A museologia e a construção de sua dimensão social: olhares e caminhos
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Data
2018
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Editora
Lusofona University
Resumo
Olhar para a museologia, de modo especial, para a denominada museologia social ou sociomuseologia, conversando com ideias e noções que podem ser consideradas óbvias, mas que, talvez, examinadas por outro ângulo, tenham algo de novo a oferecer, faz parte dos objetivos do presente texto. Além disso, é pertinente perguntar: o óbvio é óbvio para quem? Não raro, aquilo que parece óbvio para determinados grupos de especialistas, pode não ser óbvio para uma grande maioria de pessoas. É neste sentido que peregrinando pela obviedade, afirma-se que a museologia social ou sociomuseologia não surgiu do nada e também não é o resultado de intelectuais iluminados que retiraram de si mesmos, de suas essências a luz museal ou museística que haveria de iluminar o mundo; ao contrário, surgiu de amplos debates e embates, de um acúmulo de tensões, críticas, enfrentamentos, vivências, reflexões e práticas que impactaram a museologia e os museus que do século XIX, projetaram-se no século XX, sem que seus paradigmas tivessem sido submetidos a uma análise crítica. Em outros termos: a museologia social ou sociomuseologia não é o resultado de uma construção teórica que quer, a todo custo, de cima para baixo, enquadrar os museus e as diferentes formas de pensar e praticar a museologia aos seus ditames técnicos, científicos, artísticos e filosóficos; ao contrário, trata-se de uma construção que resulta de um contexto histórico específico, que não tem e não quer ter um caráter normativo e que apresenta respostas singulares para problemas também singulares e que, sobretudo, assume explicitamente compromissos políticos e poéticos.
To regard museology, in a special way, the so-called social museology or sociomuseology, conversing with ideas and notions that might be considered obvious, but which, perhaps, if examined by another angle, have something new to offer, is part of this essay’s objectives. Besides, it is relevant to ask: to whom is the obvious, obvious? Frequently, that which seems obvious to certain groups of specialists may not be obvious to a great majority of people. It’s in this sense that, wandering through obviousness, we may affirm that Social Museology or Sociomuseology did not arise out of nowhere and neither is it the result of illuminated intellectuals who brought out of themselves, of their essences, the museal or museistic light that was to illuminate the world; on the contrary, it emerged from wide-ranging discussions and clashes, of built-up of tensions, criticism, confrontations, experiences, reflections and practices that impacted museology and museums which had advanced from the 19th century into the 20th without submitting their paradigms to a critical analysis. In other words: social museology, or sociomuseology, is not the result of a theoretical construction that wants, at any cost, from the top down, to frame museums and different forms of thinking and practicing museology to its technical, scientific, artistic and philosophical dictates; on the contrary, it is a construction resulting from a specific historical context, that doesn’t have, and doesn’t want to have, a normative character; that presents singular answers to also singular problems and that, above all, explicitly assumes political and poetical commitments.
To regard museology, in a special way, the so-called social museology or sociomuseology, conversing with ideas and notions that might be considered obvious, but which, perhaps, if examined by another angle, have something new to offer, is part of this essay’s objectives. Besides, it is relevant to ask: to whom is the obvious, obvious? Frequently, that which seems obvious to certain groups of specialists may not be obvious to a great majority of people. It’s in this sense that, wandering through obviousness, we may affirm that Social Museology or Sociomuseology did not arise out of nowhere and neither is it the result of illuminated intellectuals who brought out of themselves, of their essences, the museal or museistic light that was to illuminate the world; on the contrary, it emerged from wide-ranging discussions and clashes, of built-up of tensions, criticism, confrontations, experiences, reflections and practices that impacted museology and museums which had advanced from the 19th century into the 20th without submitting their paradigms to a critical analysis. In other words: social museology, or sociomuseology, is not the result of a theoretical construction that wants, at any cost, from the top down, to frame museums and different forms of thinking and practicing museology to its technical, scientific, artistic and philosophical dictates; on the contrary, it is a construction resulting from a specific historical context, that doesn’t have, and doesn’t want to have, a normative character; that presents singular answers to also singular problems and that, above all, explicitly assumes political and poetical commitments.
Descrição
Cadernos de Sociomuseologia
Palavras-chave
MUSEOLOGIA, SOCIOMUSEOLOGIA, EDUCAÇÃO, MEMÓRIA, MUSEOLOGY, SOCIOMUSEOLOGY, EDUCATION, MEMORY
Citação
Chagas , M D S , Primo , J S , Assunção , P & Storino , C 2018 , ' A museologia e a construção de sua dimensão social: olhares e caminhos ' , Cadernos de Sociomuseologia , vol. 55 , no. 11 . https://doi.org/10.36572/csm.2018.vol.55.03