INTERNATIONAL CONFERENCE ON MUSEUMS AND INTANGIBLE HERITAGE

003002

?

.

.

2004

2006

.

2007

,

. 2012

.

, , ,

.

GREETINGS

I would like to express my deepest appreciations to all the

participants, prominent speakers and discussants. I am

very pleased to welcome you all here at the National Folk

Museum of Korea.

The National Folk Museum of Korea realized the

importance of intangible heritage since ICOM Seoul

General Conference in 2004 with theme of 'Museums and

Intangible Heritage' and has published the International

Journal of Intangible Heritage since 2006. The museum

has taken a leading role in preserving folklore through

'The Year of Regional Folk Culture' which has started to

conduct research, document and archive endangered

regional folk culture since 2007. Furthermore, the museum

successfully held a special exhibition entitled 'Arirang', the

Korean oral folksong, in 2012 and this successful example

proved that the museum could present intangible heritage

in the museum exhibition and the museum continuously

plans and delivers education programs under the themes

of intangible heritage.

Museums would face a limit to explain a cultural context

related to the objects as museums universally tend to

focus on attribute of object itself such as formation,

materials, artistic value, historic origins and changes of

the objects, etc. Visitors nowadays are not satisfied with

object itself, but would like to listen to the inner stories

,

,

.

,

,

.

, ,

.

2013 .

.

.

.

.

of custom, expression, knowledge and ideology beyond

the objects and would like to sympathy with truth of

human being through stories of creators who actually

made the object. Although we should focus on the aspect

of intangible heritage of the objects to fulfill the needs

of visitors, there are challenges when we do research,

exhibit and utilize intangible heritage for the education

purposes in accordance with the aim of museum in terms

of intangible heritage. In this context, today's conference

is expected to be a platform to actively explore the

aspects of research, exhibition and education as well as

seeking for the value of intangible heritage in the museum

field.

The year 2013 is nearly over already. I wish you bear a

fruitful outcome by completing your ongoing work until

the end of this year. In addition, I hope you gain and utilize

meaningful information and ideas through the conference.

Once again, I would like to deliver my thanks to all

the honorable participants, speakers and panels and

to express my hope that your visit can deepen the

understanding of Korea's rich intangible heritage.

Cheon Jingi

Director, The National Folk Museum of Korea

005

02

06

10

16

24

32

40

50

62

74

82

92

: ()

1

:

2

-

3

, - (Dharohar Museum, Haryana)

4

5

6

: eco-museum

7

:

8

:

9

,

CONTENTS

GREETINGS

PROGRAM

KEYNOTE SPEECHSmithsonian Folkways Recordings: The Role of Music in Blurring the Barriers of the Box

Daniel Sheehy Director, Smithsonian Folkways Recordings

THE 1ST SPEECHNegotiating Intangible Culture : Examples from the Ethnographic Museum of Istria

Lidija Nikocevic Director, Istria Ethnology Museum, Croatia

THE 2ND SPEECHKoreas Museums and Intangible Cultural Heritage

Now it is time to talk about people.Chung Myungsub Head, Research Division, the National Folk Museum of Korea

THE 3RD SPEECHMuseum, the Cultural Bridge to Promote and Preserve Intangible Cultural Heritage :

Case study of Dharohar Museum, HaryanaShashi Bala Research Scholar, Department of Museology, National Museum Institute, Delhi, India

THE 4TH SPEECHTechnical Means and System Guarantee of Museum Protection and Inheritance for

Intangible Cultural HeritageTang Zhiqiang Head, Undertaking Development Department, China Agricultural Museum

THE 5TH SPEECHLearning from Intangible Heritage in Museums

Viv Golding Senior Lecturer, School of Museum Studies, Leicester University

THE 6TH SPEECHCherished Yesterday: Organizing Eco-museum Type Village Experience Program and

Changing Participants AwarenessKim Meegyeom Educator, Children's Museum Division, The National Folk Museum of Korea

THE 7TH SPEECHBeating the Drum : Introducing ICH in Namibian Museums

Jeremy Sylvester Project Planning and Training Officer, Museums Association of Namibia

THE 8TH SPEECHForced Landing : Finding a Way to Save the Gap between the Community and the Museum.

The Ritual of the Voladores (flyers), Mexico.Leopoldo Trejo Barrientos Curator, National Museum of Anthropology, Mexico

THE 9TH SPEECHExhibitions on Folk Performance: Possibility or Impossibility

Heo Yongho Lecturing Professor, Dongkuk University

Appendix Photographs

02

06

104

110

118

126

134

144

156

168

176

186

004

007006

19 1

09:50

09:50 - 10:00

10:00 - 10:30

: ()

1 :

10:30 - 11:00 1

:

11:00 - 11:30 2

- ''

11:30 - 12:00 3

, -

12:00 - 13:30

1 :

13:30 - 14:00 4

14:00 - 14:30 5

14:30 - 15:00 6

: eco-museum

15:00 - 15:20

15:20 - 17:00 1 : &

20 2

2 :

09:30 - 10:00 7

:

10:00 - 10:30 8

:

10:30 - 11:00 9

, , ,

11:00 - 11:20

11:20 - 12:00 2 : &

12:00 - 13:00

INTERNATIONAL CONFERENCE ON MUSEUMS AND INTANGIBLE HERITAGE PROGRAM

19 Tue SESSION

09:50 Opening

09:50 - 10:00 Welcoming Speech Cheon Jingi Director, The National Folk Museum of Korea

10:00 - 10:30 Keynote Speech Daniel Sheehy Director, Smithsonian Folkways Recordings

Smithsonian Folkways Recordings: The Role of Music in Blurring the Barriers of the Box

SESSION 1_Morning Session

Chairperson : Yi Kiwon Deputy Head, Cultural Exchange & Education Division

10:30 - 11:00 The 1st Speech Lidija Nikocevic Director, Istria Ethnology Museum, Croatia

Negotiating Intangible Culture : Examples from the Ethnographic Museum of Istria

11:00 - 11:30 The 2nd Speech Chung Myungsub Head, Research Division, the National Folk Museum of Korea

Koreas Museums and Intangible Cultural Heritage Now it is time to talk about people.

11:30 - 12:00 The 3rd Speech Shashi Bala Research Scholar, Department of Museology, National Museum Institute, Delhi, India

Museum, the Cultural Bridge to Promote and Preserve Intangible Cultural Heritage :

Case study of Dharohar Museum, Haryana

12:00 - 13:30 Luncheon

SESSION 1_Afternoon Session

Chairperson : Lee Sunggon, Curator, Cultural Exchange & Education Division

13:30 - 14:00 The 4th Speech Tang Zhiqiang Head, Undertaking Development Department, China Agricultural Museum

Technical Means and System Guarantee of Museum Protection and Inheritance for

Intangible Cultural Heritage

14:00 - 14:30 The 5th Speech Viv Golding Senior Lecturer, School of Museum Studies, Leicester University

Learning from Intangible Heritage in Museums

14:30 - 15:00 The 6th Speech Kim Meegyeom Educator, Children's Museum Division, The National Folk Museum of Korea

Cherished Yesterday: Organizing Eco-museum Type Village Experience Program and Changing Participants

Awareness

15:00 - 15:20 Coffee Break

15:20 - 17:00 Discussion Dicussants : Bae Kidong Professor, Hanyang University & Han Geonsu Professor, Kangwon University

20 Wed SESSION

SESSION 2_Morning Session

Chairperson : Lee Gwanho, Head, Children's Division

09:30 - 10:00 The 7th Speech Jeremy Sylvester Project Planning and Training Officer, Museums Association of Namibia

Beating the Drum : Introducing ICH in Namibian Museums

10:00 - 10:30 The 8th Speech Leopoldo Trejo Barrientos Curator, National Museum of Anthropology, Mexico

Forced Landing : Finding a Way to Save the Gap between the Community and the Museum.

