After World War II, thousands of Indische people, or people with Eurasian heritage (including Indonesian-Chinese and Moluccans who were linked to the Dutch colonial reign), were moved to the Netherlands from Indonesia (formerly known as the Dutch East Indies) as postcolonial immigrants. Nowadays, they and their descendants have been integrated into Dutch society and Indische culture has become part of everyday life in postcolonial Netherlands. In addition, museums in the twenty-first century started to change their paradigm. In the former colonial country of the Netherlands, city museums began to change their historiography and started representing immigrants and embracing multiculturalism. This study examines three city museums of the Netherlands’ largest cities: Amsterdam, Rotterdam, and The Hague. To what extent are the Indische people and culture, as well as the Moluccan people and culture, represented within these museums’ permanent exhibitions? The preliminary results of this research show that the Netherlands’ major city museums tend to focus more on the golden era of the seventeenth century (that of the VOC) while the present day Indische (and Moluccan) stories remain underrepresented.
The aim of this article is to examine diversity dimensions of participation and its role in visitors’ encounters with digitized artworks online. Though often employed in discourse on museum digitization, the notion of participation remains resistant to clear-cut definition, as it is diversified in both theoretical content and practical usage. Through phenomenological analysis of online museum visitors’ reflections on accessing digitized artworks on Norwegian web museum portal DigitaltMuseum and online 3D design community Thingiverse, the diverse participatory potential of photographic, 3D rendered and 3D printed surrogate objects and the platforms on which they appear, is explored. The analysis comprises co-examination of perspectives of participation and mediated materiality, and contributes to the development of a relational understanding of participation, where the encounter between museum object and visitor is vital. As the focus group study is conducted as a Socratic Dialogue—a form of in-depth, at-length philosophical conversation not yet widely employed in empirical research within the humanities—the study also contributes to exploring the use of this method in a qualitative research context.
This article explores a program designed by educators at the Crow Collection of Asian Art, an art museum in Dallas, Texas. The outreach program uses 360-degree technology to bring a virtual museum experience into rural classrooms located more than an hour drive from the museum, a distance that in many cases precludes a school field trip. First, the article details why the educators chose to pilot this outreach program for middle schoolers. Next, it takes the readers through the pedagogical and technological program design, including adjustments made to the plan when the technology did not work as anticipated. Then, the article tells the story of how the pilot program was implemented. Finally, it provides those interested in piloting similar programs with tips based on lessons learned throughout the process.