NORDISK MUSEOLOGI 2007 ● 2, S. 62-75 Cultural memory in the museum and its dialogue with collective and individual memory MERIKE LANG* Abstract: This article1 analyses the forms of cultural memory (storage and functio- nal memory) relying on the work of Aleida Assmann and the German cultural me- mory school (Assmann, 1999; 2004), and their changes in memory institutions2 in connection with the institution’s dialogue with individual and collective memory. Assmann’s theory is supplemented with museological communication schemes (Ho- oper-Grenhill, 1996) and a definition of the medium of collective memory (Erll, 2004). The aim of this article is to discuss the effect of functional memory in the context of the mediation work of a modern museum. The article will deal more thoroughly with the functionalizing process of cultural memory in the museum ba- sed on a specific pedagogical programme at the Estonian Open Air Museum.3 Key words: Aleida Assmann and the German school of cultural memory, mu- seological communication schemes, the medium of collective memory, peda- gogical programme, Estonian Open Air Museum. In this articleI assert that though Aleida Ass- the object of research.4. Several issues emerge mann has observed the transformations of in this process, for which Assmann fails to cultural memory primarily as they relate to in- provide an answer. Hence, I consider it neces- stitutions and linear communication with col- sary to deal with these issues in this article lective memory relying on museal objects using Assmann’s theoretical approach as a star- (items, documents, etc), in the context of mo- ting point. dern memory institutions it must be observed in a more abstract, synchronous dialogue with ALEIDA ASSMANN ON CULTURAL MEMORY individual memory functioning on the level of AND ITS FORMS meaning and understanding. Assmann has done this indirectly in her research, but the re- The definition of cultural memory according lationship between individual and collective to Assmann is – the dynamic relationship bet- memory that emerges in the process of func- ween something that has been totally forgot- tionalising cultural memory in memory insti- ten, changed or rejected, retained or recorded tutions has not yet been specifically taken as and, as a part of cultural identity, real or re- CULTURAL MEMORY IN THE MUSEUM AND ITS DIALOGUE WITH COLLECTIVE AND INDIVIDUAL MEMORY 63 Fig. 1. Members of LLOAM (Lifelong Learning in Open Air Museums) in an educational programme discussing upon modern family values, September 2006, Estonian Open Air Museum. Photo by P. Piirmets. membered (Assmann, 2004: 59). Cultural found in ways of life as well as in education, memory enables the communication of an social and political organisational forms, ad- individual through the ages. Cultural memory ministration and red tape, science and techno- is not equal to heritage, relics or tradition, sin- logy. But in all of them memory just supports ce these definitions are one-dimensional. She those fields. According to Assmann, memory says that “culture” and “memory” as separate is the main impacting factor on religion, his- definitions are actually extensive. Though tory and art. Here memory is in the fore- when they are put together in one definition – ground and culture takes the form of memory “cultural memory” – they start to delimit each that comprises texts, activities and items (Ass- other. In delimiting the definition, cultural mann, 2004: 46-47). memory becomes a special form of memory With that kind of differentiation between on the one hand and a specific cultural aspect the factors that have primary and secondary on the other hand. In the case of the latter, the impact on culture, Assmann primarily takes definition embraces fields that differ from cul- cultural memory to the institutional level. ture: memory as it relates to culture can be Hence, the definition itself has a very large de- MERIKE LANG 64 gree of generalization and can be used in the more, but it acquires a new meaning in the analysis of activities with institutional prioriti- archive – a new, marked status. The past or a es (e.g. the executive policy of a museum). If person’s identity can be such a mark. These we consider that history and art – specified by kinds of remnants are structurally as impor- Assmann as cultural fields primarily influen- tant for the archive as forgetting or remem- ced by memory – are most connected to me- bering, since the stored data carrier is treated mory institutions,5 and the institutional acti- as an aid to memory (Ibid., 21-23). So stora- vity is characteristic to them, we could consi- ge memory is a reservoir for the functional der Assmann’s scheme justified, but mainly memory of the future and a resource for up- with a very high degree of generalisation. Ass- dating cultural knowledge. It enables retrie- mann herself provides the reason for a more val from the context of functional memory detailed observation of the scheme. She diffe- by giving the latter an external horizon and rentiates two different