The Ritual of the Voladores (flyers), Mexico.

10:30 - 11:00 The 9th Speech Heo Yongho Lecturing Professor, Dongkuk University

Folk performance exhibitions: Possibility or impossibility

11:00 - 11:20 Coffee Break

11:20 - 12:00 Discussion Discussants : Hahm Hanhee Professor, Jeonbuk National University &

Chang Inkyung Director of Iron Museum

12:00 - 13:00 Luncheon

: ()

1

:

2

-

3

, - (Dharohar Museum)

4

5

6

: eco-museum

7

:

8

:

9

,

011010

( S m i t h s o n i a n F o l k w ay s

Recordings)

. 1864

19 , 12

(

www.si.edu ).

.

?

, ,

. ,

.

.

1967 .

.

,

.

,

' '

' '

.

( , ,

), .

. ,

. 160 48,000

. CD 40

(iTunes) 67

, (Spotify)

1,000

.

11

, 120

.

- ,

:()

.

(Maria Rosario Jackson)

. ,

. ,

.

.01

? ,

.

.

,

.

(

).

.

.

,

,

.

1987

(Folkways Records).[

1.] 1948 (Moses Asch)

.

. 1986

2,168 .

.

. 1950

.

(Harold Courlander)

.

.

1951 (Folk and

Classical Music of Korea) .02

.03

1965 (Music of Vietnam) 1968

(Folk Songs of Vietnam)

.04

. (www.

folkways.si.edu) 1951

01 , ,

: Mastering Civic Engagement: A Challenge to

Museums ( D.C., , 2002), p.29.

02 http://www.folkways.si.edu/folk-classical-music-of-korea/world/album/smithsonian: Shin Tan Ga-Chok Byuk Poo (New Song-A Ballad of Chok

Byuk), from Folk and Classical Music of Korea. Folkways Records FE-4424,

1951. From Ethnic Folkways Library, Harold Courlander General Editor.

Introduction and Notes by Kyunk Ho Park.

03 http://www.folkways.si.edu/search/civil-rights

04 http://www.folkways.si.edu/music-of-vietnam/world/album/smithsonian

1.

013012

,

CD .

.

?

.

. ,

,

,

,

,

.

(Soy Salvadoreo!

Chanchona Music from Eastern El Salvador)

.05 [ 2.]

,

.

4

.

( )

.

1960

.

1980 1990

.

D.C.

.

,

.

.

.06

,

,

.

(Abayudaya

- )

. 1919

. 1970

.

,

, .

10 ,

(Jeffery Summit)

CD

. CD 2 .[ 3.]

.07

. CD

.

.

.

(Carlos Rojas

Hernndez)

.

. 1950

.[ 4 & 5.]

3

(S Soy Llanero! Joropo

Music from the Orinoco Plains of Colombia) .

.

,

.

.

,

( joropo) .

,

.

,

.

(Cimarrn) 05 http://www.ffolkways.si.edu/los-hermanos-lovo/soy-salvadoreno-chanchona-music-from-eastern-el-salvador/latin/album/smithsonian.

06 http://www.folkways.si.edu/los-hermanos-lovo/soy-salvadoreno-chanchona-

music-from-eastern-el-salvador/latin/album/smithsonian:Las tres

fronteras, by Los Hermanos Lovo. From Soy Salvadoreo: Chanchona Music from Eastern El Salvador. SFR 40535, 2011. Produced and annotated by Daniel E. Sheehy.

07 http://www.folkways.si.edu/abayudaya-music-from-the-jewish-people-

of-uganda/judaica-sacred-world/album/smithsonian: Psalm 136, from

Abayudaya: Music from the Jewish People of Uganda. SFR 40504, 2003.

Compiled and annotated by Jeffrey A. Summit.

2.

3. 4.

5.

015014

,

(WOMEX)

.

.08

.

,

.

,

1 .

1

.

, 1

, ,

,

. [ 6.] 5 ,

CD

. .

(Tradiciones/Traditions

Series)

7

.09

,

. CD , ,

.[ 7 & 8.]

,

,

. 10 CD-DVD

(Aga Khan Trust for Culture)

.10

100

.[ 9.]

2011 .

2004, 2005, 2007, 2009

08 http://www.folkways.si.edu/cimarron/joropo-music-from-the-plains-of-

colombia/latin-world/album/smithsonian: Vine a defender lo mo, from

Cimarrn! Joropo Music from the Plains of Colombia. SFR 40557, 2011. Produced by Carlos Rojas Hernndez and Daniel E. Sheehy. Annotated by

Daniel E. Sheehy with Carlos Rojas Hernndez.

09 http://www.folkways.si.edu/video/traditions_series_field_trip.aspx 10 http://www.folkways.si.edu/video/traditions_series_field_trip.aspx.

4

.

. 100

80,000 ,

.[ 10.]

.

,

.

.

,

.

6.

7.

8.

9.

10.

017016

1

(Zagreb)

,

(Rijeka)

.

.

1997 .

ICOM

.

2 .

, , , ,

.

, (Pazin)

.

.

.

(agrotourisms) .

2011

(the Centre for Intangible Culture) .

, ,

, .

. (heritage)

.

.

.

(

)

.

.

(truths)

.

,

.

. ,

.

:

019018

20

25 .

(Eilean Hooper Greenhill)

.

, ,

.

,

(Clearly 2006:65).

.

( Inclusive Museums), (Participatory

Museums),

-(Post-Museums)

.

. -

.

- , , ,

(Hooper-Greenhill

2007:1). -

,

.

,

.

. (Richard Watermeyer)

, -

,

(watermeyer 2012:4).

- .

. (Tania

Clearly) , - ,

, , , , ,

. -

(Clearly

2006:178). -

.

. ,

,

(Clearly 2006:89).

1

:

.

(anthropologisation) ,

.

.

10

, .

-

(multivocality), ,

.

2004

ICOM (

). ICME

.

( )

. ,

.

,

.

.

.

, , ,

.

, ,

.

.

(agritourism) .

.

, , .

:

: ? !

021020

.

.

. .

. (reproduction)

(Nikocevic 2012). protection safeguarding

.

.

.

.

. 2011

.

,

.

(Medjimurje)

.

.

(

),

,

,

,

.

.

,

.

.

,

.

,

,

.

.

.

.

.

.

.

, ,

, ,

.

.

.

.

,

.

, .

, ' '

.

. 40

.

.

.

.

. ,

.

.

.

,

.

.

.

,

.

.

.

(Pican)

:

(Pula)

(Pican)

023022

.

,

.

. ,

.

,

.

.

(Hobsbawm & Ranger 1983)

.

17

.

20

.

17 .

.

,

.

2006

.

,

.

17

200 19

.

. ,

.

.

,

.

,

,

.

.

.

,

.

.

, , ,

.

,

, , .

, ,

.

.

,

.

Clearly, Tania, 2006, The new museum function, form and

politics , The School of Arts, Media and Culture, Griffith

University (Doctoral Thesis)

https://www120.secure.griffith.edu.au/rch/file/405f5ba7-

92b5-d855-25b0-dd62348bc0a6/1/02Whole.pdf

Hobsbawm, Eric John, and Ternce Ranger, 1983,The

Invention of Tradition . Cambridge: Cambridge University

Press.

Hooper-Greenhill, E., 1992, Museums and the Shaping of

Knowledge, London: Routledge.

Hooper-Greenhill, E., 2007, Museums and Education:

Purpose, Pedagogy, Performance; London: Routledge

Nikocevic, Lidija, 2012, Culture or Heritage? The Problem

of Intangibility; Etnoloska tribina / Ethnological Forum, Vol

42., No 35, Croatian Ethnological Society and Department

of Ethnology and Cultural Anthropology, Faculty of

Humanities and Social Sciences, University of Zagreb

http://hrcak.srce.hr/index.php?show=clanak&id_clanak_

jezik=138565

Yang, Jongsung, 2003, Cultural Protection Policy in

Korea: Intangible Cultural Properties and Living National

Treasures. Jimoondang International.

