 500

400 400

300 300

200 200

100 100

0 0 2000 2005 2010 2016 2000 2005 2010 2016 Personnel Operations Transfers and assets Personnel Operations Transfers and assets

SOURCE: PRESUPUESTOS GENERALES DEL GOBIERNO VASCO Y DIPUTACIONES SOURCE: PRESUPUESTOS GENERALES DEL GOBIERNO VASCO Y DIPUTACIONES 98 Dossier Revista d’Etnologia de Catalunya December 2017 Núm. 42

Graph 8. Graph 9. Budget variations in museum costs – Bizkaia Budget variations in museum costs – Gipuzkoa (index numbers). (index numbers).

600 600

500 500

400 400

300 300

200 200

100 100

0 0 2000 2005 2010 2016 2000 2005 2010 2016 Personnel Operations Transfers and assets PersonnelOperations Transfers and assets

SOURCE: PRESUPUESTOS GENERALES DEL GOBIERNO VASCO Y DIPUTACIONES SOURCE: PRESUPUESTOS GENERALES DEL GOBIERNO VASCO Y DIPUTACIONES

koa, however, museums are managed by an numbers which had been steadily increasing 8 In addition to museums, public external firm which is hired by the Provincial throughout the 2000s.This impacted neg- budgets also include expenditures Council through a process of public tender. atively on the funds allocated to the Bilbao for cultural heritage, libraries and This accounts for a notable rise in opera- Museo de Bellas Artes, the Valle Salado de archives. tional expenses in 2010 –the hiring of a new Salinas de Añana or the Museo Balenciaga firm– compared to other years. However, which, as group, dropped by 13%. In the this rise simply corresponds to a transfer of cases of the Centro-Museo Vasco de Arte funds – that is, from the operational costs Contemporáneo-Artium, it experienced a budget to the transfers and assets budget decrease of 25%. The Guggenheim-Bilbao and then directly to the new management also dropped by 33%, representing a reduc- firm.Bizkaia also chosea similar manage- tion from 6.7M to 4,5M. ment strategy by hiring the firm BizkaiKOA (created in 2010by the Provincial Coun- Araba/Álava also showed the greatest budget cil). But in this case, not through a private variations. Graph 7 showed a significant firm but public one that has been managed increase in 2005 in transfers of funds. Two directly by the Provincial Council. Thisalso reasons accounts for this increase: first, funds entailed the transferring of both museum to secure the creation of the new BIBAT staff and associated personnel costs to the Museum. 3.6M Euros were also trans- new firm. In 2016, the annual funds trans- ferred from the Centro-Museo Vasco de ferred to BizkaiKOA elevated to nearly five Arte Contemporáneo-Artium which had million euros for the management of the opened three years earlier. Four other muse- Museo de Euskal Herria, Museo del Pes- ums were also funded that year, the Museo cador, Museo de Arqueología, Museo de de Alfarería Vasca, Museo Etnográfico de Boinas la Encartada, Ferrería de El Pobal Zalduondo, Museo Vasco de Gastronomía and Museo Txakoligunea, along with other y Museo Diocesano de Arte Sacro, roughly cultural centres – Graph 8 illustrates this representing 100,000 Euros.Five years later, increase in transfers of funds and decrease in 2010, expenditure had decreased by 50%, in the Provincial Council’s attribution to mainly explained by the inauguration of the personnel and operational costs. BIBAT and reduced allocated funds to the Artium (reduced to 1.8M Euros). General With regards to the Government’s budget, funding and grants also were reduced by shown in Table 2 and Graph 6, there was a 10%. The tendency continued through to noticeable decrease in the category of gen- 2016, with another 25% reduction for the eral transfers of funds from 2010 to 20168; Artium, along with a general decrease for all a significant drop of 40% compared to the museums of 25%. Current challenges for local ethnological museums Dossier 99

