Noor Ali<\/p>\n
Carol Duncan, known for her insightful work in the field of Museum Studies, explores art museums in the light of both anthropological and philosophical literature to establish its ritualistic significance. The evolution of museums from a mere cultural site to a complete ritualistic structure is quite intriguing.
\nThe author seems to delve into the liminal effects of art museums by establishing a sense of decorum implied by \u201cclearly defined precincts\u201d and \u201cgrand doors\u201d in order to \u201cappreciate the works of art\u201d. She seems convinced that museums are the primary channel for transferring the history of civilizations to future generations, however, this is marred by intervening political powers. She is honest in highlighting the effective use of order effects by political powers and social institutions in shaping historical narratives.
\nShe begins by making a comparison between museums and religious places, however seems to give more importance to art museums by referring to them as \u201ccomplex entities\u201d: offering a blend of art, values, and beliefs. Moreover, Duncan has defined the structure of museum as a ritual by citing examples of various museums. It is further strengthened by describing the evolution of the Louvre museum: a symbol of the French monarchy, converted into a public place. Thus, touching upon the \u201ccivic\u201d function of a ritual.
\nOn the contrary, Duncan seems to give more emphasis on the Western perspective of looking at museums as she did not include any example of non-Western art and she seemed to diminish their significance by calling them \u201cminority cultures\u201d in the text. Further, she is convinced about the supremacy of Western cultures in shaping the identity of others. However, she presents a weak argument by not highlighting any particular areas of intervention.
\nIn addition to this, Duncan has vividly portrayed the concept of the \u2018liminality\u2019 of a ritual as the visitors follow a guided tour suggested by a \u201cstructured narrative route\u201d and prescribed forms of conduct. Moreover, she builds on her argument by citing the works of two anthropologists, Turner and Schmidt and presenting their new perspectives as implied by \u201cturn the world upside-down\u201d. Moreover, \u2018liminality\u2019 allows the visitors to transition beyond the realms of mundane life and attain a greater understanding of the deep-rooted history. The connection between visitors, art, and structure further establishes the ritualistic nature of the museum as conveyed by reference to \u201can imaginative act of identification between viewer and artist\u201d.
\nDuncan clearly points out political powers and social institutions\u2019 intervention in shaping the historical narratives by effectively using order effects by using the reference of \u201cnatural\u201d, \u201clegitimate\u201d and \u201caesthetic experience\u201d to the visitors. These powers dictate what to show and what to conceal. Therefore, it brings into question our identity as well as who we really are. By using strong words such as \u201cobscure\u201d she is emphasizing the amount of influence of these political powers in redefining the historical contexts. Moreover, by adding the aesthetic touch, completely different meanings have been assigned to these objects which in turn destroy the representation of a specific community.
\nDuncan provides a strong case of art museums being ritualistic structures particularly emphasizing the effects of liminality in terms of both anthropological and philosophical perspectives. However, the writer seems to be influenced by the domination of Western cultures over others. Further, she has raised valid questions on the meanings we assign to historical narratives shaped through art museums thus, doubting the existence of our identity.<\/p>\n
The writer is a freelance columnist.<\/p>\n","protected":false},"excerpt":{"rendered":"
Noor Ali Carol Duncan, known for her insightful work in the field of Museum Studies, explores art museums in the light of both anthropological and philosophical literature to establish its ritualistic significance. The evolution of museums from a mere cultural site to a complete ritualistic structure is quite intriguing. The author seems to delve into […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[13375],"class_list":{"0":"post-406578","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-article","7":"tag-noor-ali"},"yoast_head":"\n