Résumés
Abstract
With the growth of concern over diminishing cultural diversity, homogenization, and the preservation of tangible patrimony, UNESCO has increasingly assumed a lead position in devising new legislative instruments – programs, proclamations, conventions, and treaties – for the safeguard and regulation of cultural heritage. This cultural policy has been re-directed in the last two decades by a newly emergent and confident cosmopolitan political bloc that has attempted to reverse the organization’s Occidental bias by extending the protection it gives to tangible heritage to include intangible cultural expressions. This new political interest coincides with wider demands for the re-totalization of both aspects of culture aimed at encouraging the institutional use of vernacular interpretations in place of typological and externally imposed classifications. While these movements share a common interest in the decolonization of institutional culture, there is no overarching consensus on the means by which authority over interpretation can be returned to and exercised by originating communities and practitioners. To support its relatively new cultural mandate, UNESCO has revised its definitions of culture. These re-articulations – largely appropriated from specific anthropological discourses – expand the concept of culture to include its tangible and intangible manifestations, and provide a legitimating moral and intellectual authority to promote its wider acceptability. This essay represents a modest attempt to define and trace the influence of part of the rhetoric generated by globalized institutional cultures on museum practice and to raise questions on the current choices museums have been called to make.
Résumé
Dans une inquiétude grandissante devant l’amenuisement de la diversité culturelle, l’homogénéisation et la sauvegarde du patrimoine matériel, l’UNESCO a de plus en plus assumé une position directrice dans la conception des nouveaux instruments législatifs – programmes, déclarations, conventions et traités – pour la sauvegarde et la règlementation en matière de patrimoine culturel. Cette politique culturelle a été réorientée au cours des deux dernières décennies par un bloc politique cosmopolite émergent et décidé, qui a tenté d’inverser le biais occidental de cet organisme pour qu’il étende sa protection non seulement au patrimoine matériel, mais également aux expressions culturelles immatérielles. Ce nouvel intérêt politique coïncide avec de nouvelles exigences de considérer comme un tout ces deux aspects de la culture afin d’encourager l’utilisation institutionnelle des interprétations vernaculaires au lieu des classifications typologiques imposées de l’extérieur et d’en haut. Bien que ces mouvements aient un intérêt commun pour la décolonisation de la culture institutionnelle, il n’existe pas de consensus global au sujet des moyens par lesquels l’autorité interprétative pourrait être rendue aux communautés et aux praticiens d’origine et être exercée par ceux-ci. Afin de répondre à ce mandat culturel relativement nouveau, l’UNESCO a révisé ses définitions de la culture. Ces ré-articulations – inspirées en grande partie de discours anthropologiques spécifiques – élargissent le concept de culture pour y inclure ses manifestations matérielles et immatérielles, et procurent une autorité morale et intellectuelle légitime à la promotion d’une plus grande acceptabilité. Cet article représente une modeste tentative de définir et de suivre l’influence d’une partie des discours générés par des cultures institutionnelles mondialisées sur la pratique muséale et de soulever des questions au sujet des choix que les musées sont actuellement amenés à faire.
Parties annexes
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