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LA MUSEOGRAFÍA EN CUSCO: DIFERENTES MUSEOS, DIFERENTES NARRATIVAS

MUSEOGRAPHY IN CUZCO: DIFFERENT MUSEUMS, DIFFERENT NARRATIVES

Richard L. Burger and Lucy C. Salazar (Perú)

This article will focus on four museums that currently function in the center of Cuzco, Peru. Each of these museums includes com- ponents dealing with the Inca culture, but the context and treatment of this subject varies radically between them. It will be argued that the museums provide alternative narratives that reflect the motives of the individuals responsible for their exhibitions and the audience that is being targeted. The four museums will be compared with each other not only in terms of their contrasting narratives but also in terms of the museographic techniques employed and the settings in which the collections are shown. It will be suggested that rather than being viewed as competing institutions of differing qualities, these museums can be treated as complementary, each providing a different vision of the Cuzqueño past and its relation to contemporary Cuzco.

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EL MUSEO PACHACAMAC EN EL SIGLO XXI

THE PACHACAMAC MUSEUM IN THE XXI CENTURY

Denise Pozzi-Escot and Carmen Rosa Uceda (Perú)

Whether coming down through the valleys from the heights of the Andes or walking along the coast, a visit to the temples at the Pachacamac archaeological site, the most important sacred space or sanctuary on the pre-Hispanic coast, has become a fundamental ritual pilgrimage. The new site museum has meant an effort on the part of the Ministry of Culture of Perú to offer the public a museum that will provide the appropriate conditions for the conservation, preservation and promotion of the cultural wealth it contains. This is one of the most visited museums in the country and the target audience, on which a special emphasis is placed, is the economically depressed population which surrounds the archaeological site. Following the guidelines set by the Management Plan, the museum’s management proposes the inclusion of the people located in its immediate surroundings through their active participation for the benefit of the archaeological site and its conservation. To this end, the museum has implemented a Community Development Program, in which a group of women that have been trained create products using the iconography of the sanctuary for its sale in the museum. The Educational project works with school children in promoting and strengthening the identity and the engagement with heritage.

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EL MUSEO DE ARTE INDÍGENA DE LA FUNDACIÓN ASUR. UNA EXPERIENCIA ESPECIAL

THE ASUR FOUNDATION’S MUSEUM OF INDIGENOUS ART. A SPECIAL EXPERIENCE

Verónica Cereceda (Bolivia)

The Museum of Indigenous Art of the ASUR Foundation, in Sucre, mainly exhibits ethnographic textiles from three ethnic groups in South Central Bolivia. It is a small and modest museum, but its architecture and assembly, with their simplicity, give it beauty and attractiveness. One of its values is the display of special garments, as much for their aesthetics as for the involved semantics, which make them stand out from other present-day Andean textiles in the country. It is also worth mentioning the record of the transformations of the textile designs over the last twenty-five years, which allows us to observe the processes in the new definition of the identity of these groups through the images. Especially valuable is a Tiwanaku collection with textiles and unique objects in the country. The exhibition is accompanied by anthropological texts as well as numerous photographs, videos, and recorded music from the same regions of the exhibited textiles.

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LOS MUSEOS Y SU ROL COMO DIFUSORES DEL PASADO PREHISPÁNICO EN BOLIVIA: UN ESTADO DE LA CUESTIÓN

THE MUSEUMS AND THEIR ROLE AS TRANSMITTERS OF THE PREHISPANIC PAST IN BOLIVIA: STATE OF THE ISSUE

Claudia Rivera Casanovas

Bolivia is a country with a rich and diverse pre-Hispanic past. The archaeological investigations carried out in recent decades, as well as the ethnographic and ethnohistorical works, have greatly expanded the knowledge about pre-Hispanic societies, their regional historical trajectories, their forms of organization and subsistence, as well as their ideological and material culture aspects. The archaeological information on different regions of the country has allowed to build sequences and processes that greatly enrich local and regional histories to a large extent. The dissemination of this knowledge should reach different audiences in various ways, with museums being privileged spaces for this purpose. This work focuses on understanding how the archaeological information produced in the academic and research fields is incorporated into exhibitions and activities in different types of museums (national, university, municipal, regional, community and others). At the same time, it explores the probable degree of impact and acceptance in the general public. In particular, it evaluates if museums play a significant role, contributing to the formation of a collective imagination about the pre-Hispanic past at different scales.

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DE LO PRECOLOMBINO A LAS CADENAS OPERATORIAS. EL MUSEO NACIONAL DE ETNOGRAFÍA Y FOLKLORE (MUSEF) DE BOLIVIA EN PERSPECTIVA HISTÓRICA

FROM THE PRE-COLUMBIAN TO THE CHAÎNES OPÉRATOIRES. THE MUSEO NACIONAL DE ETNOGRAFÍA Y FOLKLORE (MUSEF) OF BOLIVIA IN HISTORICAL PERSPECTIVE

Juan Villanueva Criales (Bolivia)

This article focuses on an important part of the history of Bolivian museums, specifically on that of the National Museum of Ethnography and Folklore (MUSEF) and its precursors, which can be traced back to the first Public Museum of La Paz founded in 1846. Based on existing documentation, this paper provides an approach to the character of these exhibitions over time, relating them to the prevailing political discourses of each period. Finally, a more detailed approach is taken to discuss recent MUSEF periods, and the way in which the concept of chaîne opératoire has been used to articulate the pre-Hispanic with the present (a very strong separation that stems from the revolutionary nationalism of the 1950s) through material bridges.

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