Watermeyer, Richard, 2012, A conceptualisation of the

post-museum as pedagogical space. Journal of Science

Communication SISSA - International School for Advanced

Studies Issue 01, March 2012.

025024

2

.

.

, ,

() (Arch) .

.

(Intangible Cultural Heritage)

?

, 2003 (UNESCO)

2

,

,

(oral traditions and expressions), (performings

arts), (social practices, rituals

and festive events),

(knowledge and practices concerning nature and the

universe), (traditional craftsmanship)'

.

. , (

) , ()

.

()

?

().

(talents) (

)

.

. ,

. ,

()

() ,

, ()

.

:-

027026

.

(Intangible Cultural Heritage)

? .

2003 (UNESCO)

2

,

.

(oral traditions and

expressions), (performings arts),

(social practices, rituais and festive events),

(knowledge and practices

concerning nature and the universe), (traditional

craftsmanship)' ,

.

. , ,

.

? .

(Talents)

.

. ,

. , 02

,

,

.

/ .

, , ()

()

. ,

.

2

01:-

,

.

(

) .

,

(),

.

?

() ,

.

.

.

?

, 100

100

,

( )

.

.

''

. ,

,

.03

, , , , ,

.04

.

,

,

.

, ,

.

.

.

, .

.

,

. ,

05

. ,

.

.

01

.

.

02 ,

.

03 24( ),

41( ) 50(

) ,

2() 3 .

.

04 2() 1 2

05 2() 3

029028

.

.

.

.

,

.

1.

.

,

.

. ,

.

() . ,

()

.

,

.

,

.06

,

.

. ,

,

.

,

.

,

.

.

.

.

2.

.

.

, , , , ,

.

. ,

. ,

,

.

. ,

.

? ,

,

06 , . 07 2013 9 7 .

()

.

. ,

.

,

.

.

.

. ,

,

.

?

.

,

.

.

.

07 .

.

(Eco-museum)

.

.

()

. ,

,

(Opes Air Museum)'

.

3.

,

.

.

,

.

. ,

.

.

, ()

.

,

.

. ,

,

. ,

.

.

. ,

031030

.

. ,

.

()

.

.

4.

100

, , , ()

. ,

,

.

1960 ()

, 1980

.

.

,

.

,

.08

.

.

.

.

,

.

,

.

.

.

.

(interviewee),

.

,

.

.

,

. ,

,

.

1970

.

.

.

?

.

.

,

, ()

. 1962

1990

2003 UNESCO

.

UNESCO ,

.

.

.

.

.

.

.

.08 00, 00,

00, 00 .

033032

. -

.

10

.

, ,

.

3

(Dharohar

Museum)

.

. ,

,

, .

.

.

.

, : (Dharohar Museum, Haryana)

035034

.

.

.

, .

.

2003

,01 2007 ICOM

02 .

,

.

- (Chitra-shala )03

. 5

. (Gupta &

Srivastava, 2007;8)

- (Chitra-shala)

.

,

.

.

, , ,

.

,

,04 , , ,

. 1947

,

.

. 20

.

3

, : (Dharohar Museum, Haryana)

2003

, .

, .

. . . ,

. (Seth,

2012)

,

, ,

(Rashtriya Manav Sangrahalaya ),

( IGNCA)

(Sangeet Natak) .

.

,

,

.

-

?

-

?

-

?

- , ,

?

-

?

-

?

,

.

, ,

.

,

. .

.

, , ,

. ,

, , ,

.

,

.

.

(Ikat ). ,

.

.

(Ikat )05 ,

01

.

.

. (2003),

(2009 6 16 )

02 ,

,

.

03 chitra-shala , chitra

. (Gupta & Srivastava,

2007;8)

04 1910 .

05 Ikat (tie), (dye)

. ,

, . ,

. .

.

.

037036

(Patola , ),

(Telia Rumals ) .

1-2

. (

)

, ,

(

) .

.

(Baccha)

(Jaccha) .

.

.

.

.

.

, ,

2006 4 28 .

. , , (Gher, (

)), , , (Hukka),

(Chaarpais , ), , , ,

/, ,

(Rasois , ),

. 06

90% .

2006 10

, .

15 ,

.

,

.

.

(Marthana)

(Mahavir Prasad) . 2012

5 200

. 10

12kg .

, (Prasad) 5

.

?

.

.

.

.

.

, , ,

.

,

.

,

.

,

.

.

,

, .

. (Chaarpai ,

) .

(Chopal)

,

(Hukka , )

, , , .

,

(Ratjaga , )

.

(Niwad ,

) ,

.

.

,

.

.

(Dev Uthani Gaya s) .

,

.

.

(Dev Uthani Gayas) .

(geru , )

06 2006 4 28 . 3500

, 16000

.

: (

)

2012 5 5

/

(Charpoy)

039038

.

-

.

- ( )

.

-

,

.

-

.

-

.

.

, , , .

,

.

,

, ,

(Paraat , ) .

( Paraat )

.

(Musala) . (Gowardhan Puja )

(puja )

(Musala , ) . (Musala )

( ) .

(Aarti , )

. (

.

.) (Musala )

(Gowardhan)

.

.

Dev Uthani Gayas Paraat ( )

Paraat

Musala

(Govardhan Puja )07 (Musala )

07 () Gowardhan Puja Gowardhan

Parvat .

Virdhavan Gowardhan

. Gowardhan puja .

.

,

,

.

.

- Alivizatou, Marilena, 2006, Museum and Intangible

Heritage: The Dynamics of an 'Unconventional'

Relationship.

- Gupta S.P. and SrivastavaMohit, 2007, Modern Museum

Management , D.KPrintworld (P) Ltd, Delhi.

- Gimblett Barbara Kirshenblatt, Intangible Heritage as

Metacultural production, Blackwell publishing, Oxford

- Jain Sanjay, 2006, Museum and Museology An

Introduction, Kanika Publication, Vadodara(in Hindi)

- Kurin, Richard, 2004, Museums and Intangible Heritage:

Culture Dead or Alive?, ICOM NEWS, ed. by the

International Council of Museums (ICOM), vol. 57, no. 4,

p. 13.

- Lee, O Young. Preparing a vessel to contain lost life:

Preservation and successful inheritance of Intangible

cultural Heritage. Keynote speech, ICOM News, No 4,

2004. http://icom.museum/fileadmin/user_upload/pdf/

ICOM_News/2004-4/ENG/p5_2004-4.pdf accessed on

17 June 2012.

- Seth Manvi, 2012, Communication and education in Indian

Museum, Agam Kala Prakashan, Delhi.

041040

, , , , ,

.

,

,

.

.

, ,

, , ,

.

, , ,

.

.

.

,

.

.

, 2015

. , ,

.

.

, , ,

.

, , , ,

.

, ,

, ,

, ,

.

,

, .

.

(2010), , 24

,

.

, ,

- , -

.

4

043042

.

2015 .

1_ 2002

9 .

.

,

,

.

2_

3 20 , 6

. 9

,

.

.

3_

, ,

, .

. , , , ,

. ,

.

,

(authenticity)

.

2002

.

4

.

.

.

1,986.

. 29 ,

. (State

Council) 2006

,

1,219.

, (), (), () 4

.

, , ,

.

.

.

,

. ,

, ,

.

.

.

.

.

, ,

.

, ,

.

,

.

(eco-museum)

.

, , ,

.

,

, ,

, ,

045044

.

.

.

.

.

,

.

.

.

, ,

, ,

.

, ,

, , .

. ,

.

.

,

.

. .

, ,

, , ,

.

. .

2006 2

, 2,000

. 2009

2012

.

.

.

.

,

.

. , ,

.

. 83

2011 590 ,

7 .

