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Z prac nad powstawaniem Muzeum Pamięci Sybiru w Białymstoku
The article presents the stages of creating the largest and the most modern narrative mu-seum in Podlaskie Voivodeship, confronting this initiative with the condition of museology in Poland. In the era of the progressive development of museum institutions, selected pro-jects implemented by the newly created Sybir Memorial Museum were also described, with particular emphasis on those projects that use the potential of the new technologies sector.
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The article presents the narrative method and the tools of communication about the history of the Kashubians in a new cultural institution in Pomerania and Kashubia — Professor Gerard Labuda’s Library belonging to the Museum of Kashubian-Pomeranian Literature and Music in Wejherowo. Years ago, it was this researcher from Kashubia who established that when starting a scientific study of the history of Kashubia, one should write about the history of the Kashubians as the history of the community and the Pomeranian Ethnos. The team preparing the permanent exhibition at the Library also followed this narrative method.
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The article discusses the forms of presentation of the pre-war German heritage in selected museums in Wrocław and Szczecin: The Depot History Centre in Wrocław, Wrocław City Museum, The National Museum in Szczecin — The Dialogue Centre Upheavals and the Szc-zecin History Museum. The authors analyze the visions of the community and Polish-German relations emerging from the exhibitions. The focus is also put on the affective reactions elicited by the created narratives and selected means of expression — objects/ props — that are used to construct the exhibitions. Finally, the authors propose concepts of adoption and absorption and apply them to define the formulas of heritage representations.
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The present Princes Czartoryski Museum is the oldest museum in Poland. It was founded on the initiative of Izabela Czartoryska, a well-known collector and patriot. In her efforts she was accompanied by Tadeusz Czacki who contributed significantly to the creation of the museum. Thanks to his involvement, the museum received and saved items belonging to famous Poles, including Polish kings, taken from the crypts of the Wawel Cathedral or the Royal Treasury. Although we are not always sure whether the objects acquired and donated by him to the museum are authentic souvenirs or ashes of famous Poles, we should appreci-ate his contribution to creating this splendid collection.
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Juliusz Zborowski was the first director of the Tatra Museum. He was in charge of the insti-tution from 1922 to 1965 and thanks to his active involvement he is considered today to be an important figure in the history of Polish museology. The Tatra Museum became a model for regional museums to follow during the interwar period (1918-1939). At first, it was run by an informal organisation of enthusiasts. In 1950 the Museum became a state institution, which resulted in gradual structural and management changes. This article describes the ethnographic collection in the Tatra Museum and the process of its development from the aftermath of the Second World War until the institution was nationalised. During this period, Zborowski tried to acquire smaller private collections and single items. He wanted to gather the region’s earliest folk arts and crafts. He created a catalogue which contains numerous sheets of paper with hand-written notes providing details of the museum’s artefacts. It remains an important source of knowledge. He corresponded with numerous researchers from all over Poland. This correspondence formed a collection of more than 8000 letters and provides an interesting framework to study the process of collecting at that time. Zborowski was very consistent and his professional aims didn’t change during the time when he worked as a director. He tried to keep the research activities of the institution alive. Looking back, Juliusz Zborowski was a pioneer of Polish museology thanks to his work methods which tried to encourage not just educational but also greater research activities at the museum. These continue to be adopted and provide inspiration for contemporary museologists in Poland.
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The article is devoted to the areas of research on historical watch chains, the basis of which is a unique collection of watch chains displayed in the Regional Museum of the Limanowa Region. The complex and so far unexplored issues of the symbolism of watch-chains in mu-seum collections require careful study, thanks to which it will be possible to fully prove that these are objects that constitute important determinants of semiotic changes in material culture. Even the preliminary analysis of the available sources and a few studies indicate the need to verify the existing definition. It also signals the need for in-depth studies on the relationship between the typology, function and meaning of foreign watch chains in vari-ous historical periods and the development of culture, thanks to which it will be possible to develop an innovative research approach to jewellery and material culture. The basis for this is the assumption that watch chains, like no other everyday jewellery became not only a showcase, a hallmark, an expression of attitudes and values, but also a talisman of the owner.
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The article examines the process, methods and results of a 3-year-long research project (2016-2019) concerning the 19th century Siberian collection from the resources of the Ethnographic Museum in Kraków which was donated by political prisoners, scientists and travellers. The authors discuss how the contemporary knowledge of many local experts from differ-ent ethnic groups (such as local residents, reindeer herders, whale hunters, museum staff, donators’ families) combined with archival sources could help to understand the unique connections between the past and the future of such heritage and its consequences in our lives. After the research, the collection is now accessible in a digital repository along with audio and visual materials from the fieldwork and the available archive data. Some of the stories are presented also in the exhibition “Siberia. Voices from the North”.
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The article examines the process, methods and results of a 3-year-long research project (2016-2019) concerning the 19th century Siberian collection from the resources of the Ethnographic Museum in Kraków which was donated by political prisoners, scientists and travellers. The authors discuss how the contemporary knowledge of many local experts from differ-ent ethnic groups (such as local residents, reindeer herders, whale hunters, museum staff, donators’ families) combined with archival sources could help to understand the unique connections between the past and the future of such heritage and its consequences in our lives. After the research, the collection is now accessible in a digital repository along with audio and visual materials from the fieldwork and the available archive data. Some of the stories are presented also in the exhibition “Siberia. Voices from the North”.
