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This paper addresses the challenge museums of catastrophic history face, striving to translate between history and memory in creating a meaningful and sensitive experience for individual visitors, not only evoking the past but also impacting the present and future. This study focuses on the Jewish Museum Berlin and asks how the museum can impact individual visitor journeys and concurrently address the public demand for memory, the contradictions between museum mission and public perception, and the perceived distance of visitors from historical events. The study builds on memory and translation studies research and the concepts of history, story, and identity. An analysis of entangled memory (Feindt et al. 2014), here applied as an inspiration for generational translation, shows how the crossover between memory and translation studies provides insight into the work of memory museums. Previous research and the history, mission, identity, architecture, and conflicts of the Jewish Museum Berlin show that museums – as (unfinished) collective memories – allow the creation of space for individual reflection and the interpretation of past and present to create a narrative. The work of memory museums is complex, but the concepts of generational translation and entangled memory are valuable tools in provoking and enabling meaningful experience and reflection. [ABSTRACT FROM AUTHOR]

L’inscription du site des palais royaux d’Abomey sur la Liste du patrimoine mondial et la Liste du patrimoine en danger en 1985 a succédé à la création du musée historique dans les palais des rois Guézo (1818-1858) et Glèlè (1858-1889) en 1944. L’objectif de cette recherche est d’analyser le cadre institutionnel de gestion et les instruments en jeu pour assurer la gestion efficace du complexe musée-site. L’approche méthodologique utilisée est la méthode active de recherche participative (MARP). Ainsi, les entretiens sont réalisés avec le personnel du complexe musée-site, le directeur de l’office du tourisme d’Abomey, quelques visiteurs et membres des communautés. La double identité des palais royaux d’Abomey est à l’origine de ses problèmes de gestion efficace. Autant les outils de gestion font défaut que le personnel affecté est inadéquat.

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Cet article tente de faire l’historique des institutions muséales et patrimonial au Cameroun. Les projets de musée au Cameroun remontent pendant la période coloniale, plus précisément pendant la présence allemande. C’est pendant cette période que naît le tout premier projet de création d’un musée. Cependant, cette ancienneté muséologique que connait le Cameroun ne lui a pas permis d’avoir une culture muséale. On constate en 2023 que les musées sont encore marginalisés et négligés, incapables de répondre aux attentes du public, de conquérir et de fidéliser les camerounais et les étrangers. A cet égard on notera que le Cameroun est un pays où on rencontre presque tout ce qu’on aimerait trouver en Afrique à savoir, l’originalité historique, la diversité géographique, ethnique, linguistique et religieuse, la richesse artistique, culturelle et artisanale ; la beauté des sites touristiques et des paysages etc. En dépit de ce tableau très fascinant et attrayant, le poids des interventions publiques sur le développement touristique et culturel reste encore très modeste. Ceci dit, quel musée pour le Cameroun ? Sous quel prisme le musée permettra-t-il l’attractivité du peuple camerounais ? L’objectif principal de cette étude consiste à expliquer pourquoi les éléments du patrimoine matériel et immatériel camerounais ne permettent pas une mobilisation touristique des populations.

Children's publishing disrupts the imaginary museum, not only through small collections that encourage an almost holy relationship to artwork through a contemplative practice, but also by proposing new, exemplary meeting spaces for contemporary reflection on issues of museology. This article will offer a typology of these viewpoints in attempting to theorize their relationship with narrativity: our hypothesis is that these viewpoints follow three main interpretative methods, when considering the time of the art's conception (the artwork has a story), the time of exhibition (the artwork tells a story) and the time of reception (the artwork tells my story). We next look at several representative examples, analyzing the way in which the same work can be the subject of distinct methodology both in its intention and outcome; from this analysis we will consider certain issues on the particular role of children's picture books in the processes of cultural transmission. [ABSTRACT FROM AUTHOR]

