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Returning from the Canadian Conservation Institute’s ‘Symposium 2007’ I wrote a review in which, quoting from the program, I noted:
“The symposium was organized using the traditional circle, described by Gilbert W. Whiteduck (Algonquin from the Kitigan Zibi Anishinabeq First Nation) as allowing for 'reflection, open dialogue, and consensus'.” [1] However, it wasn’t until recently that I began to consider as significant the connection between the idea of consensus, noted in my review, and contemporary ethnographic conservation praxis; which is built on such theories as intangible cultural heritage and stewardship, and the practice of consultation. The conservation literature despite widely discussing consultation affords scant details to the process itself. However, it is clear that consultations do not follow established hierarchical decision making processes [2], and it is my contention that a modified form of consensus best fits the logic of such meetings. Consensus is a remarkably common system found amongst indigenous groups, the Quakers (Religious Society of Friends), alterglobal activists and the feminist movement. Although the formalities vary, the concept of consensus could be summarized thus: “We must give each other the benefit of the doubt for honesty and good intentions. Consensus is not the same as majority rule; it’s not a competition. We are all working together to figure out the right thing to do”. [3]
Conservation realizing that cultural objects are the result of social relationships, has undergone a readjustment towards an emphasis less on cultural artefacts and more on concern for living cultures; an act the situationists defined as a “search for lost unity” [7], in an interesting parallel consensus has been suggested as “a way of seeking commonality” [8]. Contextually then in imagining consultation as a consensus process we can begin to (re)define conservation as facilitating the intense and ongoing (re)negotiation of social relationships surrounding material culture. Notes [1] D. Cull, "Preserving Aboriginal Heritage: Technical and Traditional Approaches: A Review", ICON News, Issue 13, November 2007, pp. 39 [2] 'Robert's Rules of Order', www.rulesonline.com [3] ‘Mark’, during a spokescouncil meeting in Burlington, April 17th 2001. Quoted in: David Graeber, Direct Action: An Ethnography, AK Press, Edinburgh and Oakland, 2009, pp. 123 [4] Gilbert Whiteduck, in Preserving Aboriginal Heritage: Technical and Traditional Approaches, Proceedings of Symposium 2007, Ottawa, 24-28 September, 2007, Carole Dignard et al. (Eds.), Canadian Conservation Institute, 2008, pp. xv [5] J. Inch, in: Dignard et al., 2008, pp. vii [6] Graeber, 2009, pp. 331 [7] G. Debord, Society of the Spectacle, Black and Red, Detroit, 1980, pp. 180 [8] ‘Chris’ at a DAN facilitation training, Spring 2000. Quoted in: Graeber, 2009, pp. 304
About the author
Daniel Cull
Assistant Conservator
The Musical Instrument Museum
Website: http://dancull.wordpress.com
Contact: daniel.cull@themim.org
Daniel Cull is a Conservator, Wikipedian, Social Networker, and Blogger from the West Country of the British Isles. Trained at the Institute of Archaeology, University College London, where he received a BSc in Archaeology, MA in Principles of conservation, and an MSc in Conservation for Archaeology and Museums. He was later awarded an Andrew W. Mellon Fellowship at the National Museum of the American Indian/Smithsonian Institution, Washington, DC. He currently works as an ethnographic musical instrument conservator at the Musical Instrument Museum,in Arizona.
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