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KrakówThe article takes the readers behind the scenes of the changes made to the permanent exhibition of the Ethnographic Museum in Krakow at the end of 2020. A separate space en-titled “Who Can Afford?” has been created in two exhibition rooms in the Museum’s main building. Instead of generalising about “folk culture” and “the people”, the curators relate a story about different people comprised of individual cases, actual human fates, and very disparate experiences — silent, forgotten. This way, the ethnographic collection becomes the key to talking about the idea of legacy — the often troublesome inheritance from our ancestors and the emotions associated with stepping into the ambiguous role of heirs.
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This article is about the issue of education in museums during the pandemic period, both when museums are completely closed to visitors and during their temporary opening as well. The dynamic development of the situation, which surprised everyone, influenced mu-seum’s activities. However, they made an attempt to adapt to the prevailing conditions and constantly implemented their statutory assumptions, including education. So educational activities were largely undertaken online, using all technical and digital solutions. However, museologists have often faced the dilemma of how to „remotely” pass the knowledge on, for example, regarding exhibits, and how to reach various types of recipients, both children, adults and seniors.
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In recent years, we have observed a gradual change in the way of defining the social role and responsibility of museums (and more broadly — cultural institutions). The signals of this change are, for example, discussions on the new ICOM museum definition, or publications proclaiming a shift towards the model of institutional activism. Although we are used to perceiving museums as specializing in issues of long duration and not in activist involve-ment in contemporary challenges and problems, the climate crisis appears to challenge that way of perceiving institutional responsibilities. The informal activist group Culture for Climate made an attempt to turn these postulates into institutional practice. The article analyzes the practical consequences of such a paradigm shift for museums and attempts to capture the significance of this change for the museum sector, and more broadly — for the entire heritage sector.
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The article is a result of cooperation of the academician and the practitioner, both dealing with development of cultural staff and culture management. The aim is to create ecoverve in the culture sector and research on it, understood as practical activities in the face of the climate-ecological crisis. The paper outlines the history of sustainable development, diag-noses the severity of the crisis and presents international community attempts of managing it, also in Poland. The theoretical part ends with considering the meaning of „sustainable development” and its links with culture. The empirical part exemplifies ecoverve in culture, basing on an autoethnographic study of creating two current publications on „greening” of the sector, deepened by a free interview with their author, as well as signalizes ecoverve in museums. The summary is replaced with a manifesto emphasizing the cardinal role of making culture management, in all its senses, both sustainable and sustainabilizing.
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The events that we witnessed in the summer of 2021 — downpours and floods in Germany, fires in Turkey, a heatwave in Canada, or the tornado in the Czech Republic — are examples of extreme phenomena that we cannot say do not concern us, because they are happening somewhere else or they affect someone else. The spatial distance that has so far separated us from the effects of climate change is narrowing. The article is an attempt to answer the ques-tion of how a museum can structure its message in order to engage the public in mitigation and adaptation activities to prevent climate change. Using the example of the Water Museum in London, I discuss the features of effective communication. Effective communication is one that meets two key characteristics — credibility and relative relevance.
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The IPCC Report on the Future of Climate Change, published in August 2021, leaves no doubt that everyone must work to reverse deadly trends. Museum institutions also share responsibility for the future of the planet, and their raison d’être also depends on it. Only a fragment of museum activities that are or may be undertaken in order to participate in saving the Earth is mentioned in the text. They concern the last and seemingly the least important link in museum activities — the shops and souvenirs offered there. The ways of thinking and organizing the sales of souvenirs were indicated, as well as arguments to counteract excessive consumerism, which was treated as the implementation of the mission and essence of museology.
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The IPCC Report on the Future of Climate Change, published in August 2021, leaves no doubt that everyone must work to reverse deadly trends. Museum institutions also share responsibility for the future of the planet, and their raison d’être also depends on it. Only a fragment of museum activities that are or may be undertaken in order to participate in saving the Earth is mentioned in the text. They concern the last and seemingly the least important link in museum activities — the shops and souvenirs offered there. The ways of thinking and organizing the sale of souvenirs were indicated, as well as arguments to counteract excessive consumerism, which was treated as the implementation of the mission and essence of museology.
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The article deals with the problem of the calendar mythological basis of a popular Bulgarian folk ballad. In it, the transition from one time cycle to another is described through a series of semantically isomorphic situations-clichés of a realistic and logically possible plot – a shortage of Time, presented as a lack of money for a cosmological “construction”; the sale of the wife to an ethnically and religiously foreign buyer who turns out to be her brother. When the same brother realizes that he has bought his sister to be his wife, he returns her to her husband and does not claim the money (leaving it as a gift). The total inversion of signs and situations characteristic of the ritual allows the introduction of the supposed threat of incest while the typical for the Bulgarian wedding “bridal ransom” paid by the groomsman (brother or fellow man to the groom) is attributed to the wife’s brother. In the end, the plot of the First Marriage, which must be renewed at every subsequent calendric transition, is of biggest importance to the song’s invariant. Essential to the analysis are the names of the characters that are related to certain dates in the mobile model of reconcilement of the lunar and solar cycles in the earliest period of formation of Bulgarian folklore (IX–X century).
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