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ACM London Program 2019 Dr Andrew Kennedy ([email protected])

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ACM London Program 2019 Dr Andrew Kennedy (Ak62@Soas.Ac.Uk) Collecting the World in London: ACM London Program 2019 Dr Andrew Kennedy ([email protected]); mobile 07714 380562 London has dozens of museums, displaying a range of objects from mummies to fans, toys to tropical plants. This course looks at museums not simply as institutions of enlightenment, but as enactments of power – power over the past; over colonised or subjugated peoples; over life, death and disease; over nature. How have museums attempted to classify the world? In doing so, what is the price paid for taking things or living entities out of their original context? We examine questions of repatriation: should museums return objects and human remains in their collections? What is the need to display material artefacts in a digital age? Are there other ways of creating ‘authentic’ experiences? What concession (if any) should museums make to commercialism? Are they for education or entertainment? Is there a middle way between elitism and populism? Aims of the Course: - To enable students to develop analytical skills which will allow them to explore the meanings of museum displays and architecture. - To enable students to develop a broad knowledge of the historical development of museums and exhibition spaces, and how this has been shaped by social and political forces. - To enable students to begin to form an overview of the development of different categories of museum, and their associated frameworks of interpretation. - To enable students to begin to distinguish and evaluate curatorial strategies. - To enable students to develop their research, oral and written skills in order to organise and give expression to museological analysis and reflection. Assessment and Expectations: Participation and class activities (20% of marks): Credit is awarded for active participation and class work; that is to say, answering and asking questions, doing group work and in-class writing, etc. Students are expected to attend all scheduled classes and visits. Missing a class or visit in such an abbreviated schedule will result in losing points. Short (7-10 minute) classroom presentation (15% of marks): Examine a museum building or display for what it may tell us about museum narratives. Reference sources, and remember to use academic sources, among others. Mid-term assignment (1600-1800 word essay – 35% of marks) [due Fri 19 April]: Choosing two museum buildings, displays or exhibitions, analyse and compare what kind of stories they tell. Please use an appropriate range of academic and possibly other sources, including the buildings/displays/exhibitions themselves, and, where appropriate, selected objects therein. Do not write fewer than 1600 or more than 1800 words, excluding bibliography. Final written assignment (1400-1600 word essay – 30% of marks) [due Fri 10 May]: Consider one or more museums/displays in relation to one of the following themes: life and death, high and low culture, reason and emotion [consult with me especially on the last topic, which is mostly about Enlightenment and Romanticism]. Please use an appropriate range of academic and possibly other sources. Do not write fewer than 1400 or more than 1600 words, excluding bibliography. GRADING CRITERIA FOR PAPERS (adapted from Sharon Trotter-Martin, Center for Teaching & Learning, Knox College) Your paper will be evaluated in terms of content, organisation, style and presentation. You should imagine your reader as a “general reader,” someone with a college education but who is unfamiliar or at best, slightly familiar, with the particular text(s) you are referring to. Try to make your paper insightful and enjoyable to read. - Content: Each paper must have a clear thesis statement that is fully supported with plenty of specific and concrete examples. Additional credit will be given for originality and depth of thought. - Organisation of your information includes having one major idea per paragraph, the order of sentences in a paragraph, the order of paragraphs in the paper, as well as the use of smooth transitions. - Use the appropriate writing style (not too formal or too casual) for an assignment. - Presentation refers to comma usage, spelling, an avoidance of run-ons and sentence fragments, etc, neat layout, stapling. Grades: Some students believe they should earn at least a B for writing a paper that adheres, more or less, to the assignment’s basic criteria. However, it takes more than that to earn a superior grade, such as an A or a B. A – An A essay is outstanding in all four areas: content, organisation, style and presentation. It is exceptionally written, well-developed (displaying originality and depth of thought), well- organized, and nearly free of presentational errors. An essay that earns an A is good enough to be used as a textbook example. B – A paper that earns a B is well-written, well-developed, well-organized, and free of major errors. It has several minor problems and perhaps lacks the originality, depth of thought or complex sentence structure