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OPPORTUNITY TO JOIN EYCH EVENT IN SEE REGION

Mon, 23 Apr 2018 18:31:00 +0200

Europa Nostra Serbia, Institute for Protection of Cultural Monuments Novi Sad and Faculty of Sport and Tourism Novi Sad, in partnership with Edinburgh World Heritage, Europa Nostra and Global Observatory on Historic Urban Landscapes, invite early career professionals from across Europe to apply to the Open Call for participation in the International Summer Academy “Managing Historic Urban Landscapes”, which will take place from 5th-12th August 2018, in Petrovaradin, Novi Sad, Serbia. The International Summer Academy on Management of Historic Urban Landscapes will address challenges, complexities and development paths for managing historic urban landscapes in a multifaceted way, combining theoretical lectures, practical workshops and on site training. From 5-12th of August 2018, young experts will work on site in Petrovaradin with some of the leading practitioners, theoreticians and experts in the field of heritage management coming from across Europe, as well as key local stakeholders. We are looking for 25 professionals and postgraduates up to 40 years old whose work relates to cultural heritage protection, management and interpretation, cultural tourism, architecture, urban planning and urban regeneration, as well as related areas. The participation fee and accommodation are free of charge for selected participants thanks to the support by the Headley Trust and the European Capital of Culture Novi Sad 2021. The Summer Academy is part of the project Case Petrovaradin: Managing Historic Urban Landscapes, and is run within the framework of the Novi Sad 2021 European Capital of Culture and European Year of Cultural Heritage 2018. The deadline for applicants is 15th of May 2018. Call for Applicants Application Form Project Information

Bomavé's travelling museum

Mon, 23 Apr 2018 17:40:00 +0200

Since 2016, with support from UNESCO, Burkina Faso has conducted a major campaign to inventory its intangible cultural heritage. When I led the team in charge of conducting the inventory in the Balé province, we discovered a sacred mask sculpting technique practised by the Konaté family in the village of Oury. That was when I met sculptor Bomavé Konaté, named a ‘Living Human Treasure’ by Burkina Faso in 2015. Bomavé Konaté is the oldest member of the Konaté family and therefore the keeper of the mask-making tradition. After our first encounter, I returned to Oury to talk more with the sculptor about the sacred mask tradition. He showed me a neglected hut where he keeps masks and statues that have been used in rituals and returned to their creator. Bomavé Konaté also explained that among the Konaté blacksmith-sculptors, every head of the family has a hut where he stores objects that have been returned to him. I was deeply troubled by seeing objects of such great cultural value suffer this fate, at the mercy of dust, sun, and rain. When I shared my dismay, Bomavé told me of his ambition to create a place where these objects could continue to have a voice. After talking with the sculptor at length about the tradition of sacred masks and how to preserve, honour, and share them, I raised the possibility of creating a museum to provide these objects with a new setting in which they could express themselves and to share the accompanying stories, tales, and legends with future generations. Bomavé Konaté shared my enthusiasm for this project and we decided that this ‘Living Arts Museum’ would be built in Boromo, capital of the Balé province. Since the project is costly, we have created an exhibition, Bomavé's travelling museum, to promote the museum's creation, explain its concepts, and meet with potential investors and partners. As we cannot manage the project alone, anyone who would like to help make it a reality can become a partner by signing a mutual agreement. The museum's exhibitions will then be created based on a consensus. Bomavé's travelling museum includes 20 assembled masks worn by mannequins and accompanied by musical instruments (drums, flutes, and balafons). The pieces are accompanied by an explanation of the different functions of the mask, its provenance, and the stories, tales, and legends associated with it. With workshops run by Bomavé Konaté, Bomavé's travelling museum also provides an opportunity for people to come together and learn how to sculpt wood. Finally, talks and discussions are organised to promote the creation of the Living Arts Museum. The ‘crazy’ mask is the only one designed to look like a person but with a horn on its head. It symbolises strength, joy, and freedom. It is said that to live well, one must live like a ‘crazy’ person. But a ‘crazy’ person is different from a person with mental problems. A crazy person possesses the spirit of a higher power that human beings cannot see. It is said that only crazy people tell the truth. ©Alban Kaboré The ‘monkey’ mask is the oldest mask and symbolises evolution. All human beings, regardless of gender, title, social class, etc., must learn to evolve. ©Alban Kaboré A transverse flute and three straight flutes (1), an arc balafon and a flat balafon (2), two armpit drums and a long drum (3): these traditional musical instruments accompany the mask whenever it appears. ©Alban Kaboré Sacred mask sculpture in Burkina Faso In Burkina Faso, the blacksmith is the master of iron and fire. His community turns to him as a last resort to resolve situations such as family and territorial disputes, to cast or remove a spell from a person, place, or thing, or to purify the village. Because of this, the blacksmith holds a unique cultural rank and makes sacrifices to decide between disputing parties. The blacksmith is also in charge of making the daba, a tool farmers use to plough and weed their fields. With a wooden handle on top attached to an iron spade sculpted by the blacksmith, it is an essential tool in these primarily agricultural communities. In addition to working with metal, blacksmiths also know how to work with wood and sculpt masks for their own families or families from other communities. Blacksmith-sculptors do not sign their masks, and despite the challenge of making them, ask only for a chicken in exchange. The chicken is then used in rituals to sacralise their work and the objects they make. Masks, just like African statues, are seen as beings that borrow human bodies to speak, and exchanging them for money is strictly forbidden. This rule also holds true for the sculptor. Objects used in cultural rituals must be desacralised before they can be exchanged. Anyone who possesses these cultural objects and no longer wants to perform the rituals associated with them must send them back to the person who made them. That is why many blacksmith-sculptors like Bomavé Konaté have a large number of masks and statues in their possession. The Institut Français in Ouagadougou was scheduled to host Bomavé's travelling museum this May for a one-month exhibition. However, due to a terrorist attack on 2 March that took place near the exhibition site, visitors will have to wait until September 2018 to walk among Burkina Faso's sacred masks. We then hope to bring Bomavé's travelling museum to as many countries as possible in order to share the idea of a Living Arts Museum with a wider audience. ____________ Born in 1958 in the village of Oury, 30 km from the city of Boromo in Burkina Faso, artist Bomavé Konaté comes from a family of blacksmiths. After choosing to work with wood rather than iron, he became an iconic figure in Burkinabe sculpture. In 2015, Burkina Faso's Ministry of Culture, Arts, and Tourism named him a ‘Living Human Treasure’. This honour is the government's recognition of those who possess knowledge and expertise they can share with future generations. Alban Kaboré was born in 1978 in Divo, Côte d’Ivoire and completed secondary school in Burkina Faso. After several years of working odd jobs, travelling, and two years of training at the National School of Administration and Magistracy (ENAM) in Burkina Faso, the culture enthusiast obtained a degree as a museum docent. Alban Kaboré currently works at the Regional Office for Culture, Arts, and Tourism in the Boucle du Mouhoun region, in Dédougou. As part of an office that supports local initiatives and the culture and tourism industries, his mission is to assist cultural and tourism actors in developing their projects. If you would like to receive more information about this project, to support the creation of the Living Arts Museum, or to host Bomavé's travelling museum in your country, please contact Mr Alban Kaboré at kaborealban@gmail.com. Tel: +226 70 96 65 24

