Museology and Museography (Conventional Museology, New Museology)
I. Museology vs. Museography (Theory vs. Practice)
Museology and Museography are distinct yet fundamentally related disciplines within the museum field.
| Discipline | Focus (Core Function) | Definition and Scope |
|---|---|---|
| Museology | Theory and Scientific Study | Museology, also known as museum studies, is the scientific study of the museum. It is the theoretical and academic discipline encompassing the systematic study of museums, their history, mission, and role in society. It examines principles and methods related to collection management, conservation, research, education, and social context. Museology provides the theoretical support and professional methodology that enhances the efficiency and relevance of museum operations. It is concerned with the long-term preservation of cultural heritage and the institution’s interaction within its social and cultural context. |
| Museography | Applied Practice and Exhibition Techniques | Museography refers to the practical or applied techniques developed to fulfill museal operations. It is the discipline responsible for the physical presentation (visual presentation) of works in a specific space. It focuses on the technique of organizing and designing an exhibition, encompassing the arrangement of pieces, selection of lighting, and creation of a coherent narrative to captivate visitors and convey a clear message. Museography generates a visual discourse based on the conceptual discourse (often developed by curators/museologists) so that texts and works are correctly interpreted. |
| Relationship | Mutually Dependent | Museology and museums are mutually dependent; museums are practical institutions, and museology provides the necessary theoretical support. The two disciplines share a common goal of preserving and presenting cultural heritage and are often intertwined in daily practice. |
| Etymology | Greek Roots | Museology comes from the Greek Mouseion (place dedicated to the Muses) plus -logy (from logos, meaning “study” or “science”). Museography comes from Mouseion plus -graphy (from grapho, meaning “to write” or “to describe”). |
II. Museology: Conventional (Traditional) Museology
Conventional or Traditional Museology defined museums based on a collections-centered, authoritative approach, emphasizing the stewardship of physical objects.
- Focus: Traditional museology was collection-centered and prioritized curatorship and the physical, scientific conservation of objects. The functions were centered on the preservation, research, and scholarly display of artifacts.
- Criticism: Traditional museums were viewed by later critics as isolated, elitist, and obsolete. They were seen as privileging their collections-based function and reflecting the cultural tastes of specific (often white) social groups.
- Narrative: Traditional models often presented a single, linear, and uncontested historical or artistic narrative, acting as the authoritative voice transmitting knowledge to a passive public.
- Colonial Legacy: Many traditional museums, particularly in post-colonial contexts, were criticized for carrying the legacy of colonial frameworks of collection, classification, and interpretation.
III. Museology: New Museology (Critical Museum Theory)
New Museology (or Nouvelle Muséologie) is a critical theoretical movement that emerged in the 1970s and 1980s, driven by postcolonial critiques and dissatisfaction with the old, object-centric models.
A. Core Principles and Objectives
New Museology represents a significant paradigm shift toward a socially responsible, people-centered, and dynamic museum model.
- Shift to People-Centered Focus: The movement prioritizes the social role of museums in the development of their respective societies, shifting the focus away from objects to the communities served. Its primary goal is to redefine the relationship between museums and people and their communities.
- Social Responsibility and Social Justice: New Museology views the museum as an active agent of change and a platform for dialogue and social action, rather than merely a static repository. The museum has a social, educational, and cultural responsibility toward its public.
- Inclusivity and Democratization: It advocates for making museum practices more democratized, accessible, and inclusive. This approach seeks to foster diversity and shared authority by involving the participation of communities. It challenges the power dynamics inherent in the museum—who gets to interpret objects and whose history is told.
- Community Engagement (Co-Curation): The concept promotes shared authority, where communities assume the role of curators and museum staff act as facilitators. This collaborative approach includes involving the knowledge, experiences, and resources of community members.
- Holistic and Intangible Heritage: It expands the concept of heritage beyond static, tangible artifacts to include intangible heritage (traditions, rituals, knowledge, oral history), recognizing the interconnectedness of both.
- Museum as a Dynamic Center/Contact Zone: The concept of the museum as a dynamic cultural center replaces the idea of it as a repository of collections. James Clifford’s model defines the museum as a “contact zone”—a space where different cultures meet for discussion, negotiation, and dialogue, recognizing the power-charged set of exchanges that occur.
B. Manifestations of New Museology
The New Museology movement influenced the emergence of new theoretical and institutional models:
- Ecomuseum: A core concept of New Museology is the Ecomuseum (écomusée), which is rooted in a specific territory or community. It is conceived, fashioned, and operated jointly by a public authority and local population, focusing holistically on natural and cultural heritage.
- Integral Museum: This model, which began in Latin America, is integrated in its approach, concerned both with heritage and the development of society. The genesis of New Museology is often traced back to the Santiago Round-Table of 1972, which led to the “Declaration of Santiago de Chile” and the birth of the ‘integral museum’ concept, stressing the responsibility of museums to meet community needs.
- Other Models: Other variations include the community museum, neighborhood museum, and open-air museum, all characterized by being run by community members to fulfill local needs.
- Contemporary Definitions: The official ICOM definition (2022) reflects New Museology principles by stating that a museum “researches, collects, conserves, interprets and exhibits tangible and intangible heritage. Open to the public, accessible and inclusive, museums foster diversity and sustainability. They operate and communicate ethically, professionally and with the participation of communities, offering varied experiences for education, enjoyment, reflection and knowledge sharing”.
C. Decolonization and the Critique of Neutrality
New Museology provides the theoretical framework for decolonization efforts, which challenge the traditional museum’s assumed political neutrality.
- Challenging Colonial Legacies: The movement encourages museums to critically examine their own histories and narratives, challenging colonial legacies, exclusionary practices, and dominant cultural viewpoints. Museology must expose its own colonial roots and their effects on theory and practice.
- Repatriation and Restitution: The concept of repatriation—the return of cultural property to its country or community of origin—is a central issue in decolonization, addressing objects often taken in ways that were unethical, violent, or illegal under colonialism. The push for restitution has gained momentum due to increased public pressure and media coverage, transforming repatriation from a historically silenced taboo into a trending, critical discussion.
- The Myth of Neutrality: Critiques argue that the museum’s reliance on the idea of “neutral spaces” is a falsehood that actively resists change and is rooted in historic and present oppression. Neutrality manifests as a “normalizing force” that upholds monolithic practices, dominance, and exclusion. Taking a stand is necessary for social justice practice, as “neutrality helps the oppressor, never the victim”.