MUSEUM OBJECTS AS CHANNELS OF COMMUNICATION (Part Two)

By Henry Moore (Lecturer, Institute of Archealogy and Museums Studies, Jos, Plateau State)

Please Click this link for the first part of this work http://www.belfordscoreline.com/2016/09/museum-objects-as-channels-of.html

 

“Communication is also said to take place when one mind so acts upon its environment that another mind is influenced and in that other mind experience occurs which is like the experience in the first mind, and is caused in part by that experience” Encyclopedia Britannica (2016). This is actually what happens when one visits the museum and interacts with the objects. The sense of vision, perception and feelings are affected by the object.

‘’In the museum context, communication emerges both as the presentation of the results of research undertaken into the collections (catalogues, articles, conferences, exhibitions)and as the provision of information connected with it).’’ Armand Colin (2010).

Having laid a foundation on the definition of communication, let’s discuss on the concept of objects in the museum. Generally speaking, objects are material evidence of man and his environment. Museum object can also be seen as a material thing possessing functional, aesthetics, cultural, symbolic and scientific values usually movable by nature or design. According to Schreiner (1985) Museum objects are authentic movable objects which as irrefutable evidence show the development of nature and society. “The wealth of information they provide has led Jean Gabus (1965) and George Henri Rivière (1989) to attribute to them the name “Witness object” which they retain when displayed.’’ George Henri Rivière also used the expression symbol-object to describe certain witness objects heavy with content which might claim to summarize a whole culture or period.

 According to him, the essence of making things into objects is that they can be  studied much better than they were still in their original context (ethnographic field, private collection or gallery), but it can also become fetishist: a ritual mask, a ceremonial costume ,a prayer tool, etc which quickly change their status when they enter the museum.

Also according to Deloche (2001) any object displayed in a museum context must be considered as a substitute for the reality it represents because as a musealised thing the museum object is a substitute for the thing. Meaning that the role it plays in the museum varies from its original function.

Having established this background, let’s see how museum objects play an indispensable role in the society by communicating to the people. Objects are not only appreciated for their aesthetic value, but also for the role they play in display outlay or exhibitions. They communicate to visitors of their historical value, cultural importance, spiritual relevance and use. For instance the various objects discovered in Igbo-Ukwu by the three Anozie Brothers, Isaiah, Richard and Jonah reveal objects of decoration, objects from a burial site and ornamental pots of pottery.

The first site discovered by Igbo Isaiah includes Bronze object of a roped pot, an alter stand, beaded chains and crotals, a bowl on stand, a shell surrounded by an animal, a small shaped bowl and a pendant probably a ram’s head. A careful examination and observation of these objects reveals that they are objects of ornaments of decoration. This is due to the high nature of how these objects were highly decorated with various images.

A Bronze Roped pot

Bronze Altar stand depicting a Man and a Woman

A Bronze snail Shell

A Bronze Bowl that is highly decorated

Bronze Skull

A closer look at these objects shows that apart from their aesthetic nature, they must have had their functional uses as at the time they were produced. The beauty and decorations on the object tell one of a highly developed artistry in Bronze casting. The functional uses of these objects are believed that “from the position in which many of them were found, that the collection constitutes a store for shrine furniture, between its ritual uses.’’ Ekpo Eyo (1977). The second site of Igbo Richard reveals a burial site which gives much information about Igbo culture, its priest-king institution and its burial custom.

Furthermore, museum objects tell a story of a people’s existence, their way of life, beliefs and what they do. This can be interpreted when viewing objects of certain materials like Ivory, Bronze, Stone or Brass. For one cannot disassociate an object from its environment.

For instance, objects from Benin were mainly made of Bronze though other objects produced were on wood and ivory. Benin Art was referred to as “court art” because the Oba had monopoly of the works and the works were produced by bronze casters who worked only for the king. The works mostly reveal objects of royalty for the glorification of their king and gods and the immortalization of the dead royal ancestors. Examples are bronze plaque depicting an Oba or a chief in feathered costume, bronze plaque said to be representing an Oba in battle dress, Bronze plaque depicting an Oba or war chief in full regalia, Bronze plaque depicting Queen Mother Head.

Bronze Plague of an Oba or Chief in Feathered costume

Bronze plague of an Oba in Battle dress

Bronze plaque of an Oba or War chief in full regalia

A closer look at these objects reveals that they were solely made for the Oba in his court showing his traditional way of dressing for occasion or war. Inherent in these objects are messages or information that are passed from one generation to another. This information communicates to the people of events documented at the time they were produced. The information may represent events, dressing, hairstyle, the royalty and glory of the king etc. For instance memorial plaques were made in rectangular form to record life and events in the court as well as alter pieces made to represent the cult of the hand (Ikengobo) as a symbol of achievement.

In conclusion, it has been established that museum objects not only possess aesthetic value but functional and symbolic value in their environment. They are made to carry information about a people’s history, tradition or belief. They communicate this information to the public when exhibited in galleries or museum. Also the role of communication in the museum cannot be overemphasized. Communication can both be interactive or unilateral. It is interactive when the information is transmitted between the public and the museum object via educational interactions, publications, etc. It is unilateral when the information is communicated via one channel without response or reply of the other party. This takes place between objects displayed or exhibited and the public.

REFERENCE

Armand C (2010) Key Concepts to Museology Merrimont,                               (ICOM)

Debray R (2000) Transmitting Culture, New York, Columbia,                            University press.

Deloche B. (2001) Le Musee Virtuel,Paris, Presse  Universitaires                     de France.                          

Ekpo Eyo (1977) Two Thousand Years Nigerian Art, Lagos,                           Federal Department of Antiquities

Encyclopedia Britannica (2016) “Communication,’’ Chicago                          Ultimate  Reference suite.

Frank Willet (1967) Ife in the History of  West African Sculpture                                     London, Thames Hudson Ltd.

 Rivire G. H.(1989) La Museology Selon Georges Henri Rivire,                               Paris, Dunod.

Sheriner E. (1985) ‘‘Authentic objects and auxiliary materials             

                            In museums’’, ICOFOM Study Series, No. 8