Healthy societies need the push of free enquiry and speculative research. Likewise, societies also need the pull of free enterprise to drive the successes needed to survive and thrive.
Musingplaces are the places where new knowledge can be won along with the new understandings of the world that carry us forward. The extent to which this is the case for the Tasmanian Museum and Art Gallery (TMAG), it is also true for kindred musingplaces and heritage sites throughout Tasmania... LINKS [1] [2]
These places are important cultural resources. Arguably, a growing number people seem to have come to an understanding that if change can be embraced at the TMAG that could enhance ‘the cultural experience’ in Tasmania. This would be the case for all Tasmanians and by extension for visitors to the state – virtual and digital – that come to it with a broad range of knowledge sets as well as a wide range of expectations and aspirations.
Of course our visitors, through their engagement and participation with local people, and their engagement with the ‘Tasmanian cultural estate’ will be creating new income streams for many aspects of the states cultural operations beyond the TMAG and kindred musingplaces throughout the state – plus private initiatives and kindred institutions statewide and interstate.
Moreover, there is a strong case to be put that it would be appropriate now for Tasmanian the government to:
Taking cultural tourism by itself, it can be understood as having five primary components.
Musingplaces are the places where new knowledge can be won along with the new understandings of the world that carry us forward. The extent to which this is the case for the Tasmanian Museum and Art Gallery (TMAG), it is also true for kindred musingplaces and heritage sites throughout Tasmania... LINKS [1] [2]
These places are important cultural resources. Arguably, a growing number people seem to have come to an understanding that if change can be embraced at the TMAG that could enhance ‘the cultural experience’ in Tasmania. This would be the case for all Tasmanians and by extension for visitors to the state – virtual and digital – that come to it with a broad range of knowledge sets as well as a wide range of expectations and aspirations.
Of course our visitors, through their engagement and participation with local people, and their engagement with the ‘Tasmanian cultural estate’ will be creating new income streams for many aspects of the states cultural operations beyond the TMAG and kindred musingplaces throughout the state – plus private initiatives and kindred institutions statewide and interstate.
Moreover, there is a strong case to be put that it would be appropriate now for Tasmanian the government to:
- Make new appointments to the TMAG’s governing Board of Trustees;
- Extend the board’s membership in the near term to reflect new and emerging dimensions of musingplaces statewide; and
- Extended the leadership role of the Board of Trustees enabling it to proactively work towards establishing a physical network and virtual network of museums, art galleries, heritage sites, cultural events to better serve Tasmanians and visitors to the state.
Taking cultural tourism by itself, it can be understood as having five primary components.
- First of all an important component of cultural tourism in Tasmania is relative to the island’s physical 'placedness', its natural histories and by extension its pre-contact physical realities – its geography, its geologies and natural environment. Almost all of this is bound up with the ‘wilderness idea’ in one way or another.
- Closely aligned with all that there is the cultural realities of Tasmania’s Aboriginal people in both pre-colonial an postcolonial contexts that are similarly bound up in Tasmania’s cultural landscapes, Tasmanian 'placescapes' and cultural production. Albeit that it is a factor that is yet to be fully acknowledged and engaged with in a contemporary cultural cum social context there are cultural development and tourism subtexts to be considered and developed towards achieving more inclusive outcomes relative to Tasmanian Aboriginality.
- Tasmania’s built environment – public, commercial and private – is very much a part of the State’s cultural estate. Its often not acknowledged that collectively the State’s built environment is not only a key component of the island’s attractiveness as a tourism cum cultural destination and that it is a key component of Australia’s and Tasmania’s cultural estate.
- In the widest and most inclusive interpretation, the arts collections that have been created since the European settlement of Tasmania are amongst Australia’s most significant. Importantly, there is an increasing need to be able to access these collections both physically and virtually.
- Tasmanian social histories and industrial heritage are both unique to the island and a microcosm of a kind relative to those found elsewhere in Australia and other ‘colonised places’. In many ways Tasmania’s cultural estate is an exemplar in regard to demonstrating the interfaces evident in ‘settler societies’ in the Western world.
- A plan relevant to 21st C imperatives;
- A plan that takes a proactive and productive role in the overall governance and management of Tasmania’s the cultural ‘estate’;
- A plan that invests musingplaces and heritage sites with enhanced relevance and values.
No comments:
Post a Comment