The compilation of chapters in Defining Memory, edited by Amy Levin, examines small museums through an analysis of curriculum theories (Joseph Schwab’s theory of “commonplaces of schooling” and Dwayne Huebner’s five methods of evaluating the teaching/learning experience). Using these theories, Levin and the other authors examine the presentation of history (or addressing memory) in small museums and the importance in creating identity through the representation of social, cultural, and political ideals as presented in the museums. Focusing on the changing (or unchanging) nature and curriculum of small museums, the authors examine the affects of the obstacles faced by museums: financial support, public opinions (and outcry), understandings of history and its presentation, and representation of minority groups. Analyses of the John Dillinger Museum, the Dickson Mound Museum, and the Daughters of Utah Pioneers Museum illustrate the influence of the above obstacles and the positive or negative affect they have on presenting history to the public. The examination of many museums effectively illustrates the affects of the community, financial restraints, skilled or unskilled professionals, and education on small museums. By choosing to address the issues of curriculum and society in a number of museums across America, the authors illustrate the importance of these smaller museums in creating identity and maintaining history in a changing world, notably Levin’s analysis of the three museums close to Ground Zero directly before and after the 9/11 attack.
Overall, Levin skillfully compiles chapters that defend common themes that are prevalent in small museums. By beginning the book with a definition of small, local museums and addressing the theories utilized throughout the text, Levin and the other authors argue successfully that small museums, though underfunded and underrepresented, represent an important niche in American museums by focusing on local histories and by following less strict guidelines for presenting historical artifacts and narratives. Levin and the other authors are attempting to depict the importance of small, local museums, often unaccredited, as compared to the larger, well known museums of America. Though rarely stated, the arguments revolve around the importance of these smaller museums in terms usually reserved for important, prominent museums. The book argues for smaller museums and their importance to America society and the defining of history.
The book effectively uses the knowledge of a number of professionals. Though relying on various scholars to present the issues and importance of small museums, Levin creates a cohesive text that ties together the ideas of curriculum theory and its relevance to small museums’ presentation of history. The questions presented about museums and the histories told at them are important to the text. Rather than giving definite answers to the questions, the authors create the questions for the reader to ponder. The sources of the authors prove to be a strength of the text. The authors rely on visits to the museums, interviews with the curators, and the works of other authors within the collection.
It seems we both agree that this was an excellent book for similar reasons. Levins successfully compiled a diverse group of academics to analyze the museum and its dialogue with society. She poses the question of which standards should we be judging these institutions. Levins answers that only through a sweeping analysis using economic, psychological, pedagogical, and even critical theory methods can reveal the depth and complexity of the relationship between cultural or national identity and the individuals presenting the exhibits. Though these curators may have various and diverse (economic, religious, cultural, etc.) agendas, through their hands on presentation and aesthetic display they carry a greater authority than teachers and history texts. This should suggest that there is a great responsibility from the curator for ethical and pedagogical soundness when engaging in this cultural dialogue, especially when indoctrinating the youth.
ReplyDeleteI think what's interesting about this book, is that the collaboration itself is somewhat representative of how public history works. The way the narrative is cohesively formed between the various authors, is much like what goes into creating an exhibit for the public. The various authors all told about different aspect of small museums and together it formed a complete overview, as a well as a comprehensive argument. This is similar to how various objects, historians, and the public work together to form a narrative. I was a bit frustrated to their lack of answers to questions, but I agree the problems pointed out are of concern, and it is important to be thinking about them as young public historians.
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