Women's Museum Research Articles

여성뮤지엄 전시콘텐츠 특성 연구

Today, as non-mainstream stories appear as exhibition contents in history museums, it can be seen that there is a need for research on the subject and expression method. Therefore, with the goal of providing basic data on women's museums as a preliminary study, the probability of the original data and expression were examined, focusing on the exhibition of women's museums. Chapter 1 raises the background of the study and the need for the aforementioned preliminary investigation, and Chapter 2 examines the meaning and characteristics of the women's museum. In Chapter 3, the basic status, exhibition system, direction, and operation direction of each institution were investigated for the Bonn Women’s Museum in Germany, Gender Museum of Denmark, and Merano Women’s Museum in Italy. As a result of the study, it was found that the composition context that began with the grassroots movement affects the direction of operation. Second, as it expanded to the issue of “gender and society” rather than “women versus men” the scope of women's museum acceptance also expanded, which seems to affect the expression of exhibition contents. Third, we found the need to review women's things. Finally, all three institutions had something in common that they used the historicity of space to richly convey women's stories and create values by discovering historicity and meaning on their own.

Editorial 18:3 Celebrating women in higher education on International Women’s Day

We have timed publishing our first standard issue of the year to coincide with International Woman’s Day, 8 March 2021 to celebrate the contribution women have made to higher education. The first woman documented as teaching in a university was more than 800 years ago, and yet it is only the last century that the number of female academics has started to increase (Whaley, 2011). In Australia, the first university was established in 1851, yet it would be another 32 years until Julia Guerin graduated in 1883 from the University of Melbourne with a Bachelor of Arts (Hons) in 1883 (Women's Museum of Australia, 2020). And another 10 years when Leonora Little graduated from Melbourne University with a Bachelor of Science in 1983. Despite these accomplishments in the late 19th century, it was not until 1959 when the first woman, Dorothy Hill, was awarded a Chair appointment (Chair of Geology) in an Australian university, and nearly a century before Australia has its first female Vice Chancellor, when Dianne Yerbury became the Vice-Chancellor of Macquarie University in 1987, a position she held for twenty years. Australia’s higher education history tells a clear story of the slow integration of women in higher education, particularly within the STEM fields. For example, Little graduated in 1893 with a Bachelor of Science, but it was 1928 before the first female Lecturer in Mathematics, Ethel Raybould was appointed, and another 36 years before Hanna Neumann became the first female Professor of Pure Mathematics in 1964. It was just over 60 years ago that Margaret Williams-Weir was the first female Indigenous Australian to graduate with a university qualification in 1959. Female Indigenous Australians remain under-represented in the Australian university graduate population. The current situation for Australian higher education still retains a dominance of males within academic roles, such as 30 percent more men in Associate and Full Professor roles than women (Devlin, 2021). And whilst there has been progress in some jurisdictions, such as the majority of Queensland vice chancellors are women in 2021, these continue to be the exception, for example only 28% of vice chancellors in Australia are women. International Woman’s Day is an opportunity to reflect on the significant contribution women make in higher education in Australia and globally. We celebrate through the publication of this issue, with many female authors from across higher education globally.

Women Museum in Mexico City: a Museological Reflection of its History, Mexico

Desde finales del siglo XX la museología manifestó la necesidad de contar con espacios ‘’de mujeres’’ que, como temática autónoma, aportaran a la emancipación de los museos tradicionales del antropocentrismo histórico y de la hegemonía masculina. Esta investigación busca rescatar los escenarios epistemológicos que llevan a la creación de los museos de la mujer en el mundo, particularmente, del que se inauguró en la Ciudad de México en 2011. Al ser una reflexión crítica, tiene por objeto ahondar en las condiciones históricas y políticas de su gestación, reconocer quiénes participaron en su creación e identificar las corrientes de la museología que se ejecutan en sus muros. ____ Since the late twentieth century, museology expressed the need to have spaces “for women” that contributed, as an independent theme, to the emancipation from anthropocentrism and male hegemony. This research aims to rescue the epistemological scenarios that lead to the creation of Women Museums, particularly the one founded in Mexico City in 2011. The aim, being a critical reflection, is to delve into the historical and political peculiarities of its history, recognize those who participated in its creation, and identify the museological currents that run in its walls.

AARHUS: 75 años. La torre, el vestíbulo y las escaleras. Una reflexión estructural de la obra de Arne Jacobsen

The seventy-fifth anniversary of the opening of Aarhus Town Hall has just taken place. Aarhus is the second most important city in Denmark and in the 1930s it had a population of around 120,000. The building that housed its Council was about eighty years old at that time and was located next to St. Clemens Cathedral, in a building that currently houses the Women's Museum. The existing building was becoming a little small and the increasing activity in the city and its significant growth in population were more than sufficient reason to propose a new construction that would bring together all the municipal functions under one roof. In 1937 a national competition was held and its winners were Arne Jacobsen and Erik Moller. The council asked them to include a tower in the winning project. The structural analysis of that tower allows us to look at how architects understand this as a decorative element. This fact would have an impact on the attitude adopted by future projects and their most significant elements.

"Those Ladies of Finest Culture … Are Truly Our Working Women": Gender Unity, Class Fractures, and the South Kensington Museum Model in Cincinnati, 1876–1890

While professional women artists responding to modernism's emphasis on individuality contributed to the 1890s decline of women's collective art culture, so did increased social class solidarity. Cincinnati's women museum advocates backed the goals of women's art culture embodied in Kensington-style institutions, including art training and decorative and fine arts parity. Women's art culture contained internal class tensions; women backed women's art labor both as a new artistic career path and as charity for the deserving poor. Cincinnati's women museum supporters exacerbated such class tensions when they targeted elite male donors by promoting art training to reform working-class men who lacked the unifying refinement that mitigated class tensions in women's art culture. Women thereby consolidated a cross-gender charitable elite patron class at the expense of women's art culture. Museum-trained women artists, furthermore, successfully advocated shifting to an institutional fine arts focus, addressing an elite patron class newly consolidated by women's museum advocacy.