NEWSLETTER, WINTER 2017/2018

Thu, 19 Apr 2018 21:28:00 +0200

Forward from the ICR Chair, Irena Žmuc.

Declaración sobre la Independencia de los Museos. iPublicado!

Mon, 16 Apr 2018 13:35:00 +0200

Declaración sobre la independencia de los museos

París, el 27 de marzo 2018 La función de los museos es preservar, interpretar y promover la herencia natural y cultural de la humanidad. Como lo expresa el primer principio del Código de Deontología para los Museos del ICOM, los órganos rectores y todos los interesados por la orientación estratégica y la supervisión de los museos es proteger y promover este patrimonio, así como los recursos humanos, físicos y financieros disponibles a tal efecto. En este sentido, el Código de Deontología para los Museos del ICOM promueve la responsabilidad social, la independencia y la libertad científica, la tolerancia, y el respeto mutuo, sin comprometer los estándares profesionales de los museos. Como lo expresa la Recomendación relativa a la protección y promoción de los museos y colecciones, su diversidad y su función en la sociedad, aprobada por la UNESCO en 2015, los museos son espacios para la transmisión cultural, el diálogo intercultural, el aprendizaje, el debate y la formación. Por lo tanto, los museos desempeñan una importante función en la educación, la cohesión social y el desarrollo sostenible, y encierran un gran potencial de sensibilización del público acerca del valor del patrimonio cultural y natural y la responsabilidad de todos los ciudadanos de contribuir a su cuidado y transmisión. Independientemente de sus fuentes de financiación y modelos de gobernanza, los museos deben mantener el control sobre el contenido y la integridad de sus programas, exposiciones y actividades. Las actividades generadoras de ingresos no deben comprometer los estándares de una institución o perjudicar a su público (Principio 1.10 del Código de Deontología para los Museos del ICOM). El alto nivel de integridad y autonomía profesional e institucional de los museos no debe ponerse en riesgo por intereses financieros o políticos. Ver declaración>>

ICME News 84 - NEW LOOK!

Mon, 16 Apr 2018 12:35:00 +0200

Dear colleagues and friends, Welcome to our new look News! After some time working on the News in a variety of formats, we’ve decided that handing the layout over to a professional would help our News look up to date: fresh, focused, and contemporary, for a fresh, focused, and contemporary ICME. Let us know what you think – we think it looks amazing, and we hope it will make it more fun and worthwhile for you to read. Alongside the new look, we’re working on developing a regular structure for the News, with regular features and sections to keep you up to date with what is going on in the world of Museum Ethnography. Please contribute: the News is what you make it, after all.

