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- Author or Editor: Daniel H. Mutibwa x
This chapter discusses effective ways to develop relationships between communities and museums around shared cultural agendas, practice, and knowledge exchange. Through the lens of an eight-month pilot that emerged from the Pararchive project and was partnered by the National Media Museum (NMeM), Bradford, the chapter addresses what it means to access a dormant but invaluable national archive and associative collections from the position of differently situated community groups. It highlights how the Pararchive–National Media Museum partnership (PNMeM) promoted opportunities for community groups to select, document, and creatively exploit archival resources in ways in which conventional museological practice and use do not allow. The chapter also outlines the key challenges encountered. In doing so, this chapter draws on detailed notes generated through participant observation, on the study of relevant documents and artefacts, and on important insights gained from audio recordings of relevant project meetings and an evaluative end-of-project workshop.
Much scholarship on the arts and its use in protest has been situated in social movement studies. In his interesting analysis of protest as artistic expression, Reed (2016: 77) observes that ‘[t] o engage in protest is to offer public witness’. That the act of protesting is not only about positioning oneself against something or someone, but – ‘as the prefix “pro” suggests’ – it is also about ‘be[ing] presentational, putting forth a positive alternative or creative vision’ (Reed, 2016: 77). There are various forms of protest which position themselves against particular issues and/ or individuals or which present specific visions driven by different aspirations, commitments, motivations and objectives. Protests also draw on a range of instruments, materials, practices and media – including those typically associated with the arts and cultural spheres. Numerous social movements, both in the past and present, have used the arts and culture to express and to achieve their goals. However, while there exist rich academic analyses of both macro and meso levels of protest, not much focus has been placed on the use of the arts and culture – and associated organisational structures and production contexts – at micro levels (Jasper, 1997; Johnston, 2009; Reed, 2016).
James Jasper (1997: 5) noted that because scholars have generally preferred ‘to examine fully fledged, coordinated movements’, their work ‘renders invisible’ those other actors, groups and organisations engaging in protest in local or community contexts. Similarly, and more recently, Reed (2016: 84) has observed that ‘[f] or the most part, the role of art [and culture] as protest has been subsumed under [a] more general concern to define and analyse movement cultures’.
This chapter describes the community archives and corresponding developments over the course of the 20th century. It tracks the rise of an ‘archival multiverse’, which has transformed the way in which collective memories are curated. The growth of the archival multiverse reflects many intellectual, cultural, technological, social, and political currents. The most significant of these developments is the growth of community archives and the active participation of ordinary citizens in their formation. As community archives have become more widespread and influential, the professional archive community has started to radically rethink many of its own assumptions about how archives are created, preserved, and made available. This chapter briefly considers this phenomenon, asking what the notion of ‘community’ entails within this context and how archives have ‘turned’ in its direction. Finally, the chapter looks at how digital tools have helped to shape the growth of community archives.
Community archives are often viewed as repositories of knowledge and experience that are nevertheless somehow remote from the taxpayers who often fund them. However, the idea of an archive has more recently been popularized by digital resources that allow access to established archives and also permit users to create archives of their own. This book examines the changing relationship between citizens and their notions of archives. The growing number of archives, and the evolving practices associated with collecting and curating, mean that we are now in the process of remaking the very idea of the archive. Communities have been at the heart of this exciting work and their experiences are both central to our understanding of this new terrain and in challenging the traditional histories behind the control of knowledge and power. Using a wide range of case studies, this edited collection shows how community engagement and co-creation is challenging and extending the notion of the archive.
Community archives are often viewed as repositories of knowledge and experience that are nevertheless somehow remote from the taxpayers who often fund them. However, the idea of an archive has more recently been popularized by digital resources that allow access to established archives and also permit users to create archives of their own. This book examines the changing relationship between citizens and their notions of archives. The growing number of archives, and the evolving practices associated with collecting and curating, mean that we are now in the process of remaking the very idea of the archive. Communities have been at the heart of this exciting work and their experiences are both central to our understanding of this new terrain and in challenging the traditional histories behind the control of knowledge and power. Using a wide range of case studies, this edited collection shows how community engagement and co-creation is challenging and extending the notion of the archive.
Community archives are often viewed as repositories of knowledge and experience that are nevertheless somehow remote from the taxpayers who often fund them. However, the idea of an archive has more recently been popularized by digital resources that allow access to established archives and also permit users to create archives of their own. This book examines the changing relationship between citizens and their notions of archives. The growing number of archives, and the evolving practices associated with collecting and curating, mean that we are now in the process of remaking the very idea of the archive. Communities have been at the heart of this exciting work and their experiences are both central to our understanding of this new terrain and in challenging the traditional histories behind the control of knowledge and power. Using a wide range of case studies, this edited collection shows how community engagement and co-creation is challenging and extending the notion of the archive.
This innovative book examines the changing relationship between communities, citizens and the notion of the archive.
Archives have traditionally been understood as repositories of knowledge and experience, remote from the ordinary people who fund and populate them, however digital resources have led to a growing plurality of archives and the practices associated with collecting and curating. This book uses a broad range of case studies which place communities at the heart of this exciting development, to illustrate how their experiences are central to our understanding of this new terrain which challenges traditional histories and the control of knowledge and power.