Contrary to most of the children's publications that have been created by museums, the collection "Art y-es-tu?" (Art are you there?), co-published from 2001 to 2006 by the Educational Unit at MAMCO (Geneva's Museum of Modern and Contemporary Art) and the publisher Quiquandquoi, does not feature MAMCO artwork, nor does it employ art mediation techniques. Rather, it offers "artist books for children." These original books by contemporary artists form a singular museum project at MAMCO, an institute which has sought to desanctify the museum, making it instead a vitalizing force, rather than a preservation space for stable, permanent artistic heritage. In this context, the "Art y-es-tu?" collection makes a twofold transition. Concerning children, it attempts to offer a different set of codes than what children usually see portrayed in children's books. When it comes to the artists themselves, this new approach invites artists to take a step toward children, while giving the artists free rein within the collection, thus permitting them to remain focused on their personal research. In doing so, the artists are challenged to question the presence of childhood within their own artwork. [ABSTRACT FROM AUTHOR]

In 2013, Bernard Friot published Peintures pressées ("Hurried Paintings"), subtitled "un musée imaginaire" ("an imaginary museum"). This article analyzes how Bernard Friot views his paper museum as a twofold composition, with esthetic and didactic perspectives. Within a carefully considered layout, Bernard Friot presents a collection of art reproductions alongside texts of various genres, which playfully show children how to take in artwork and navigate the museum space. [ABSTRACT FROM AUTHOR]

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Copyright of Cahiers d'Études Africaines is the property of Editions EHESS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Recherches en Langue et Littérature Françaises is the property of University of Tabriz and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Between 2016 and 2020, a collection of picture books published by the Louvre deconstructed the institution's intimidating and austere reputation, by showing young readers a made-over image of the museum. In these books, young protagonists develop intimate relationships with the artwork and undergo character development in a museum that appears to be a place of wonders. By fostering art preferences based on lucky happenstance in turn facilitated by belonging to a milieu of insiders, some of these books tend to disqualify the ordinary museum visiting experience. [ABSTRACT FROM AUTHOR]

This article examines a corpus of children's books that provide an overview of the Louvre's art collections. Published over the last three decades, these books were selected based on their ability to portray an adapted vision of the museum's collections to young readers. Apart from their diverse editorial features, they share compositional standards based on the link between image and text which varies slightly from book to book, depending on the rooted point of enunciation--that of the child. Through a careful examination of the books in this corpus, this article will reveal how editorial features reconfigure normative frameworks applied to art history knowledge. [ABSTRACT FROM AUTHOR]

Der Beitrag gibt einen Überblick zum Stand der Besucherforschung in Museen ausgehend vom physischen hin zum digitalen Publikum. Dabei werden einige Problemfelder der aktuellen Forschung aufgezeigt. Im Mittelpunkt stehen das digitale Museumspublikum und sein Informationssuchverhalten. Ausgehend von verschiedenen, sehr heterogenen Studien wird versucht allgemeingültige Erkenntnisse zum Suchverhalten des Online-Publikums zu gewinnen. Die daraus entwickelten Kategorien sollen Hinweise für die praktische Anwendung liefern, um Suchvorgänge zu unterstützen und erfolgreicher zu machen. Darauf aufbauend wird ein vereinfachtes, praxisorientiertes Kategorisierungsschema für Online-Besucher vorgeschlagen und auf Alternativen zur feldbasierten Suche eingegangen. The paper provides an overview of the state of the art of visitor research in museums, both traditional and virtual visitors followed by highlighting some problematic issues of current audience research. The paper focuses on digital museum audiences and how they search for information. Based on an analysis of a number of quite heterogeneous studies, both a generalising synopsis of search behaviour and a simplified model of online visitor classification are developed. In addition, alternatives to fielded searching are discussed. [ABSTRACT FROM AUTHOR]

