摘要:

You have also avoided contemplating the cultural heritage and its depositories, such as museum, from the sole viewpoint of material preservation, but have rather regarded them first and foremost as a means of educating and enriching the lives of people, and as the most obvious expression of cultural identity.

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00364.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

摘要:

The article below was prepared by Museum entirely on the basis of contributions requested from Marta Arjona, Director of the Cultural Heritage, Cuba; Frances Kay Brinkley, a volunteer museologist in the eastern Caribbean; Fernanda de Camargo‐Moro, Director‐General of Museums, State of Rio de Janeiro; Roderick C. Ebanks, Director of the Museums and Archaeological Division, Institute of Jamaica; Manuel Espinoza, Director of the National Art Gallery, Caracas, Venezuela; Felipe Lacouture, Director of the National Museum of History, Mexico City; Luis G. Lumbreras, archaeologist and former Director of the National Museum of Anthropology and Archaeology, Lima, Peru; Aloisio Magalhaes, Secretary of State for Culture, Brazil; and Grete Mostny, Director of the National Museum of Natural History, Santiago de Chile. The various contributions were sent to the UNDP/Unesco Regional Project for the Cultural Heritage at Lima, Peru, where Miss Juana Truel, a linguist and specialist in comparative literature associated with the project, prepared an initial synthesis.The contributing authors have been in the forefront of the museum movement in Latin America and the Caribbean; many of them are already well known to professional colleagues. Because of the role they play today—whether locally, regionally or internationally—in museum curatorship, management and exchange or in the formulation and execution of national heritage protection policies, Museum asked each of these specialists to send us a few pages on the ‘state of the art’ on the Latin American and Caribbean museum scene. In view of the forthcoming World Conference on Cultural Policies (Mexico City, 26 July–5 August 1982) we asked these authors to explore the problems of museums with particular reference to cultural policies in their countries. Each replied in his or her own terms. The synthesis that follows is neither a thorough objective survey of the situation as it is today nor a blueprint for the future. We hope, however, that it captures the pulse of museological life in the region, whose museums face challenges that are similar to those found throughout th

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00365.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

摘要:

In Latin America and the Caribbean—as throughout the developing world—the overriding museum problem is the lack of funds.Their poverty explains why most museums operate as static institutions, incapable of reaching out to the community of which they form a part. The same complaint from museum directors and staff can be heard time and again: ‘We can't do anything because we haven't the money.’ Many simply cannot afford to employ the necessary qualified staff; while others, which do have staff skilled in modern museological techniques, find that their projects are thwarted because they do not possess the means to set up their exhibitions properly or store their collections in suitable conditions. Museums are more often than not unable to acquire new objects or establish efficient security systems.Some countries with a rich historical tradition—especially pre‐Columbian—are more inclined to allocate a share of their budgets to archaeological museums, since the authorities regard them as tourist attractions and consider that any increase in tourism means earnings for the country. This argument is not valid, however, for all countries and, more important still, side‐steps the real role of the museum: an educational establishment designed for the community. It strengthens our conviction that museums will receive adequate financing only when governments recognize how important they are and that the object of every museum (whether it deals with history, science, technology or natural history) is to present all aspects of the country's cultural identity and its development. Museums will be allocated sufficient funds—of the same order as those earmarked for health, education and social welfare—only when governments consider them to be part of the country's integral development.Unfortunately, there is no detailed comparative analysis based on concrete financial data of how funds are allocated to museums in the various countries. As a general rule, the budget for state museums is taken out of funds allocated to the ‘cultural sector’ as a whole, some of which are earmarked for museums. The amounts vary according to the priorities established for each country's cultural sector.Significant changes have nevertheless occurred in recent years. In Brazil and Venezuela, for example, the government has given substantial financial support to museums. In Ecuador and Colombia museum activity has been encouraged by contributions from the state and private banks alike. The private sector is now more aware of the value of museums, and its help in financing them is increasing, albeit in an ad hoc and sporadic way.Financing is also a field in which museologists need to receive specific training. Ideally, economists and managers should always be part of the team administering a museum. As Jacques Rigaud pointed out at ICOM's Twelfth General Conference in Mexico City, ‘the time has come to proclaim this truth: museums have become enterprises in the fullest and most modern sense of the word. Here again, their lot is not very different from that of other cultural institutions committed to creativity, conservation, and dissemination, and faced with the same managerial problems, whether it be in the field of the theatre, of audio‐visuals, or of multiple cultural activities. In every case it is difficult to gain acceptance of the idea that cultural institutions are both original entities because of their objectives and also, in a certain way, enterprises, that is to say communities for work and exchange, with an autonomous responsibility for combining all the means available to achieve their goals.’Ecuador and Venezuela—one with a struggling economy and the other a member of OPEC—both provide interesting examples of how the museum sector can break the vicious circle of finance. Sergio Durán Pitarque, Deputy Director of the Museums of the Central Bank of Ecuador, and Belén Rojas Guardia, Deputy Technical Director of the National Art Gallery in Caracas, responded to Museum's request for information. Somewhat condensed ver

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00366.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

摘要:

It is certainly an enomous responsibility to discuss museum organization in Latin America and the Caribbean in one short article. Fernanda de Camargo‐Moro, who has considerable professional experience in her own country, Brazil, and more than passing acquaintance with various programmes in other parts of the continent, stresses that the views she expresses below are highly personal and still evolving, as is the entire process of museology in the regio

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00367.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00368.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00369.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

摘要:

ICOM's stake in the development of museums in Latin America and the Carribbean goes back to the very beginnings of that organization. Its Twelfth General Conference in Mexico strengthened ICOM's presence in the region, boosting its membership there, placing a heavier demand both on its Paris‐based secretariat and on the capacity of Latin America's museologists themselves to work together more effectively in the cause of the institution they serve.Focusing as it does on the Latin American and Caribbean variants of a worldwide problem—the still inadequate place of museums in contemporary cultural development and cultural policy—this issue is in a sense a manifesto for the whole international museum movement. This is why Museum sought the views of Luis Monreal, whose direct contacts with museums in Latin America have multiplied in recent years. He has read through the articles in this issue as a highly committed observer; he speaks not exlusively as ICOM's Secretary‐General, but also as a colleague and friend of Latin American and Caribbean museum profes

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00370.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00371.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00372.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00373.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY