The re-crafting of design towards an ethnopgraphic perspective in chinese exhibition design
This chapter explores the divergent identities of the designer within the context of museum making in China's creative economy. The policy of Productive Protection and the Cultural Product (Wenchuang) in China seeks to preserve Intangible Cultural Heritage (ICH) by encouraging collaborations be...
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| Veröffentlicht in: | Histories of exhibition design in the museum / edited by Kate Guy, Hajra Williams, and Claire Wintle |
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| Format: | UnknownFormat |
| Sprache: | eng |
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2024
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Tag hinzufügen | Zusammenfassung: | This chapter explores the divergent identities of the designer within the context of museum making in China's creative economy. The policy of Productive Protection and the Cultural Product (Wenchuang) in China seeks to preserve Intangible Cultural Heritage (ICH) by encouraging collaborations between traditional makers from rural communities and urban designers. We explore one such partnership from the perspective of the designer: the case of the Dali Project sponsored by the Global Heritage Fund, an ongoing partnership between a group of craftswomen from the Dong Ethnic Minority in Dali village in Guizhou Province and the contemporary design studio ATLAS Design. We focus on the influence that working with Dong craftswomen and the collaborative making of one ICH product – contemporary textiles – has played in shifting the exhibition-making practices and wider perspectives of ATLAS Design. In our discussion of the making of Tradition@Present, an exhibition hosted by the Chinese National Museum of Ethnology in 2013, we argue that ongoing collaborations with Dong craftswomen influenced ATLAS Design's decision to design through Dong community values and focus on local cosmologies. By attending to the long-term practices and collaborations of one design agency, this chapter considers the idea of the transformation of the designer through the making process. |
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| Beschreibung: | Illustrationen |
| ISBN: | 978-1-032-15693-4 |