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L'accès à la culture des personnes étrangères est un enjeu central des politiques publiques genevoises. Le canton compte en effet un taux particulièrement élevé de personnes primo-arrivantes et allophones dont la non-maîtrise du français constitue un obstacle à la participation culturelle. Afin de répondre aux besoins spécifiques des adultes apprenant le français dans un contexte d'intégration, le bureau de l’intégration des étrangers (BIE) et le Musée d'ethnographie de Genève (MEG) ont initié le projet de médiation culturelle intitulé Parlez-vous MEG ?. En collaboration avec la Haute école d’art et de design – Genève (HEAD), l'équipe du projet, incluant des formatrices FLE et des apprenant-e-s, a ainsi créé un parcours ludique à travers les collections patrimoniales du MEG basé sur une approche didactique actionnelle. Accompagné-e-s par leur formatrice ou formateur, les apprenant-e-s travaillent leurs compétences linguistiques orales et écrites tout en découvrant le Musée. Le projet contribue ainsi à l'ouverture des institutions culturelles genevoises autour d'un objectif commun : répondre aux besoins spécifiques des personnes non francophones et favoriser l'apprentissage du français par une approche novatrice.

The emergence of the Musée du quai Branly project and its inauguration in Paris in 2006 have sparked off many controversies and stimulated numerous debates about the politics of representation, the colonial heritage in museum collections, the influence of art dealers, the role of indigenous communities, but also and above all the often antagonistic relationship between ethnographic and aesthetic approaches. It is not our intention here to reopen the controversy of the origins or to settle the alternative between the End of Art and the end of museum ethnography. On the contrary, we wish to place ourselves in a historical perspective, and to take advantage of this contribution to lay down some milestones in an intellectual journey that began more than a century ago and which is still often written in the mode of discontinuity. [ABSTRACT FROM AUTHOR]

Copyright of Revista Lusofona de Educacao is the property of Universidade Lusofona de Humanidades e Tecnologias, CEIEF and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Lusofona de Educacao is the property of Universidade Lusofona de Humanidades e Tecnologias, CEIEF and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

L’enseignement supérieur français connaît à la fin du 19e siècle une profonde mutation. S’appuyant sur des modèles étrangers, elle permet de repenser la science française en quête de réaffirmation. Pour l’archéologie, l’adoption du système allemand semble la meilleure option, encouragée par les missions pédagogiques françaises en Allemagne et les discours portés par les universitaires français sur la scène publique. La formation de collections d’étude, en particulier les musées de moulages, s’inscrit dans ce processus de transfert culturel.

The article examines the strategies associated with the valorisation of places of memory linked to a rich and difficult history in two island territories in the south-western Indian Ocean. Reunion Island and Mauritius have different institutional realities (French DROM and European RUP / Independent state). Both have experienced similar historical events, in particular the great migratory flows associated with slavery and sugar cane indentured labour. Their heritage reservoir in this area is considerable. This contribution aims to describe the mobilisation of stakeholders and their valorisation, in a comparative approach. The article therefore examines the links between (museum) heritage and territory. The heritage promotion of memory seems to be part of an approach that is varied and at the same time displays correspondences. It bears witness to issues that are approached in different ways between spaces with dissimilar political and sociological contexts. [ABSTRACT FROM AUTHOR]

Since the 1970s, the New Zealand National Museum Te Papa Tongarewa has been issuing demands for the return of mummified Māori heads (toi moko) despoiled during colonisation. 'Objects' of many statuses and definitions, toi moko generate different representations and symbolise many cultural visions or practices. As a place and actor of restitutions, the museum is the central space of the dispute. As one of the poles of the decolonial process, the Te Papa Tongarewa Museum bears the claims of its population as well as the bicultural policy of the New Zealand state. Similarly, the Quai Branly-Jacques Chirac Museum exemplifies and territorial- ises, through the restitution ceremony of 23 January 2012, these returns that confront different perceptions of heritage. This article examines the ways in which these museum institutions bring together all of these parameters and actors in order to carry out the returns of Māori human remains to Aotearoa, allowing us to question this museum revival in a decolonial context of heritage and culture. [ABSTRACT FROM AUTHOR]

