Should one aim at presenting a local or global science perspective in construing an effective mus... more Should one aim at presenting a local or global science perspective in construing an effective museum narration for communicating scientific and technological issues in natural science? This article will attempt to respond to this question by presenting the data of an evaluation exercise undertaken by the Trento Natural History Museum (Museo Tridentino di Scienze Naturali-MTSN) from 2009 to 2011. The local dimension apparently lies at the heart of the museum's appeal for its visitors: they associate their mountain surroundings with the symbol of the region's identity, and appreciate in particular the efforts undertaken by the museum to communicate and conserve the mountain's environment. Indeed, in their opinion, by protecting the mountains and disseminating knowledge about them, the museum indirectly acts as a custodian of the region's own identity. However, interest in local issues far from rules out global scientific themes, whose presence is sought to complement and interact with the local discourse.
Christ Apostolic Church (CAC) is a Pentecostal and African Initiated Church that emerged from the... more Christ Apostolic Church (CAC) is a Pentecostal and African Initiated Church that emerged from the Yoruba Aládǔrà movement of early twentieth century Nigeria. In this article I unpack the concept of ‘dancing away sorrow’, one of the distinctive rituals that members of CAC Dublin have brought with them from Nigeria. I explore members’ beliefs about wellbeing and its links with spirituality and community, and examine how music and dance help to facilitate connections with God and fellow worshippers. While the practice offers positive benefits to first generation migrants, it highlights the dissonance perceived by the second generation between Yoruba and Irish culture.
Christ Apostolic Church (CAC) is an African Initiated Church that was established in Dublin sixte... more Christ Apostolic Church (CAC) is an African Initiated Church that was established in Dublin sixteen years ago by Yorùbá Christians migrating from Nigeria. In this article I will explore the role of the talking drum in CAC Dublin with reference to two features of music in migration – cultural cohesiveness and adaptability. Firstly, I will examine how the drum points back to the homeland, reinforces ethnic identity, builds community and plays a therapeutic role. Secondly, I will look at the migration of the drum itself - from outside to inside the church - and the negotiation of drum messages as it is adapted to the church’s ideology. Thirdly, I will consider how the second generation feel about the talking drum and explore some of the issues that might affect its future use within this community. In many ways the drum plays a retrospective and cohesive role for the first generation, yet at the same time it remains subject to continued negotiation and adaptation. The second generation cannot understand the messages ‘spoken’ by the drum and do not dance to it in the way their parents do, but it remains important to them as a symbol of their cultural roots.
Should one aim at presenting a local or global science perspective in construing an effective mus... more Should one aim at presenting a local or global science perspective in construing an effective museum narration for communicating scientific and technological issues in natural science? This article will attempt to respond to this question by presenting the data of an evaluation exercise undertaken by the Trento Natural History Museum (Museo Tridentino di Scienze Naturali-MTSN) from 2009 to 2011. The local dimension apparently lies at the heart of the museum's appeal for its visitors: they associate their mountain surroundings with the symbol of the region's identity, and appreciate in particular the efforts undertaken by the museum to communicate and conserve the mountain's environment. Indeed, in their opinion, by protecting the mountains and disseminating knowledge about them, the museum indirectly acts as a custodian of the region's own identity. However, interest in local issues far from rules out global scientific themes, whose presence is sought to complement and interact with the local discourse.
Christ Apostolic Church (CAC) is a Pentecostal and African Initiated Church that emerged from the... more Christ Apostolic Church (CAC) is a Pentecostal and African Initiated Church that emerged from the Yoruba Aládǔrà movement of early twentieth century Nigeria. In this article I unpack the concept of ‘dancing away sorrow’, one of the distinctive rituals that members of CAC Dublin have brought with them from Nigeria. I explore members’ beliefs about wellbeing and its links with spirituality and community, and examine how music and dance help to facilitate connections with God and fellow worshippers. While the practice offers positive benefits to first generation migrants, it highlights the dissonance perceived by the second generation between Yoruba and Irish culture.
Christ Apostolic Church (CAC) is an African Initiated Church that was established in Dublin sixte... more Christ Apostolic Church (CAC) is an African Initiated Church that was established in Dublin sixteen years ago by Yorùbá Christians migrating from Nigeria. In this article I will explore the role of the talking drum in CAC Dublin with reference to two features of music in migration – cultural cohesiveness and adaptability. Firstly, I will examine how the drum points back to the homeland, reinforces ethnic identity, builds community and plays a therapeutic role. Secondly, I will look at the migration of the drum itself - from outside to inside the church - and the negotiation of drum messages as it is adapted to the church’s ideology. Thirdly, I will consider how the second generation feel about the talking drum and explore some of the issues that might affect its future use within this community. In many ways the drum plays a retrospective and cohesive role for the first generation, yet at the same time it remains subject to continued negotiation and adaptation. The second generation cannot understand the messages ‘spoken’ by the drum and do not dance to it in the way their parents do, but it remains important to them as a symbol of their cultural roots.
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