.

.

.

, , , ,

6 .

, , ,

.

. , , , , ,

, ,

.

. 56

.

, , ,

.

.

,

, , ,

.

.

.

, , .

.

,

.

() .

.

.

, , , , 5

.

(), , , , , , , ,

, , , .

, , ,

, (Qingzhow)

5 (Ceres, )

5 (Ceres)

(Qianliang)

047046

.

.

, , ,

.

.

24

.

.

, , (Karez),

--(rice-fish-duck), --

(pig-biogas-fruit)

.

,

.

1999

1,441 .

. 2003

, 169

181 .

.

.

,

.

. (FAO) 2002 (Globally Important

Agricultural Heritage Systems: GIAHS)

, , , ,

.

. 2005 8

GIAHS ,

(, ), (

, ), (,

), (),

(, ), (,

), (, ),

(, ) .

. .

2

. 2013 19

.

, , , ,

, , , ,

, ,

.

.

.

, ,

. 1997 24

,

, .

. (Minnan) ,

(Huizhous) , (Regong),

11 .

. ,

, , , , , , , ,

.

.

.

.

,

.

,

,

, 1 ,

. 2010

(

) , 80

.

, , 20

, , ,

.

.

. 1,000

, 2

.

24

.

, ,

, 24

.

. , 2008

. 2008

( ) .

2008

,

, , ,

.

500

.

(Xilin Gol)

(Longxian Zhejiang)

(Tangan Dong)

049048

1 (

)) 2010 .

.

, ,

. (

)

.

, 22 ()

50 100

. 2012

, ,

,

, , , , ,

, , .

.

CD

.

. .

,

, , ,

.

.

,

.

.

.

(Weiyuan)

051050

2002

(Learning and Visitor Studies)

.

(1992-2002)

(1980-1992) .

, ,

. (Newsletter

Editor) (2010-

2013), 2013 ICME .

Learning at the Museum Frontiers :

Identity, Race & Power(Ashgate, 2009)

Museums and Communities : Curators, Collections,

Collaboration(Berg, 2013) .

: http://www.le.ac.uk/ms/contactus/

vivgolding.html

5

.

,

.

.

.

,

.

-

.

.

(Museum Fiction)

.

1992 2002 (Horniman

Museum) 2002

2006

(Cape Town)

.

,

.

.

(Orality)

.

053052

:

! /! /

[] []

/

/

, /

/

/

/

/

/ ?

/ ?

[]

/ /

01

(, M. 1995: 63)

. . .

.

.

(Hans George Gadamer)

.

,

(Horniman Museum, 1992-2002)

(2002-)

(2006)

.

(Robben Island

Museum) 6

.

.

.

5

(Merle Collins) , (Crick Crack)

.

.

.

,

.

.

'

?' '' .

'' ''

. .

? ! ', .'

.

! .

. ? !

. . ? !

!

,

.

.

.

.

.

.

. ,

, ,

.

,

!

(Anim-Addo 2007:88 )

.

(storytelling)

.

,

-

- . (Michel

Foucault)

.

(Foucault 1980: 193). , ,

(ibid).

,

01 ,

(until lions have their own historians, they say, tales of hunting will always

glorify the hunter) .

.

055054

(Golding 2009).02

. ()

,

.

,

.03

, . 20 (1996),

. ,

.

(Desmond Tutu)

(Truth and Reconciliation

Commission, TRC) (1960~1994)

,

.

4

(David Irving)

.

, TRC

.04 TRC

.

TRC .

(Robben Island

Museum, RIM)

(Ahmed Kathrada)

.

.

,

,

.

1994

RIM

.

RIM

.05

.

, RIM

(Foucault 1980: 131). ,

( 1980: 142).

RIM

,

.

(Zakhele Mdlalose)

(Marcus Soloman)

.

.

-

.

(Dierdre Prins)

RIM

(RIM Spring School)

.06

.

. (Franz

Fanon)

.

.

2004

(Prins 2005:

69).07

.08

.

(Toni Morrison) ' ' '

' ''

(Morrison, 1992: 247-8).

RIM ,

RIM

-( I-telling)

. .

: , -(I-Stories)

-(We-Stories)

2008 6

(Wisbech Museum) .

18

.

(Thomas Clarkson),

.

.

,

,

02 1980

,

,

(Lowenthal 1993:20).

03 .

,

(Gadamer 1981; Hill-Collins 1991).

04 (Annie Coombes) TRC

(Coombes 2003:5).

05 RIM

.

06 ,

.

2003 (Shoprite)/ (Checkers)/ SABC

.

07 (The Art of Memory Making)

.

.

08

.

057056

( &

).

.

(Melanie Klein)

(Klein 1988: 123).

.

, ,

.

,

.

.

.

.

, ,

. ,

,

.

,

.

(Age Exchange) 20

,

12 . , ,

, , , , , ,

, ,

1990

. ' (Living Memory

in Education)'

.

.09

,

.

.

.

2004

(Hedsor)

(Object Dialogue Boxes)

.

, (Norfolk Regimental

Museum), (Museums Sheffield),

(Harewood House),

(Manchester Art Gallery), (Imperial

War Museum), (Turner Contemporary),

.

,

,

.

.

.

.

?,

?,

? (, )

(, )

.

.

.

,

.

.

. 1990

(V & A) (Gail Durbin)

(learning team) (5

, 5~7, 7~11)

,

.

.

,

,

,

.

(I-storytelling)

(We-storytelling) .

.

.

. (Loi Silverman)

. .

.

.

.

.

. (Silverman

1995: 162)

.

.

(interactive storytelling)

,

.

,

.

.

, , ,

, ,

.

.

(scaffold) , 09 1983 (Schweitzer, 1993).

059058

.10

!

.

(citizenship) .

:

.

! ,

, ,

.

.

!11

. 12 , ,

(Cloth of Gold Arts Company) ,

, ,

, , .

.

.

.

.

2

(5~6) (Bwa)

,

.

! 2

.

,

.

.

,

.

.

.

.

.

.

, , .

.

.

, , .

.

.

.

,

.

.

,

.

.

,

.

, ,

(Bwa)

.

,

6

.

(Bwa)

.

.

.

,

.

,

.

25 kg , .

!

(Bwa)

.

.

(creative writing) ,

(short storytelling)

.

...

.

, , , ,

, , , , , ,

,

.

, ,

, .

, ,

.

.

.

.

.

.

, ,

. 2

(acrostic poem) .

.

.

.

, , , !

?

.

.

.

M usic in the museum

U nity means linked together

S nakes, sliming, slithering, sausages!

E lephants

U nited we feel happy

M agical museum

B ig mask on the wall

W here do you come from

A frica?

10 (Jermone Brunner) (Vygotsky)

(zpd) (scaffold) .

! .

2000 .

11 http//:www.clothofgold.org.uk.html

061060

.

. /, /

/(both/and)

. !

, ,

,

, , , .

,

.

.

.

,

.

!

.

. .

.

.

?

.

!

!

Collins, M., 1995, Rotten Pomerack , Virago, London

Coombes, A., 2003, History after Apartheid, Duke University

Press, USA

Foster, K and Foster K ., 2012, The impor tance of

the unfamiliar and unexpected in creative teaching,

interpretation, and learning in Miller, A, Sharp, J and

Strong J. What is research led teaching? Multi-disciplinary

persepectives. London: CREST.GuildHE.

