Museum and Tourism

The main purpose of the museum is to amaze the new generation and to show how life was like back then. There were many things I was amazed by of how people survived the passed. Nowadays people can't stand a day without internet, but back then people stay days without eating and managed to survive. This explains why the latest generation is lucky to be living in this generation. Mostly the museum purpose is to entertain the

In December 2002, the directors of 18 museums located throughout Europe and the United States issued the Declaration of the Importance and Value of Universal Museums. The declaration is an attempt, by the directors of major Western museums, to defend against demands for restitution of museum objects by defining themselves as “universal museums” which are of value to all of humanity. This document fails as a convincing defence against restitution claims for several reasons. First, it dismisses circumstances of older acquisitions without considering the ethics or legality of surrounding the acquisition. Second, while it pronounces these museums “universal,” it approaches this from a distinctly Western perspective and perpetuates colonial and imperialist ideas. Finally, it ignores important debates that are occurring between and within scholarly, professional, and activist communities.

Museums collect information to show to the public for educational advancement and personal enjoyment. Museum curators have a very imperative job, when it comes to the success of a museum. Museum curators take the time and dedication to find artifacts that not only fit the theme of the museum but they also have to consider price, authenticity, and origin. The artifacts chosen mush hold a “Wow” factor registering remembrance and relevance into the minds of its visitors. The artifacts should be chosen based upon significance not the monetary value.

Museums have long served a purpose as cultural staples. For every museum, big and small, careful consideration is used in selecting its contents. When securing new items for a museum, it is most important to consider public appeal, educational value, and cost-effectiveness.

What defines a memorial museum as a category of museum? While symbolizing the event and forming public perspectives on it, “the ethics in memorial museums, ethics morality and human deeds occupy the very heart of the topics on display, and correspondingly involve especially careful consideration of representation and reception” (Williams, Memorial museums, 220). Memorial mMuseums should be responsible at when choosing the objects they display, narrating the event and establishing visitors’ memories.

Another aspect that I found to be very interesting was the way in which each of the museums offered different multimedia formats to facilitate the visitor’s experience with the artwork in display. I noticed that both museums offered applications for smartphones and tablets, free of charge, to assist the visitors with getting the most possible out of the museum. Visiting a museum can be a very distracting task because there is so much to see and without a plan or a navigating system that helps you make your way towards the museum, it can be hard to gain something from your visit. Both apps are accessible to most people and very easy to navigate through. These apps included audio guides, exhibition information, calendars, events and so on. However, I noticed

I hope to see museums make more concerted efforts to educate the public. Too many exhibits are of the “passive, didactic looking” than like the engaging Object Stories program (Dartt, Murawski). Exhibits should seek to tell untold narratives, and programs should be places of communication and cross-cultural encounters. For too long, difficult confrontations have been avoided, both inside the museum, and by dominant communities

In the Robyn Autry article, it mainly focuses on the national conflict of museums mainly focusing towards African American. The author travel to 15 museums around the United States that focuses towards African American. She mainly talks about how the African American were facing numerous hardships in the U.S and how the museum represents those issues to the general public. She believes the way to tell the hardship of African Americans is by exhibiting through a museum. When traveling through these museums she focused towards “centered on three traumatic episodes: capture and displacement from Africa, enslavement, and racial segregation” (Autry 64). The author of the articles wants to show that over time that museums meanings has changed over

Overall, subjectivity is very important to this non-fiction article, it allows the reader to get a taste of what the museum may feel like, what emotions they may feel,

In Steven Lubar’s book, Inside the Lost Museum: Curating, Past and Present, the recurring idea that museums are “more than the sum of their parts” plays a critical role in the overall argument (329). Lubar notes many aspects that make up a museum, the collection, for example is an essential part of any museum, but the community, as well as the experiences of the patrons create a lasting museum experience. Additionally, Lubar aptly utilizes real-world examples, contemporary and historical, highlighting the work of individuals in museums and establishing a connection between past and current events. Central to this narrative is the example of the lost Jenks Museum. Lubar uses this museum to argue that museums of the past can educate museum goers

While some may view museums as homes of the dusty, decrypt, and decaying, I think back fondly to the memories I've made in them. When I was four and living in a small apartment in Shaker Heights, Ohio, my father would take me to the Cleveland Museum of Rock and Roll on the weekends when he wasn’t busy working on his MBA at Case Western Reserve University. Every time we visited, I would tell my father that I would grow up to be just like Elvis, to which he would laugh and scoff affectionately. When we moved to Glen Allen, Virginia when I was six, we would occasionally drive up to Washington, D.C. to the Smithsonian Museums. On some Saturdays, we would walk for hours through the halls of art I didn't understand (and still don’t really understand) at the Museum of American Art. On other Saturdays, we would go to the Library of Congress, where I would press my forehead against the glass of the observation deck—much to the dismay of security guards. But perhaps the most significant "museum" I've been in is just a short three-minute drive or seven-minute walk from my suburban home: the Twin Hickory Public Library.

The 21st century has seen a dramatic increase in the challenges facing cultural institutions, particularly museums. One of the most pressing issues currently facing museums worldwide is the diminishing level of government support. Despite reductions in government funding, the sustained maintenance of museum collections and facilities continues to require substantial resources. In the face of such difficulties, a growing number of museums have turned to innovative programming, specifically exhibitions, as a way to ensure financial viability through increased attendance. Given the growing competition for consumer leisure time in today’s society, attention has shifted away from traditional scholarly collection based exhibitions, towards the populist exhibition format offered by blockbuster exhibitions. Through a discussion of Harry Potter™: The Exhibition at the Powerhouse Museum and the First Emperor: China’s Entombed Warriors at the Art Gallery of New South Wales, this essay will examine the two approaches museums are taking to the blockbuster model. It will be argued that although exhibitions reflecting popular culture are becoming increasingly more common, there are institutions that manage to reflect popular taste in ways that continue to advance scholarship and create opportunities for lifelong learning.

This is an immense and actual task, for “[t]he achievement of a beneficial inter-action between the potentially conflicting expectations and aspirations of visitors and host or local communities, presents many challenges and opportunities.”13 I believe that within the museum world lies much knowledge and experience which is certainly relevant to further discussion and development of the relationship between cultural heritage management and tourism. Though my topic is connected to the field of cultural tourism, it has to be kept clear that this thesis is on museums and museology rather than on tourism. The reason is that cultural tourism is a form of tourism – it is not a form of cultural heritage management and is not a form of museum management.14 Museums can on the other hand contribute to cultural tourism as attractions, because they work with the cultural heritage, or even are themselves cultural or heritage assets. Therefore their input to the development in the field of cultural tourism is certainly valid. Though the tourism sector and the cultural heritage management sector, including the museums, actually do have

The author talks about how text that goes with objects in museums directs the reader towards the “preferred reading” or preferred meanings of the object.

‘Imagine you were in charge of a museum’s collecting policy. What would you chose to collect and how would you justify these decisions?’