ÉducArt est une plateforme qui vise à rendre accessible la collection encyclopédique du Musée des beaux-arts de Montréal (MBAM) au public scolaire grâce à des ressources éducatives en ligne à l’intention des élèves et des enseignant.e.s de tous les domaines de formation. Issu d’une recherche-développement menée par l’auteure, alors conceptrice – éducation au MBAM, cet article documentera les principes sur lesquels s’appuie ÉducArt, ainsi que la mise en place de la plateforme numérique du MBAM, lancée en 2017. L’analyse du processus de développement s’intéressera particulièrement aux principes fondateurs de la plateforme ÉducArt : l’expérience numérique et l’utilisation du Web par les musées; l’approche thématique et transversale des collections; l’approche multidisciplinaire des œuvres d’art et l’approche collaborative et de cocréation d’activités pédagogiques.AbstractÉducArt is a platform that aims to make the encyclopedic collection of the Montreal Museum of Fine Arts (MMFA) accessible to student audiences thanks to online educational resources intended for students and teachers from all educational fields. Coming from research and development led by the author and education developer at MMFA, this article documents the principles on which ÉducArt is based, as well as the implementation of MMFA’s digital platform, launched in 2017. The analysis of the development process is most interested in the founding principles of the ÉducArt platform: the digital experience and the use of the internet by museums; the thematic and transversal approach to collections; the multidisciplinary approach to works of art and the collaborative and co-creative approach to pedagogical activities.

Copyright of Ethnologie Française is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The results of surveys in the European project ALMPUB on the role of archives, libraries and museums for democracy in the digital age show that these information and cultural heritage institutions enjoy an extraordinarily high level of trust among the population compared to other social institutions. The article elaborates the consequences of this observation and concludes that information institutions in the broad sense have a high social responsibility. It is stated that the complementary topic of "trust and responsibility" still has research and reflection desiderata in information science. [ABSTRACT FROM AUTHOR]

Museum visiting as a phenomena is apprehended since the first museal forms in the XVIIth century from which our contemporary museums inherit (Schaer, 1993). The emergence of a consideration for displaying objects is part of a historical context marked by the great discoveries, the values of renaissance humanism and, later, the philosophy of the Enlightenment. Although the composition of target audiences has changed over the centuries (Rasse, 2001), the concerns of exhibition designers have always dealt with three central elements : objects, publics and spaces. The XXth century particularly witnesses the central place given to the visitor and then, in the XXIth century, to his experience. This paradigm leads to methodological difficulties related to the capture of a visiting experience, especially as the data are produced in a natural situation and in action (Schmitt, 2015). First, the article invites the reader to discover various approaches for more than a century. Then, it presents a new methodological framework designed to capture visit experience combining RFID technology and interviews. The last part of the article proposes to explore the first results through a theoretical device based on language sciences and particularly on the analysis of interactions in context. [ABSTRACT FROM AUTHOR]

The repatriation of the Machu Picchu collection from Yale to Cusco, Peru, was hailed as "successful", for being the first known example of the return of cultural artifacts effectuated by a country other than a past colonial power. This assessment needs to be reevaluated both in terms of the success of the return, and the relativization of the idea of colonial power. Transcultura list and postcolonia list epistemological models are used to frame the conceptualization of the museum as contact zone, while the curatorial discourse fails to address the critical issue of the polyphony of conflicting historical narratives, and instead reproduces a hegemonic expression of western knowledge in an intercultural space. [ABSTRACT FROM AUTHOR]

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Copyright of Civilisations is the property of Institut de Sociologie - ULB and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Civilisations is the property of Institut de Sociologie - ULB and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Civilisations is the property of Institut de Sociologie - ULB and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Civilisations is the property of Institut de Sociologie - ULB and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Civilisations is the property of Institut de Sociologie - ULB and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Une exposition peut être considérée comme un dispositif producteur de signes qui encadre le sens des objets qu’elle présente, ceux-ci sont resémantisés à chaque fois qu’ils sont montrés au public, qu’ils sont rendus visibles sous un point de vue particulier. Dans les musées, les vestiges archéologiques préhistoriques se caractérisent par la pluralité des logiques discursives qui peuvent être utilisées pour unifier le caractère profondément fragmentaire de ces objets immémoriaux. Les affiches japonaises d’expositions archéologiques mettent en scène les vestiges et les sémiotisent conformément aux dispositifs muséaux utilisés pour l’occasion. Cet article, à travers l’analyse d’affiches, vise à discerner les caractères généraux concernant la sémiotisation des objets préhistoriques, relevant notamment de la période Jômon et de la période Yayoi, dans des expositions muséales au Japon qui convoquent des discours scientifiques, esthétiques et mémoriels.