Jen Walklate, ICME News editor

ICME News 84 (PDF)

CALL FOR PAPERS

Wed, 11 Apr 2018 21:36:00 +0200

ICR and ICTOP are joining forces and calling for papers for Annual Conference taking place in New Zealand in November 2018.

Universidad de California devuelve voluntariamente a Colombia pieza de su patrimonio paleontológico

Thu, 05 Apr 2018 15:48:00 +0200

Tomado de Cancilleria - Gobierno de Colombia>>

La entrega se hizo en presencia de (de izq. a der.) el doctor Mark Goodwin, Subdirector del Museo de Paleontología de la Universidad de California – Berkeley; Diana Páez, Cónsul (e) de Colombia en San Francisco; Marcela Gómez, Funcionaria del Servicio Geológico Colombiano; y Charles Marshall, Director del Museo de Paleontología de la Universidad de California – Berkeley.

Berkeley (mar. 26/18) Un cráneo de la especie Callawayasaurus colombiensis, el primer bien patrimonial de su tipo en ser repatriado a Colombia, fue devuelto, el 21 de marzo, de manera voluntaria por la Universidad de California en Berkeley a Marcela Gómez, funcionaria del Servicio Geológico Colombiano, en presencia de la Cónsul (e) del Consulado de Colombia en San Francisco, Diana Páez.

La pieza entregada en el Museo de Paleontología de la Universidad constituye un importante aporte para la ciencia y la historia de Colombia que enriquece el patrimonio nacional y la paleontología del país.

La devolución voluntaria y las acciones necesarias para facilitar el retorno seguro de esta pieza fueron gestionadas por el Ministerio de Relaciones Exteriores de Colombia a través de la Dirección de Asuntos Culturales, el Consulado en San Francisco y el Servicio Geológico Colombiano, entidad encargada de la protección y salvaguarda del patrimonio geológico y paleontológico de la nación. La pieza llegó a Colombia el 23 de marzo y se encuentra bajo el cuidado del Servicio Geológico Nacional

Su descubrimiento se produjo el 11 de enero de 1945 durante una expedición realizada en nuestro país por geólogos del Servicio Geológico Colombiano, de la Tropical Oil Company y de la Universidad de California, luego fue enviada el 2 de mayo de 1945 en calidad de préstamo para ser estudiada por expertos del museo geológico de la Universidad de California en Berkeley.

Esta pieza, entregada de manera voluntaria a Colombia por la Universidad de California – Berkeley, se considera clave por ser la primera de su tipo en ser repatriada al país.

Mas información >>

The ICOM Publishing Manual: a new reference tool for members

Tue, 03 Apr 2018 17:22:00 +0200

Committees and Regional Alliances, if you are considering launching a new publication and need assistance with this complex process, look no further than this complete guide to producing a successful publication. The ICOM Publishing Manual provides a set of chapters with practical content on each step in the publishing process, addressing both print and digital publications, and all formats from e-newsletters to book series. Throughout the manual you will find details on editorial standards, tips on graphic design, contractual and copyright considerations, advice on indexing and referencing, and much more.

The manual also explains how you can make the most of the ICOM network when promoting and distributing your publication, and ensure consistency with ICOM‘s identity and standards.

We hope these guidelines will facilitate the publishing process for you and foster the ICOM network’s editorial activities, which contribute to the development of expertise in the museum field. The manual will be updated regularly, so don’t hesitate to share any comments or questions you might have with the publications team at: publications@icom.museum

Download the ICOM Publishing Manual in English here. French and Spanish editions will follow soon.

Guernika Peace Museum celebrates its 20th Anniversary

Thu, 22 Mar 2018 13:28:00 +0100

Guernika Peace Museum celebrates its 20th Anniversary!

Program and activities:

* The present of the past: introductory course to memory studies. April 6 and 7 at the Gernika Peace Museum.

* Historical recreation "Gernika at that spring time": Recreation of the life of Gernika on April 8, 1937. Plaza de los Fueros, all day on April 8, 2018

* Memoritour: Free guided excursions to know the places and monuments in memory of the victims of the Civil War. (May 13, June 3 and September 16)

* Art, memory and public space "Seminar on June 1 and 2, 2018 at the Gernika Peace Museum. With the presence among others of Johan Gerz, Hoheisel, Jesus Alonso, Maria Chiara Bianchini, Dominique Trouche ...

* Latest books published by the Museum of Peace of Gernika Memories of stone and steel, The bombings in Euskadi; Memories of war, peace projects

www.museodelapaz.org

CALL FOR ICME 2018 FELLOWS

Wed, 21 Mar 2018 10:04:00 +0100

Applications are invited for three (3) ICME Fellows, who must be individual members of ICME from developing nations or ICME youth members (under 35 years of age), to join the 2018 ICME conference and post-conference tour. Read more...