forms in cultural me- identification cover by means of which the mory – storage memory (Speichergedächtnis) past is either connected, criticised or chang- and functional memory (Funktionsgedächtnis), ed (Ibid., 140-141). which she has indirectly equated with the But Assmann certainly cannot pass up dra- physiological property of memory – to forget wing parallels with physiological processes, and remember. Nevertheless, on observing the specially with forgetting which is a similar la- analysis of these forms of memory more close- tent memory like the past stored in a restric- ly, it seems that the parallel between forgetting ted Archive (Assmann 2004: 48). An indivi- and remembering is stronger than one would dual’s memory is connected to perceived me- expect, and hence knowing the context of the mory where memories and experience are sto- museums more intimately, issues may arise red in different configurations forming certain and in presenting them I will first deal more set and providing self-determination for an closely with both forms of cultural memory individual (Assmann 1999: 134). On the col- described by Assmann. lective level, storage memory contains non- Storage memory is connected with catalogu- usable, strange, neutral, abstract knowledge ing, conservation and organization. Since about identity, as well as a repertoire of missed cultural memory primarily demands institu- opportunities, alternative opinions and chan- tional protection, it involves repositories ces not used (Ibid., 137). such as archives, libraries and museums. Knowledge accumulated in storage memory (Assmann 2004: 49). They store the memory is initially without any prospects and of no va- of memories, which in its essence is abstract lue, but through scientific meaning, recon- and general – data, information, documents, struction and animation and individual me- memories and so on in such repositories be- mory, it acquires value, meaning and organi- long to the cultural memory that no longer zation (Assmann 2004: 48). And this, because has a direct owner (Assmann 1999: 134- an archives or museums are not only reposito- 137). Assmann also mentions that the archi- ries, but also places where the past is construc- ves sort the memory, and the stored items ted and produced. Structures are not depen- form a sort of latent memory or remnant of dant only on social, political and cultural inter- civilization – trash. It is not being used any ests, but are also determined by governing CULTURAL MEMORY IN THE MUSEUM AND ITS DIALOGUE WITH COLLECTIVE AND INDIVIDUAL MEMORY communication media and recording techno- sites and monuments are memory sites, where 65 logies (Assmann 1999: 21). biographical and cultural memory do not re- In connection with the above mentioned, the cord themselves directly. Those places can only definition of functional memory emerges. provoke memory processes via other memory Functional memory is approached by Ass- media (Ibid., 21). mann as perceived memory characterized by Assmann emphasizes that storage memory group usage, selectivity, value coherence and and functional memory are interconnected di- orientation towards the future. It highlights a alectically. In western societies, there are two person’s educational foundation within the different forms of the past: in functional me- construction of ideas. Cultural functional me- mory it is kept extant and alive, in storage me- mory is connected to a subject that under- mory one may withdraw from it. The structu- stands itself as its own carrier or owning itself as re of cultural memory is in constant motion. a subject. Collective subjects – states and na- (Ibid., 59-60). tions – constitute themselves over a functional These theoretical standpoints in connection memory where they connect themselves with with museums leave the impression that despi- one certain past structure (Assmann 1999: te the links Assmann draws between both stor- 134-137). The design of an identity, the ability age and functional memory and memory insti- to orientate and the inherent inter-relations are tutions, storage is more connected with institu- central to functional memory. Here communi- tions and is more independent of the governing cation and identification with knowledge cor- environment than keeping cultural memory in responding to the identity occurs. Functional function. Storing somehow finishes the mana- memory is canonized through personal experi- gement and an indefinite still life or forgetting ence and it remains in active use for a society or not remembering (which still is better than despite accelerating innovative changes in cur- extinction to nowhere) follows until the mo- ricula, theatre programmes, museums, etc. ment when due to some external pressure so- Texts, objects and activities, being fixed in meone remembers to find the ideas from the functional memory, always have the right to reservoir and put them into actions based on updated exhibitions, performances, texts, read- itemised evidence. If the existence of group re- ing, meanings.