Cet article présente trois aspects fondamentaux des relations historiques et contemporaines au Canada entre les Autochtones et le patrimoine, c’est-à-dire du processus de patrimonialisation des cultures autochtones. Le premier est la perpétuation de la politique coloniale dans le domaine patrimonial avec le principe de « protection ». Le deuxième est la confirmation du principe de « préservation » comme principal obstacle ontologique à l’appréhension et à la compréhension de ce que peut être le patrimoine du point de vue autochtone. Le troisième est l’affirmation par les Autochtones de la gouvernance patrimoniale comme outil d’autonomie en la matière et d’autodétermination politique plus largement. Ces caractéristiques permettent de mieux saisir la complexité avec laquelle les Autochtones font en matière d’affaires culturelles pour poursuivre leurs manières de faire et d’être au monde dans les institutions culturelles, muséales notamment, et sur leurs territoires ancestraux

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Copyright of International Journal of Arts Management is the property of International Journal of Arts Management and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Face aux mutations rapides des sociétés actuelles, le patrimoine culturel se positionne comme un puissant levier de construction et de promotion identitaire. Il se pose chaque jour avec acuité, la nécessité d’éduquer au patrimoine et de le transmettre aux générations futures dans toute la richesse de leur authenticité. La présente recherche qui porte sur « le Langage Muséologique comme Forme d’Expression et de Promotion des Valeurs Identitaires », tient son fondement de la nécessité de présenter l’institution muséale comme une vitrine permettant de s’imprégner globalement des réalités identitaires d’un pays. Dans une perspective sous-tendue par la théorie de la représentation sociale et celle de l’imaginaire linguistique, elle se pose la question de savoir en quoi les référents culturels spécifiques sur lesquels se fonde l’offre du musée des bénédictins du Mont Fébé à Yaoundé, participent-ils à l’expression et à la promotion des valeurs identitaires de la société camerounaise? Pour répondre à cette interrogation, nous avons mené une enquête adossée sur l’observation participante, la recherche documentaire et l’entretien semi directif, auprès de 50 sujets, dont 40 visiteurs et 05 responsables dudit musée, ainsi que 05 responsables du Ministère en charge des arts et de la culture. Les résultats révèlent que cet établissement est un véritable espace de mise en vitrine des valeurs identitaires camerounaises, dans leur richesse et leur variété, mais dont le dispositif d’exposition ne favorise pas l’appropriation des messages des œuvres. Des suggestions visant un meilleur dispositif langagier, en vue d’une meilleure expression et une promotion plus accrue des valeurs identitaires par ce Musée ont été formulées.

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Cet article étudie comment Flaubert substitue à un texte religieux très connu un autre texte dans lequel non seulement il réécrit les savoirs livresques mais crée également une confluence entre les arts. Nous proposons de suivre l’évolution de cette réécriture dans les brouillons d’Hérodias. Nous nous interrogeons sur les motivations esthétiques de l’auteur et sur la manière avec laquelle il représente la dimension picturale, sculpturale, chorégraphiques et musicale dans son conte. Comment le style de Flaubert parvient-il à taire tous ses langages en développant une écriture synesthésique et une poétique du silence? C’est en employant l’approche génétique munie d’une poétique de l’intertextualité que nous essayons de mener une archéologie des arts dans le troisième conte de Flaubert l’un des textes les plus illisibles et les plus étranges de toute la littérature française.