Graph 8 showed lessvariations in the case of Provincial Councils –Araba/Álaba and Biz- Bizkaia, revealing also an interest in main- kaia– by choosing not to intervene in the taining operational and personnel budgets at management of its major museums which- flow – whereas personnel costs decreased,it normally would require considerable public is worth noting that transfers to BizkaiKOA funds. Coupled with the fact that Gipuzkoa augmented, thus securing staffing and also has fewer sizeable institutions across its operational stability. Another example of territories (its funding has been dedicated to this interest to keep encouraging culture is its two main art centres, Arteleku and, from that, during the early years of the crisis, in 2014 onwards, Tabakalera), this accounts 2009-2010, and in spite of an overall 7% for the fact that it dedicated lesser funds to reduction for the Provincial Council (own museums than Bizkaia and Araba/Álaba. budget), its Culture Division allocated 1M With regards to transfers of funds in Gipuz- Euros to support studies toward the new koa, the sudden growth and subsequent satellite museum Guggenheim-Urdaibai in reduction shown in Graph 9 for the year the municipality of Sukarrieta. Nevetheless, 2010 corresponds to an investment of 7M recession did eventually affect Bizkaia insti- Euros for the construction of the new Cen- tutions which saw their funding reduced, tro de Patrimonio Cultural Mueble-Gordai- namely the Guggenheim-Bilbao (-8%), the lua. Although not officially classified by the Bilbao Museo de Bellas Artes (-5%), and sev- administration as a museum, the Centro is eral others with reductions averaging – 22% now keeper of two important collections, (Museo Bolibar, Museo de Arte e Historia de that of the Provincial Council’s and of the Durango, Museo de Arte Sacro, Museo del Museo San Telmo. In addition to this invest- Nacionalismo, Museo de Pasos de Semana ment, two other inaugurations impacted on Santa, Museo de la Paz, Museo Vasco de la funding and transfer of assets between 2010 Historia de la Medicina y de las Ciencias, and 2016: Ekainberri (2008) –the replica Museo de Berriotxoa, Museo de la Minería of the Ekain cave– and the Museo Balen- del País Vasco, y Museo Marítimo ciaga (2011). The main transfer of funds Ría de Bilbao). A few projects for these two projects totaled nearly 400k did however receive favourable Euros in 2000. Five years later, Artium. funding during this period of cri- another 2.3M Euros IÑAKI DÍAZ BALERDI, 2006. sis such as the firm Bilbao Bizkaia were allocated Museoak which saw its funding double from 600k Euros to 1,2M Euros for the management and renovations of the Museo Vasco and the Museo de Repro- ducciones.

Finally, Gipuzkoa distinguished itself from the other 100 Dossier Revista d’Etnologia de Catalunya December 2017 Núm. 42

BIBAT. IÑAKI DÍAZ BALERDI, 2009.

to begin construction. In the years 2010 Conclusion and 2016, additional funds of 666k and The recent history of museum development 775k Euros were budgeted, respectively, in the Basque Country has been impacted revealing an increase in their funding after by mainly two key elements: identity and inauguration. Nevertheless, the total trans- economy. We analysed their development by fers to museums in Gipuzkoa reduced by mainly focusing on those created following 25% between 2000 and 2016 – though the fall of the Spanish dictatorship after 1975 the decrease would be less important by and marking the return to democracy. Early taking into account the abovementioned museums under the new democracy were changes and management strategies which informed by strong motives of democrati- have entailed significant transfers of capital. zation and claims to restore and empower Ekainberri. IÑAKI ARRIETA URTIZBEREA, 2010. Current challenges for local ethnological museums Dossier 101 the Basque identity. These claims rapidly Following a positive economy throughout materialized into small community-led the 2000s, during which time Basque pub- museum projects. Meanwhile, public insti- lic organizations generously sustained its tutions focused on safeguarding and dissem- museum network, the 2008 economic crisis inating the Basque language (Euskara)by affected museum policy in the Basque Coun- establishing ten new public television and try –with public funding showing signs of radio broadcasts. decline, museums escape closing altogether by maintaining all personnel and operational Museums truly became a national (Basque) costs to a minimum, leaving little funds for priority in the 1990s as part of broader agen- cultural or educational activities, and toward das to promote positive social and economic the development of attractive cultural pro- change throughout the Basque territories, grammes for tourists and local citizens alike. and following the example of the Guggen- heim-Bilbao’s overwhelming success. All The success case of the Guggenheim-Bilbao Basque museums have been steadily shar- also casts a shadow to other museum devel- ing the same leitmotiv of identity building opments across the Basque Country and and safeguarding; even the Guggenheim’s in itself cannot be taken as representative American roots did not stop the museum of Basque museums. Beyond its “effect”, from becoming the embodiment of Basque as argued by Guasch and Zulaika (2007: knowhow: a “pioneering building dedicated 18), it reveals the fragility of such economic to modern and contemporary art that will models based fundamentally on economic allow us to better understand how a com- trends – that is, their dependence to eco- munity(the Basque) was able to successfully nomic models which are designed to fos- work through a severer crisis and by making ter economic externalities, but which also use of their creativity in order to reinvent a undermine the basic cultural, social, and new model, a new city and, above all, a new even political roles of museums. Thinking Museo Balenciaga. museum” (Azúa, 2007: 79). about the sustainabilityof museums, as a IÑAKI ARRIETA URTIZBEREA, 2012. hole, we believe, requires taking into account the sociocultural reality of the territory and their communities. n 102 Dossier Revista d’Etnologia de Catalunya December 2017 Núm. 42

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