Innovative Niche Scientists: Women's Role in Reframing North American Museums, 1880-1930

Women educators played an essential role in transforming public museums that had been focused on collections and research into effective educational and informational sites that engaged broad publics. Three significant innovators were Delia Griffin of St. Johnsbury Museum in Vermont who emphasized hands-on learning, Anna Billings Gallup who shaped a distinctive model museum for children in Brooklyn and Laura Bragg of the Charleston Museum who established strong collaboration with the local public schools. Joining museum curatorial staffs and professional associations that were largely male, these women educators and their peers typically provided pedagogical insights and teaching skills that enabled them to work effectively with school systems, teachers, pupils and parents. Genuinely interested in natural science, they shaped careers which included opportunities to engage with science, provided a considerable degree of autonomy and enabled them to experiment with hands-on learning. They built networks of museum educators and influenced the young American Association of Museums. Women museum educators created a bridge between semi-public natural history establishments for collection, preservation and scientific research and an active audience of teachers, pupils, visitors and patrons. Their efforts transformed museums into sites for education and broad public access to science in the early 20th century.

Afrolatinoamericanas... una experiencia de subversión estereotípica en el museo de la mujer de Buenos Aires

En este trabajo me centraré en la perfomance teatral Afrolatinoamericanas..., realizada en el Museo de la Mujer de Buenos Aires a finales del año 2010 por un grupo de teatro dedicado a la tematización de la afrodescendencia en la Argentina, un país que hasta hoy día sigue considerándose blanco-europeo y que sostiene que la población de descendientes de esclavizados/as africanos/as ha desaparecido. El análisis de la puesta en escena de dicha obra, en conjunto con el de fuentes históricas, permitirá establecer ciertas relaciones de continuidad entre las situaciones de exposición, objetivación y estereotipación surgidas en Europa y algunos de los lineamientos en que se fueron sustentando las representaciones raciales/sexuales para las mujeres socialmente negras en la Argentina. Haciendo hincapié en la reutilización y crítica producida en la performance de estos elementos propondré repensar a esta intervención artístico-política de autorepresentación como una plataforma privilegiada para su desafío.

Contemporary Women’s Roles through Hmong, Vietnamese, and American Eyes

For many Americans, Southeast Asia and its inhabitants particularly the Vietnamese and transnational ethnic groups such as the Hmong become visible only through the lens of the Vietnam War. At the same time, contemporary Vietnamese tend to see that war as only one of the many imperialist conflicts in which they have been engaged for the past millennium.1 And the Hmong, with traditional roots in agriculture and no national ties to speak of, hold an even longer view, seeing this war and subsequent migrations as part of an ancient four-thousand-year-old history of conflict and flight through the highlands of modern China, Vietnam, Laos, Thailand and now to the United States. Not surprisingly, gender roles in Southeast Asia and the United States have been profoundly shaped in both cultures by these traditions of invasion, resistance, and, often, flight. A complex, diasporic confluence of political history, militarism, immigration, and feminism emerged in the wake of the Vietnam War. To tease out these delicate global intersections, which continue to shape contemporary women's lives, in this paper I explore representations of Viet and Hmong women in Vietnamese publications and public spaces and compare them to representations of women in the writings of Vietnamese American and Hmong American women. To this end, I pair images of Viet women culled from two Vietnamese publications, Images of the Vietnamese Woman in the New Millennium (2002) and Female Labour Migration: Rural-Urban (2001), and from the Vietnamese Women's Museum housed in Hanoi with Lan Cao's negotiations of Vietnamese American womanhood in her novel, Monkey Bridge (1997). As well, I examine representations of Hmong women at the Vietnam Museum of Ethnology in Hanoi, specifically a book of photographic essays by Hmong girls titled Through H'Mong Eyes (2003), and compare them to selections by Hmong American women writers and storytellers from the anthologies Bamboo among the Oaks: Contemporary Writing

The Vietnam Women's Museum: The Promotion of Women's Rights to Gender Equality and Gender Issues

The Vietnam Women's Museum: The Promotion of Women's Rights to Gender Equality and Gender Issues

The Women's Museum of Dallas: A Visit

The Women's Museum of Dallas: A Visit

Ecuador: Looking you in the eye

Take some guinea‐pigs, add a back‐strap loom and some rag dolls, stir in one drunken shoemaker, a pinch of husbands' gossip and a hefty dose of selfesteem. What do you get? Just the beginnings of the recipe for a unique women's museum, the Casa Cumbe, located near Cuenca in Ecuador, whose story is told here by the chairperson of ICOM's regional Latin American and Caribbean Organization who, prior to volunteering at Casa Cumbe, was for ten years director of the Museum of Folk Arts at the Inter‐American Centre for Folk Arts and Crafts. She is now overseeing the creation of a museum of metallurgy in southern Ecuador.

Vocing the unspoken in Denmark

Chipped crockery, threadbare clothing, regular beatings, back-street abortions – these are not usual museum fare. They have been and still are the daily lot of many women, however. To document this largely unwritten page of history unabashedly yet undogmatically is one aim of the Women's Museum of Denmark, presented here by its curator, who trained in psychology and now specializes in the history of gender in the sixteenth and seventeenth centuries.

The Women's Museum in Denmark

The Women's Museum in Denmark