[ES] En 1992, con objeto de preservar el patrimonio tangible e intangible de las escuelas rurales, la asociación Musée rural de l’éducation dans les Côtes d’Armor (Museo rural de educación de Côtes d'Armor) lidera un proyecto para hacer de la escuela de Bothoa un lugar para impartir clases de patrimonio. En 1994 este museo abrió sus puertas. Además de un importante trabajo de rehabilitación de del edificio, éste se amuebla y se enriquece con objetos para mostrar una escuela ambientada en los años treinta. El museo también cuenta con la recreación de la casa del maestro. El centro organiza diversos tipos de actividades a lo largo del año con el objetivo de sumergir a los visitantes en el ambiente de una escuela del pasado. [EN] In 1992, in order to preserve the tangible and intangible heritage of rural schools, the association Musée rural de l'éducation dans les Côtes d'Armor (Rural Museum of Education of Côtes d'Armor) leads a project to make the school of Bothoa a place to impart heritage classes. In 1994 this museum opened its doors. In addition to an important work of rehabilitation of the building, it is furnished and enriched with objects to show a school set in the thirties. The museum also has the recreation of the master's house. The center organizes various types of activities throughout the year with the aim of immersing visitors in the atmosphere of a school of the past.

Depuis un siècle, le Musée de la Vie wallonne constitue une importante collection de jouets sur une période allant du xixe siècle à nos jours. Celle-ci comprend de nombreuses poupées. Dans un musée d’ethnographie et de société tel que le Musée de la Vie wallonne, les collections sont, notamment, les porte-paroles d’un discours critique sur les mœurs et les symboles d’un ou de plusieurs groupes sociaux. Le jouet reflète les bouleversements qui ont transformé l’époque contemporaine. Au-delà de la conservation des pièces phares, quelle place donner à ces objets au sein d’un musée ? Comment les présenter, les décrypter ? L’exposition Jouet Star qui s’est tenue au Musée du 18 janvier 2015 au 07 janvier 2018 présentait au public une déconstruction des messages véhiculés par les jouets. Elle affichait une volonté de casser les codes muséographiques des musées de jouets en mélangeant les époques, les styles, les matières et en offrant un découpage davantage thématique. La poupée est un sujet « bon à penser » mais aussi un objet bon à conserver et à exposer dans les musées. La muséalisation de cet objet, au lieu de le figer, doit le rendre vivant aux yeux des visiteurs. Dès son entrée en collection, le jouet devient passeur de mémoire et révélateur des représentations sociales et symboliques passées, présentes et à venir.

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A clear-cut piece of the dream of a young woman calls upwhole layers of her past, with its bizarre presence, but for the listener, it brings out an association to museums, with a historical and retrospective reading of passions and their vicissitudes. [ABSTRACT FROM AUTHOR]

Cette note de recherche porte sur un tambour sámi sacré saisi par les autorités dano-norvégiennes en 1692. Le propriétaire du tambour avait été condamné à mort par le tribunal de district de la Norvège du Nord. Aujourd’hui, le tambour appartient au Musée national du Danemark et est exposé au Musée du peuple Sámi situé à Karasjok, en Norvège du Nord, selon une entente de prêt. Cette note de recherche propose un survol historique de cette affaire puis fait état d’une quarantaine d’années de pourparlers entre le Musée national du Danemark et le Musée du peuple Sámi en ce qui a trait au prêt et à la propriété de ce tambour, tout en formulant des questions de recherche au sujet de l’origine du tambour et en présentant le point de vue des Sámi sur la question du rapatriement. Nous présentons les problématiques liées au rapatriement d’objets cérémoniaux du patrimoine culturel autochtone dans le contexte international plus large des politiques du patrimoine culturel. L’actuelle entente de prêt entre les musées arrive à terme en 2021. En 2020, le Musée du peuple Sámi de Karasjok a pris la décision de revendiquer la propriété légale du tambour. Il s’agit du premier cas de rapatriement international dans lequel une institution culturelle sámi revendique la propriété d’un objet cérémoniel sámi exposé dans une collection muséale appartenant à un pays étranger. L’expertise de l’auteure en méthodologies de recherches autochtones lui permet de définir le cadre théorique de ce cas de recherche.