Foucault , M., 1980, Power Knowledge , Har vester

Wheatsheaf, New York

Gadamer 1981, Truth and Method, Sheed and Ward, Oxford

Golding, V., 2009, Learning at the Museum Frontiers:

Identity, Race and Power, Ashgate, Surrey

Golding, V., 2005, The Museum Clearing, in Atkinson, D.,

and Dash, P., Social and Critical Practice in Art Education,

Trentham Books, Stoke on Trent: 51-66

Golding, V., 2004, A field-site of creative collaboration:

Inspiration Africa! in the Journal of Museum Ethnography

16: 19-36

Lowenthal, D., 1993, Remembering to Forget Museums

Journal, 93, (6): 20-22

Morrison, T., 1992, In the realm of responsibility: a

Conversation with Toni Morrison Marsha Darling/1988 in

Interviews and Conversations with Toni Morrison , Sage,

London: 246-254

Prins, D., 2005, The art of memory Making, in Atkinson, D.,

and Dash, P. Social and Critical Practice in Art Education,

Trentham, Stoke on Trent, UK: 67-79

Silverman, L., Visitor meaning-making in museums for a

new age, Curator, 38 93): 161-70

Age Exchange. Available at , accessed 16.08.2013

Cloth of Gold. Available at , accessed 16.09.2013

Backpacks. Available at < >, accessed 17.08.2013

Object Dialogue Boxes. Available at < >, accessed

17.08.2013

063062

.

.

10 , ,

, .

6

,

.

?

.

, !

12

.

,

( )

.

,

.

,

.

,

.

,

. ,

(

)

.

.

,

.

,

.

,

.

.

:eco-museum

065064

1988

. 1990

.

.02 , 2000

7

.03

, ,

,

,

.

,

.

,

.

, ,

?

? ?

, ?

,

.

,

,

.

, .

,

,

.

6

: eco-museum 01

,

! 1

2 .

! 12

2004 2013

.

2013 10 87 .

,

( )

.

. ,

.

! 12

! 12 ( ! 12

) 2004 8 .

.

,

. 1

.

1

.

.

2004

. () 1

. ! 12

.

,

, .

. 2004 2005

2 1

12

.

. (1-2)

,

,

.

, 1

25 80 .

,

. 12

01 2011 2

.

02 ,

- -, 18,

, 2009

03 :

, , 2000

067066

,

,

,

. 2008

, ,

. 2008

2009 ! 12

4 ,

,

. 2010 , 2011 , 2012

, 2013 87

3,962 .

2005 ! 12

.

8-9

. 1 1 1 15

1 50%

.

.

.

.

,

,

.

(, , )

04 1

.

.

.

( ,

)

.

,

( )

,

.

.

, (, ,

)

.

( )

.

2008 ,

,

.

.

05.

! 12

,

40%

.

. ,

.

.

,

.

? , ,

~?

.

.

. 60 70-80

.

.

,

.

,

.

.

04

. 05 ,

11 1 2

.

, .

.

.

.

.

.

1 2

.

.

.

.

.

!!!!!!!!!!

. ,

.

. ,

.

069068

,

, ,

,

.

06. 3

. (2010 52.7%, 2011 65%, 2012 76%)

,

.

! 12

.

.

,

.

2013

, 76%

, 93%

.

98.5% .

99.4% .

,

.

.

! 12

. ,

.

.

,

.

. ,

()

.

. ,

,

.

,

.

.

- . ()

- +

- ,

-

-

- (, , )

- ,

06 , , , , (

) .

!

!

- -

- ( )

-

- ?

-

- ,

-

-

- :

-

- ()

- :

, ,

- ,

3 : , ,

:

.

.

.

.

.

.

- ,

-

-

- , : ,

- : ,

- (),

-

-

-

- ,

- ,

- : ,

- 3

- ()

- ,

- ,

- , ,

()

- () : , ,

:

071070

.

.

.

.

, ,

.

.

.

.

.

.

.

. . . 1 2

.

, .

, , ...

. 2 0 0 9

. .

.

12

.

.

! 12

. 2000

.

,

.

.

,

,

.

.

073072

- , ,

, 2000.

- ,

, 18, ,

2009.

- , -

(green tourism)-, 18,

, 2009.

- ,

-

-, 18, ,

2009.

- , ,

2008 , , 2008

, 2006 , ,

2006.

- , ,

45, , 2007.

,

(story)

(telling) ?

? , ?

.

! 12

.

,

.

,

.

,

.

.

075074

(ICOM)

, (MAN) .

8

,

. (Heritage

Hunt)

.

The Heritage Handbook, Consuming

Culture? Posters in Action ,

.

7

1990

.

-

.

.

2003

.

.

.

.

, ( (living))

.

.

( )

? (Frantz Fannon)

?

4

.

.

(Heritage Week)

.

.

. (Olufuko)

.

.

.

.

.

.

.

:

077076

.

. 1990

.

.

. (cultural activism)

.

.

,

.

.

(National

Heritage Council, NHC) .

. (No.27, 2004)

.

.

,

.

1)

, 2)

, 3) , 4)

, 5) (Olufuko)

.

.

2014 ' '

.

2007 9 19

(2003) . 2011 5

. (

7

:

)

2012 3

,

.

14 ,

(Oshituthi Shomagongo )

.

(Oshituthi Shomagongo)

,

(Omagongo ) .

,

.

.

(Namibian Heritage Week)

(Open Day)

.

. 2013

: (Heritage:

Namibias Knowledge Bank).

.

(Nakambale)

(eengongo)

(ondjove)

. 2013 9

'

.'

.

.

(Onandjokwe)

.

,

.

(Living Museum)

2012 :

(ICME) .

.

.

(tourist gaze)

. ICME

(Goodman Gwasira)

. (source

communities)

.

.

2013

079078

. (San) ,

(Damara), (Mbunza), (Mafwe)

.

.

,

,

. ,

.

.

.

.

(staged

authenticity)

(MacCannell, 1979, p. 596; Akuupa,

2013, pp. 5-7; Rein, 2013, pp. 8-11).

,

(

.).

.

.

. (Munyondo gwaKapande)

,

.

.

.

(

,

.).

1983

.

.

5 1995,

.

, 13(2013 14)

.

. .

.

(Akuupa, 2012, p17).

.

.

,

.

.

(Olufuko)

.

(Olufuko).

.

(Ondonga) (Ohango),

(Oukwanyama) (Efundula) .

20

(Nampala, 2006 pp. 30-36).

.

2012 (Outapi)

.

,

30 18

(Iileka, 2012, New Era, 2012).

(

),

(Sasman, 2012).

(Oswin Namakalu)

.

.

.

/(Ju/'Jpamso ) : (: , )

(: , 2013)

/(Ju/Hoansi) : (: )

081080

( ICOM) 2014

(Museum

Collections Make Connections)

. . ,

.

.

.

.

.

.

.

,

(Abungu 2012, p. 67).

,

.

.

.

.

?

50 . (Ned

Kaufman)

(2013,

p.20).

(Ombalantu) ,

. ,

. (Marilena

Alivizatou) .

. (2012, p16).

, ,

.

(: C. H. , 1935. : , 1981, p.44)

Abungu, George, 2012, `Africas Rich Intangible Heritage:

Managing a Continents Diverse Resources Ch. 5 in

Michella Stefano, Michella, Peter Davis and Gerard

Corsane (Eds), Safeguarding Intangible Cultural Heritage,

Woodbridge: Boydell Press.

Akuupa, Michael, 2012, `The Formation of National

Culture in Post-Apartheid Namibia: A Focus on State

Sponsored Cultural Festivals, PhD Thesis, University of the

Western Cape, Cape Town.

Akuupa, Michael, 2013, `Museum practice, economic

prosperity and nationhood in Namibia, Expotime ! Summer

edition, Munich.

Alivizatou, Marilena, 2012, Intangible Heritage and the

Museum: New Perspectives on Cultural Preservation

Walnut Creek, California: Left Coast Press.

Iileka, Merja, `Understanding modern day Olufuko,

Namibian Sun, 23rd August, 2012.

Kaufman, Ned, 2013, `Putting Intangible Heritage in its

Place(s): Proposals for Policy and Practice, International

Journal of Intangible Heritage, Vol. 8.

MacCannell, Dean, 1979, `Staged Authenticity:

Arrangements of Social Space in Visitor Settings, American

Journal of Sociology. Vol 79, No. 3.

