Art Institutions and National Identity in a Post - Conflict Society
Post-conflict societies inhabit a prolonged identity crisis. This crisis defines the scenario in present day Bosnia and Herzegovina, where ethno-centric narratives embody the consciousness of the Bosniak, Croat, and Serb populations, inhibiting the prevalence of an overarching national identity. In this thesis, I contend that realizing a national identity, as defined by Benedict Anderson, is crucial to the reconciliation of a post-conflict country such as Bosnia. In light of the limitations of parliamentary structures (such as those defined by Bosnia’s Dayton Agreement) within a society affected by mass atrocity, I argue that art institutions are capable of negotiating the question of a national identity. Focusing on Bosnia, I have examined the nation’s representation in the Venice Biennale, the phenomenological significance of the Sarajevo Film Festival, and finally, the function of museums and public art within the nation. This has revealed how art institutions can address the past in order to memorialize and revisit significant events to realize a collective history, act as a soft body power, create new traditions and narratives, and act as a means for society to realize the distinctness of the nation. My research concludes that art institutions can certainly fulfill long-term and symbolic functions that governmental or legal bodies fail to effectively address, despite their limitations in regards to outreach, access, and the dubious assumption about the effects that they can have on a post-conflict society. This ultimately reiterates the importance of art to the political imagination, not just in Bosnia, but also in other post-conflict societies.
Museums, national, postnational and transcultural identities
The emergence of the nation-state, the public, and the public museum in the late eighteenth century, were intimately bound together. The French Revolution of 1789, regarded as a key moment in the dawn of the nation-state era in Western Europe, was a revolution of ‘the people’ which saw the replacement of an aristocratic order with a new more horizontal and democratic conception of a collectivity of equals. As such, the opening up of the formerly princely collections was an eloquent symbolic assertion of the new ideals of ‘egalite, fraternite et liberte’. That which was private and aristocratic was made public and ‘of the people’; the special, exclusive sphere of the elite was breached and opened up to the scrutiny of those who had previously
Negotiating the cultural and economic outcomes of sport heritage attractions: the case of the National Baseball Hall of Fame
ABSTRACT Contemporary museums must balance their roles as commercial entities and repositories of various, and often dissonant, heritages and histories. Sports museums in particular often have clear commercial and nostalgic aims, particularly through tourist visitation, though the extent to which they represent more challenging narratives remains unclear. This paper examines how one of the most famous sports museums in the world, the National Baseball Hall of Fame (NBHF) in Cooperstown, New York, balances its dual role as tourist attraction and repository of baseball's sometimes checkered past. It was found that different sections of the museum provide greater or lesser degrees of engagement with more controversial issues, although the commercial outputs and appeal of the museum remains clear throughout. Utlimately, the NBHF demonstrates that balancing veneration and critique in collections can be commercially prosperous, and can provide a template for other sport and popular culture museums who may be wary of incorporating more challenging narratives in their exhibits. Furthermore, the symbiotic relationship between the Hall of Fame and the village of Cooperstown, particularly in creating and maintaining cultural and economic outputs, requires further exploration.