found in an A paper. It demonstrates good writing skills and exceeds the basic requirements of the assignment. C – A paper that earns a C is competent and has adequately met the assignment’s requirements, but it may have a significant problem (such as the lack of supporting examples or a lack of organization) or several minor ones, such as the need for more transitions, recurring problems with presentation, etc. D – This is a paper that falls significantly short in many areas. It has recurring and/or significant problems, such as unclear sentence structure, incomplete or run-on sentences, an overall lack of organization, weak paragraph development, or an unclear thesis. A student may also earn a D (or an F) on a paper if the paper’s topic does not adhere to the assignment. WEEKLY TOPICS AND READINGS General reading [in general folder]: Sharon MacDonald, ed., A Companion to Museum Studies, Blackwell, 2006 Tony Bennett, ‘The Exhibitionary Complex’,‖ In Representing the Nation: A Reader (David Boswell and Jessica Evans, eds.) (London: Routledge, 1999), 332- 361. Museum and Society has a public website from which many relevant articles can be accessed. http://www2.le.ac.uk/departments/museumstudies/museumsociety ______________________________________ Week 1 Monday 25 March. Parliament Visit, All Day – meet 10.15am outside Westminster tube. Can we consider the nation as a kind of dusty museum, full of narratives of dubious provenance? How does Parliament lend itself (or not) to such an interpretation? Museums as Power-Knowledge: collecting, classifying and narrating Tues 26 March, 2-5pm British Museum (meet South – ie Main - Entrance). Public museums emerge out of the 18th century Enlightenment. Using reason, ‘we’ (who is this ‘we’?) collect and classify the world, on universal principles. But is this analytical reason disinterested, or is it connected to a will to power? Is it universal, or Eurocentric? And what is the role, if any, of individual subjectivity in this new regime? Reading: Mark O’Neill, ‘Enlightenment Museums: Universal or merely Global?’, Museum and Society, Nov 2004. 2 (3) 190-202; Donald Preziosi, ‘Art History and Museology’, in MacDonald, S., ed. A Companion to Museum Studies, 2006 [general folder] chapter 4, pp.57- 62. Additional reading: James Cuno, ‘Antiquity belongs to the World’, 2008. Wed 27 March 10.30am-12pm: Monticello Class. 2-4.30pm: Horniman Museum (train from London Bridge railway station to Forest Hill in zone 3) The Horniman museum owes its existence to an imperial commodity: tea; with the wealth from his dealings in the global tea trade, Frederick Horniman was able to lay the basis for a very popular South London museum. Reading: Annie Coombes, ‘Museums and the Formation of National and Cultural Identities’ 1988. Thurs 28 March, Migration Museum. Meet at 10.30am, Lambeth North tube. Addressing migration, race and racism through visiting the Migration Museum’s ‘No Turning Back’ exhibition allows us to consider how the type of narratives purveyed by the British Museum exclude or clash with other narratives. Reading: https://libcom.org/file1/ambalavaner-sivanandan-from-resistance-to-rebellion-asian-and- afrocaribbean-struggles-in-britain.pdf http://www.lambethlife.com/migration-museum-project-introduces-no-turning-back/ Week 2 Art, Design, Taste and Empire: how did Britain’s imperial role shape its art and design museums? Mon 1 April - meet 1.30pm: Victoria and Albert Museum, Cromwell Road entrance; tour of Albertopolis (South Kensington tube)-finish 5pm [joint class with LVT] How did the South Kensington museums create an imperial spectacle and a new relation to (inter)national heritage for the Victorian masses? In what ways does the museum nowadays engage with that legacy? (continues over page) Reading: Arieff “Reading the Victoria and Albert Museum”; Adams, “The V&A: Empire to Multiculturalism?”; Barringer “The South Kensington museums” [all articles in Albertopolis folder on site] Wed 3 April: 11-1am, Monticello class; 2-4.30: National Gallery, Trafalgar Square (Charing Cross tube) Thurs 4 April: 10-12 Wallace Collection, Manchester Square (Bond St tube) Do art museums reinforce social class? Do they create distinctions between those with taste and knowledge, and those without? To what extent does the move from the nobleman’s gallery to the public gallery represent progress? Reading: Carol Duncan, ‘The Universal Survey Museum’; Pierre Bourdieu, ‘Distinction and the Aristocracy of Culture’, from Distinction, 1984. [Optional but recommended!: Friday 5 April: tour of Ladbroke Grove – race, class and gentrification, with Carol John. Meet Ladbroke Grove tube, 9.50am. Tour lasts till 12.30] Week 3 Museology in a Nutshell Wed 10 April, Day Trip: Oxford - Ashmolean Museum, Museum of the History of Science, Pitt Rivers Museum and the Museum of Natural History The anti-Harry Potter tour. An opportunity to focus in a different context on key themes of the course such as the cabinet of curiosities, the taste for classicism (the Ashmolean), Eurocentric classification schemes and the imposition of narratives on the natural world (Pitt-Rivers/Natural History Museums).
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