Mogelssen, Scott, 2007, Living History Museums: Undoing

History through Performance, Plymouth: Scarecrow Press.

Namibia, Republic of, 2001, Unity, Identity and Creativity

for Prosperity: Policy on Arts and Culture of the Republic of

Namibia, Windhoek: Ministry of Basic Education.

Nampala, Lovisa and Vilho Shigwedha, 2006, Aawambo

Kingdoms, History and Cultural Change. Perspectives from

Northern Namibia, Switzerland: P. Schlettwein Publishing.

New Era. `Namibia: Olufuko is Exclusively for Pagans

Heita New Era, 30th August, 2012.

Nujoma, Sam `We should maintain our culture and

traditional norms, Olufuko Festival Magazine, Vol. 1

September, 2012 July, 2013.

Rein, Annette, 2013, `How to become a Living Museum ?

Cultural performances and touristic borderzones, Expotime

! Summer edition, Munich.

Scherz, Anneliese; Ernst Scherz, Gabriel Taapopi and Antje

Otto, 1981, Hair-styles, Head-dresses & Ornaments in

South West Africa/Namibia & Southern Africa, Windhoek:

Gamsberg Uitgewers.

Sasman, Laura, `The Problem with Olufuko, Sister Namibia,

1st September, 2012.

083082

(Totonac)

. (Zoque)

,

2004

.

2014 .

2006

7

.

8

.

. (

)

.

.

.

,

.

, (living cultures)

.

.

,

. 2009

' (flyer)'

.

,

.

.

:

085084

,

.

. 2004

,

. (mytheme)

,

.

. (real

things) ,

, , ,

.

(: monad) ,

.

.

.

.

?

. 10

.

.

.

?

. (Ned Kaufman) (2013),

,

.

8

:

01 patrimony matrimony

, .

02

(Johnannes Neurath) .

patrimonio , heritage

01

matrimonio

. patrimony

, , ()

matrimony , ,

.02

patrimonio

.

patrimony

. matrimony

- -

patrimony

.

,

.

.

.

.

. (International Journal of Intangible

Heritage )

, '

, '

(Galla, 2008).

,

.

. 2014 50

.

(Uafa Mahania-Tuai, 2006: 15).

,

.

, ()

()

.

,

,

.

1

2 5

.

,

,

.

. (Mexican

Sea Cultures)

. 2

.

120. .

15 .

087086

,

1.

.

.

? ?

?

,

.

.

, ,

.

,

.

.

, , , , , ,

,

(praxis),

.

.

-

-

.

,

.

:

.

. .

.

1

, , ,

. ? .

.

.

.

.

. 2010

,

.

.

.

.

.

.

(Authorized Heritage Discourse)

1

(First Voice)

.

.

5 , 3 , 2

.

.

.

.

(Museum of New Zealand)

,

.

. 1

.

,

.

( o p t i c a l

difference)

.

(

.),

.

,

.

,

.

.

.

.

,

1,

.

.

.

?

.

.

. .

. .

--

(

.),

,

.

. .

2009

(Los voladores)

089088

.

.

.

,

.

.

. ,

,

.

. 18~38

,

(2009).

1964 9

.

(Totonacapan)

(Huasteca) (

.). 2000

. (caporal)

.

.

,

.

.

?

.

.

2

.

1

.

(Papantla) .

.

.

,

.

.

. ,

, ,

.

.

.

(

)

.

.

.

.

.

.

.

.

.

.

.

(Kaufman)

.03

.

.04

.

1

?

?

.

.

.

.

(praxis).

.

.

.

.

(Sun Stone),

.

.

.

.

.

.

.

.

.

1 .

.

.

.

? .

.

.

,

.

,

matrimony

.

03

(Kaufman, 26)

04 (Silvia Singer) (2006),

.

.

091090

Andrews, Charlotte and Dacia Viejo-Rose, Britt Baille &

Benjamin Morris, 2007, Conference Report: Tangible-

Intangible Cultural Heritage: A sustainable Dichotomy?

Annual Cambridge Heritage Seminar, International Journal

of Intangible Heritage, vol. 2, The National Folk Museum of

Korea. pp. 124-129.

Boylan, Patrick J., 2006, The Intangible Heritage: a

Challenge and an Opportunity for Museums and Museums

Professional Training, International Journal of Intangible

Heritage, vol. 1, The National Folk Museum of Korea. pp.

54-65.

Burden, Matilda, 2007, Museums and the Intangible

Heritage: The Case Study of the Afrikaans Language

Museums, International Journal of Intangible Heritage, vol.

2, The National Folk Museum of Korea. pp. 82-91.

Galla, Amareswar, 2008, The First Voice in Heritage

Consertavion, International Journal of Intangible Heritage,

vol. 3, The National Folk Museum of Korea.pp. 10-25.

Kaufman, Ned, 2013, Putting Intangible Heritage in its

Place(s): Proposal for Policy and Practice, International

Journal of Intangible Heritage, vol. 8, The National Folk

Museum of Korea. pp. 20-35.

Nomination for inscription on the Representative List

in 2009 (Reference No. 00175), Ritual ceremony of the

Voladores, Mxico.

Singer, Silvia, 2006, Preserving the Ephemeral: the

International Museums Day 2004 in Mexico, International

Journal of Intangible Heritage, vol. 1, The National Folk

Museum of Korea. pp. 68-73.

Smith, Rhianedd, 2009. Finding the First Voice' in rural

England: the Challenges of Safeguarding Intangible

Heritage in a National Museum, International Journal of

Intangible Heritage, vol 4, The National Folk Museum of

Korea. pp. 14-25.

Uafa Mahina-Tuai, Kolosesa, 2006, Intangible Heritage: A

Pacific Case Sutdy at the Museum of New Zealand Te Papa

Tongarewa, International Journal of Intangible Heritage,

vol. 1, The National Folk Museum of Korea. pp. 14-24.

Van Huy, Nguyen, 2006, The Role of Museums in the

Presevation of Living Heritage: Experiences of the Vietnam

Museum of Ethnology, International Journal of Intangible

Heritage, vol. 1, The National Folk Museum of Korea. pp.

36-41.

093092

.

.

, , ,

,

.

, ,

.

9

.

,

,

. ,

.

,

.

,

.

, ,

.

,

.

,

.

.

,

.

,

.

,

.

.

.

, ,

, .

,

.

.

,

.

.

,

095094

.

(thing) (doing),

(products) (process)

. ,

.

01 ,

.

,

.

.

,

.

,

.

.

,

. ,

.

,

.

.

.

, ,

,

.

,

.

.

9

,

01 (key word)

.

, , , ,

. ,

.

,

.

. 1936 8 31

,02 ,03

,04 05

.

, ,

. 1958 1

, 1961

.06 80

.

()

.07 , ,

.

.

.

.

,

.

,

. ,

,

,

.

.08

1

'09, '10,

(fake lore)'11, '12,

'13 .

.

02 .

,

. , , 36,

, 2009, 290.

03 1937 5 17 1

. , 1937 5 17.

04 1938 4 25 5 4 10

. 8 4 2 .

, , , ,

, .

,

.

,

. , 1938 3 24, 4

21, 4 25, 4 26, 5 1, 5 3 .

, , 292 .

05 1939 10 .

.

, 1939 10 10 .

06

,

.

, ,

. ,

, 303.

07 D. C. (the National Mall)

(the Smithsonian Folklife Festival)

.

. Robert Cantwell, Conjuring

Culture: Ideology and Magic in the Festival of American Folklife, J. A. F. 104,

1991. Peter Seitel, Magic, Knowledge, and Irony in Scholarly Exchange: A

Comment on Robert Cantwell's Observations on the Festival of American

Folklife, J. A. F. 104, 1991. William S. Walker, A Living Exhibition The

Smithsonian, Folklife, and the Making of the Modern Museum, Ph.D. diss.,

Brandeis University, 2007. , :

, ,

, 2012.

