I thought I was done with Staiff, but he keeps dragging me back in! These are my final thoughts, I promise. The final chapter however is a doozy, and contains at least a couple of quotes I’ll want to squeeze into my dissertation. To be honest I thought Staiff had lost me with his celebration of “Gabriel’s” mash up in my previous post. He seemed to be saying heritage interpretation as a business should pull back and let the objects speak for themselves – which is often very good advice, I have seen places and things being over-interpreted, their spirit killed by too much didacticism. But his championing of the visitor making their own meaning, and sharing it with other visitors, presumed too much upon every visitor devoting time and energy to their visit. It’s a noble aim, don’t get me wrong, but not everybody has the time to play, to make meaning, and I worry it is elitism by the back door: only those with the time and experience to bring or make meaning should be alllowed to engage with the objects. I recall somebody telling a colleague “Knole doesn’t need “interpretation”, all you need to do is read The Edwardians.”
However, Staiff reassured me by taking us (sadly in words, not real life) to a museum I have wanted to visit since first hearing about it (but given it’s about as far from me as its possible to get on this globe, I might never see it), the Museum of Old and New Art in Hobart, Tasmania. Some of my best museum visits have been when I was a little tipsy, and one that is build around a cocktail bar, and as Staiff says, invites visitors to ‘get inebriated’ to properly appreciate the living, constantly changing mix of “old and new art”, themed mostly around sex and death must be, should be, a Mecca of every curator. This is a place that embraces counter-tourism. (Note to self, write a post about the O-system. Another note to self , why haven’t you done it aleady, idiot?!) That Staiff says the MONA “is a material and embodied expression of how I imagine heritage interpretation” is a relief.
So finally to those quote that I’ll be working into my thesis. The first is another reassurance that he and I are not as far apart, philosphocally, as I had feared:
This is not an abdication on my part from the role of of heritage interpretation but a call to re-think it as a platform for negotiated meaning making; for non-linear and non-determined experiences; for facilitating choice and for being able to deal with the unauthorized, the non-conforming, the unpredicted, the subversive, the playful, for imagination, creativity and newly performed responses; for experiences where the power of the somatic, the emotional and serendipitous are acknowledged as possible ends in themselves; for co-authored experiences and meaning making; for experiences that are not necessarily born of the information imperative.
And one more, in fact his very last sentences, having described all (though I guess he’s not being encyclopedic in this effort, do perhaps I should say, a lot of) the things we do as visitors to special places:
All of these interactions focus on the visitor, and all of them, therefore, are infused with social and cultural characteristics. In its broadest sense, visitors at heritage places can be regarded as being in dialogue with places, objects and landscapes; as having a dialogic relationship with parts of our planet marked out as being special (for whatever reason) and with something from the past/present that needs to be kept (for whatever reason, official or unofficial) for the future.