08 , ,

13, , 1996,72 80 .

09 , , ,

1990. 12. 1, 1; , , 45 . .

10 , , 46.

11 , , 21, , 1988,

301.

12 , .

13 , 33 : ,

, , 1992, 11.

097096

.14 15 ,

.

. ,

.

,

.

,

. ,

, .

, ,

.

.

.

.16

,

.

17,

18 .

.

,

19

.

,

. ,

.

.

,

.

,

.

.

.

.

.

.

.

.

,

.20

,21

.

.

.

,

. 1

.

.

,

.

22 .

.

,

.

.

. ,

.23

,

.

,

.

. ,

, ,

.

.

, , ,

.

,

. ,

2

.

.

.

. -

(Barbara Kirshenblatt-Gimblett)

(realness) .

.24

. , ,

14 , , , 1986, 192.

. ,

, 1 .

15 .

.

. ,

, 33.

16 , 54.

17 , 52.

18 , 53.

19 N. Harris, "The Divided House of the American Art Museum", Daedalus 128,

No. 3, The M. I. T. Press, 1999, p. 50; ,

: ,

, , 2012, 48 .

20

,

. ,

, 33.

21

. , : ,

56, , 2012.

22 , , 33.

23

,

. , :

, , , 1992, 409-410. ,

33 : , ,

, 1992, 15.

24 Barbara Kirshenblatt-Gimblett, "Objects of Ethnography", Ivan Karp & Steven

D. Lavine(eds.), Exhibiting Cultures, Smithsonian Institute Press, 1991, p.

389 & p. 420. , , 55.

099098

, , ,

.

.25

.

,

.

,

26

.

27 ,

28

. , , ,

,

.29

.

30 .

31

,

.

,

.

, 32

.

.33

34

.

.35

.36

.37

.

.

,

.

.

.38

, ,

.

.39

.40 ,

.

41

.

, ()

.

,

.42

.

. , ,

,

(authenticity)

.

.

,

. ,

,

,

.

,

.

.

.

.

.

.

.

, .

.

.

,

.

,

.

.

.

.

.

.

, .

, , ,

.

,

32

.

.

. ()

.

.

, , 70 71.

33 , 71.

34 -

. Barbara Kirshenblatt-Gimblett, "Intangible Heritage as

Metacultural Production", International Museum 56, no.1-2, Blackwell

Publishing, 2004; ,

-19~21

, , , 2012, 92

.

35 , , .

36 , ,

.

. .

, , 68.

37 , , , 2012, 382.

38 , 383.

39 , , 54.

40 , , 54-55 .

41 , , 382.

42 , , 55.

25 , , 91 .

26 , ,

, , 2012, 26.

27 , 28.

28 , .

29 , 29-32 .

30 2012 4 4 5 21 .

31 , -

, ,

, 2012, 68.

101100

.

, ,

, .

,

.

. .

.

,

.

.

.

,

.

.

,

.

.

.

.

. ,

.

.

.

.

.

,

. .

. , ,

, ,

,

.

.

.

.

.

(agency) .

,

.43

,

.

, .

, ,

.

,

.

,

.44

.

, .

.

, .

.

43 , : , ,

, , 2002, 247.

44 (contact zone)

. . Mary Louise Pratt, Imperial Eyes:

Travel Writing and Transculturation, Routledge, p. 6-7; ,

, , , , 2002, 256-

257 .

45 ,

. ,

.

.

.

.

,

.

. . ,

, 33.

,

.45

(appropriate)

.

- .

- .

- , , , 2012.

- , , 36

, , 2009.

- , 33 :

, - , , 1992.

- , , , 2002.

- , -

,

, ,

2012.

- , :

, ,

, 1992.

- , , , 1986.

- ,

, 13,

, 1996.

- , ,

21, , 1988.

- , :

, ,

, 2012.

- , ,

, ,

2012, 26.

- ,

, , , 2009.

- , :

, 56, ,

2012.

- , :

, , , , 2002.

- , , ,

, , , 2002.

- , , ,

, , , 2002.

- , , :

,

, , 2012.

- Kirshenblatt-Gimblett, Barbara, "Objects of Ethnography",

Ivan Karp & Steven D. Lavine(eds.), Exhibiting Cultures,

Smithsonian Institute Press, 1991.

103102

KEYNOTE SPEECHSmithsonian Folkways Recordings: The Role of Music in Blurring the Barriers of the Box

Daniel Sheehy Director, Smithsonian Folkways Recordings

THE 1ST SPEECHNegotiating Intangible Culture: Examples from the Ethnographic Museum of Istria

Lidija Nikocevic Director, Istria Ethnology Museum, Croatia

THE 2ND SPEECHKoreas Museums and Intangible Cultural Heritage - Now it is time to talk about people.

Chung Myungsub Head, Research Division, the National Folk Museum of Korea

THE 3RD SPEECHMuseum, the Cultural Bridge to Promote and Preserve Intangible Cultural Heritage :

Casestudy of Dharohar Museum, Haryana Shashi Bala Research Scholar, Department of Museology, National Museum Institute, Delhi, India

THE 4TH SPEECHTechnical Means and System Guarantee of Museum Protection and Inheritance for

Intangible Cultural HeritageTang Zhiqiang Head, Undertaking Development Department, China Agricultural Museum

THE 5TH SPEECHLearning from Intangible Heritage in Museums

Viv Golding Senior Lecturer, School of Museum Studies, Leicester University

THE 6TH SPEECHCherished Yesterday: Organizing Eco-museum Type Village Experience Program and Changing

Participants AwarenessKim Meegyeom Educator, Children's Museum Division, The National Folk Museum of Korea

THE 7TH SPEECHBeating the Drum : Introducing ICH in Namibian Museums

Jeremy Sylvester Project Planning and Training Officer, Museums Association of Namibia

THE 8TH SPEECHForced Landing : Finding a Way to Save the Gap between the Community and the Museum.

The Ritual of the Voladores (flyers), Mexico.Leopoldo Trejo Barrientos Curator, National Museum of Anthropology, Mexico

THE 9TH SPEECHExhibitions on Folk Performance: Possibility or Impossibility

Heo Yongho Lecturing Professor, Dongkuk University

SPEECH

105104

Smithsonian Folkways Recordings is the nonprofit

record label of the United States national museum, the

Smithsonian Institution. The Smithsonian is a complex

of nineteen museums and galleries and twelve research

and cultural centers, about which you may learn more by

visiting the website www.si.edu. The Smithsonians work

is guided by its institutional mission established in 1846

- the increase and diffusion of knowledge. Within this

expansive mission, each part of the Smithsonian answers

in its own way the questions The increase and diffusion of

knowledge-how, and to what end?

Smithsonian Folkways Recordings answers this question

with its mission of supporting cultural diversity and

increased understanding among peoples through the

documentation, preservation, and dissemination of

sound. Through the dissemination of audio recordings and

educational materials we seek to do two things - strengthen

people's engagement with their own cultural heritage; and

to enhance their awareness and appreciation of the cultural

heritage of others. Within the Smithsonian, we are paired

with the annual Smithsonian Folklife Festival, an event

launched in 1967 to honor and to bring to public attention

the keepers of intangible cultural heritage traditions

from many parts of the world. At the Folkife Festival, the

culture bearers speak for themselves in a presentational

environment designed to promote interaction among the

participants and audience members.

Given its mission, you may see how for Smithsonian

Folkways Recordings, the museum setting itself is more

a means than an end. So, with apologies, to accurately

reflect the work of Smithsonian Folkways, I need to change

the title of this conference just a bit - from The Role and

Utilization of Intangible Heritage in Museums, to The

Role and Utilization of Museums in [the Safeguarding of]

Intangible Cultural Heritage. While the audio recordings

held in our archival collections are used inside our museums

for a wide range of things - audio components of exhibitions,

science education curriculum materials, music on hold

when people are placed on hold during telephone calls, and

much more - our main presence is outside the walls of the

museum.

Smithsonian Folkways Recordings was born out of the

museum box - that is, with the purpose of engaging people

and cultural issues in settings located anywhere. We

distribute 48,000 tracks of music and sound originating in

more than 160 countries to people throughout the United

States and around the world. More than forty distributors of

physical product (CDs), digital music retailers such as iTunes

in 67 territories internationally, streaming services such as

KEYNOTE SPEECH

Smithsonian Folkways Recordings: The Role of Music in Blurring the Barriers of the Box

Daniel Sheehy Director, Smithsonian Folkways Recordings

Spotify, and subscriptions to libraries delivered more than

ten million tracks of audio to our audiences. Our collection

is comprised of eleven historical record labels, and we will

soon add the UNESCO collection, with its 120 volumes of

Traditional Music of the World, to our offerings.

In my view, our activities address one of the most pressing

contemporary challenges for museums - how to be relevant

to society - as well as its associated challenge of how to

reach people beyond our physical location. Maria Rosario

Jackson, an American researcher specializing in studies of

community cultural assets, has envisioned the challenges

and benefits of museums playing a more meaningful role in

civic life. She writes: Too often, they are on the sidelines

of civic lifethe museum field [faces] a noble challenge

- to stretch its boundaries, step away from the sidelines,

come to the center of civic life, and become a more

active participant and even a leader in social-capital and

community-building processes01 .

W hat does music have to do with social capi tal

and community - building? Music can be a powerful

communicator of social and cultural values and an attractive

invitation to public engagement. Music bonds, and music

bridges. Music has the potential to strengthen ties within

cultures, and to build understanding, mutuality, and empathy

across cultural differences. The product of these bonds and

bridges is a kind of social capital - shared values and ties

which enable and encourage mutually advantageous social

cooperation. In the case of Smithsonian Folkways, this

often means directly and deliberately working with people

who are themselves using music to express their identity

and aspirations in the public sphere.

Now I would like to share a bit of our Smithsonian Folkways

history and to explore a few examples of our work. As

the curator of our collections, my job is to develop, select,

and shape projects that we will take on, building on our

institutional legacy and complementing the strengths

and weaknesses of our collections. Our legacy flows from

Folkways Records, which came to the Smithsonian as a

collection in 1987. [Image 1.] In 1948, Moses Asch founded

Folkways Records as a private record label in New York

City. He was a visionary with an ambitious vision. With

a regular staff of one other person, he set out to create

an encyclopedia of humanity through recorded sound. By

the time he died in 1986, he had published 2168 albums of

music and sounds from around the world - averaging about

one album per week!

Asch had a special interest in publishing recordings of

music that were relevant to current issues. For example, in

the 1950s, the American public knew very little of cultures

from around the world, so he partnered with scholars such

as anthropologist Harold Courlander to make music of

many cultures available. In doing so, he set a standard for

future record labels to publish what would be called world

music recordings. One of these was the 1951 recordings

Folk and Classical Music of Korea, produced in collaboration

with Kyung Ho Park.02 The American Civil Rights movement

prompted many Folkways recordings of music that inspired

01 Maria Rosario Jackson, Coming to the Center of Community Life, in Mastering Civic Engagement: A Challenge to Museums. Washington, D.C.:

American Association of Museums, 2002, p. 29.

02 http://www.folkways.si.edu/folk-classical-music-of-korea/world/album/smithsonian: Shin Tan Ga-Chok Byuk Poo (New Song-A Ballad of Chok

Byuk), from Folk and Classical Music of Korea. Folkways Records FE-4424,

1951. From Ethnic Folkways Library, Harold Courlander General Editor.

Introduction and Notes by Kyunk Ho Park.

Image 1.

107106

it03 During the war in Vietnam, Folkways published Music

of Vietnam in 1965 and Folk Songs of Vietnam in 1968.04

Today, we both keep this legacy alive and build on it. At our

website, www.folkways.si.edu, you can hear samples of

that 1951 recording from Korea and download it, or order it

as a custom-made CD.

In building on this legacy, my own philosophy as curator is

to prioritize recordings with great music and a great story.

What do I mean by great music and great story? By great

music, I mean music performed at a high level of standards

determined by the culture of which it is a part. By great

story, I mean music that has a compelling extra-musical

role - for example, bringing to public attention a culture with

a future threatened by globalization, countering cultural

inequities by reinforcing a minority cultures identity, adding

momentum and meaning to a cultural movement, bringing

people together across cultural barriers, or amplifying a

little-known cultural story that needs to be told.

The recording Soy Salvadoreo! Chanchona Music from

Eastern El Salvador is a good example of what I mean by

great music with a great story.05 [Image 2.] The music is a

mountain tradition, with its loose-jointed and undeniably

joyous sound rooted in rural country life. It is performed by

members of an accomplished, respected family of musicians

steeped in the tradition for four generations. They play in

the style of their community and their ancestors, and they

do it well. The spirit behind the music is the same rural-life

spirit behind its name - chanchona means 'big sow pig' and

was playfully applied to the music around 1960 in reference

to the homemade string bass that anchors the group.

The 'story' is that of a community from the eastern

department of Morazn, severely battered by El Salvadors

civil war of the late 1980s and early 1990s. Forced by

poverty and violence to leave their homes, many emigrated

to Washington, D.C., and the surrounding area in the states

of Virginia and Maryland. In their new home, their neighbors

know little about them, their plight, and their music. This

recording is the first recording of chanchona music with

educational notes that tell their story. A central theme

of their story is the cultural and social power of music to

bond them together. In their own words, when they hear

their music, they feel 'at home,' no matter where they may

be.06 The story here, then, is about the culture and values

of a recent immigrant group to the United States, and the

power of music as a means of building a strong sense

of community. It also introduces the broader public and

schoolteachers to a little understood immigrant community

in an enticing way.

In eastern Uganda, a group of people call themselves the

Abayudaya - 'People of Judah,' in the Luganda language.

In 1919, under the guidance of their leader, the entire

community converted to Judaism. This conversion brought

many challenges - especially under the repressive regime of

dictator Idi Amin in the 1970s - as well as spiritual rewards.

The Abayudaya have long sought to live their cultural

and spiritual lives in peace and to connect with, and be

recognized by, the larger world of Judaism. About ten years

ago, an ethnomusicologist and rabbi, Dr. Jeffrey Summit

of Tufts University, came to us with a project to publish a

CD offering a glimpse of the musical life of the Abayudaya

and telling the story of their cultural aspirations. Two years

later, the CD was released. [Image 3.] Much to everyones

delight, the recording was nominated for a GRAMMY

award - the American music industrys highest honor - for

Best Traditional World Music Album. This public visibility

aligned with the communitys desire to be recognized

more broadly as a unique, Jewish people. Several years

later, the royalties generated by the sale of the CD paid for

scholarships that enabled several of their young people

to go to college. The recording project clearly helped the

community tell its story to a broader public and to build

pride in their heritage.07

In the South American country of Colombia, the eastern

tropical plains region bordering the Orinoco River and

Venezuela historically was distanced from mainstream

national cultural life and the 'cultural capital' of Bogot

in the Andean highlands. A local musician, educator, and

plains cultural consultant, Carlos Rojas Hernndez, was

eager to raise the national and international profile of his

music and regional culture that he felt had been neglected

and unrecognized in the cultural life and identity of his

country. The regional music had emerged as a national

musical icon of neighboring Venezuela in the 1950s, further

overshadowing its presence in Colombia. [Images 4 and 5.]

Collaborating with our Smithsonian Folkways team, Rojas

produced an album of plains music demonstrating three

generations of traditional musical style. The album, S Soy

Llanero! Joropo Music from the O