2014
DOI: 10.1080/13527258.2014.938765
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The sound of yesteryear on display: a rethinking of nostalgia as a strategy for exhibiting pop/rock heritage

Abstract: The increasing presentation of popular music culture as heritage is manifested in the recent proliferation of museums of pop/rock culture. This calls for an examination of the current practices of disseminating pop/rock heritage through exhibitions. Two trends have been identified and criticised by previous commentators: first, the prominence of nostalgia in exhibition narratives and second, that exhibitions of popular music tend to display ancillary objects rather than music itself. This article offers a reth… Show more

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Cited by 20 publications
(25 citation statements)
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“…Considerations about nostalgia in relation to popular music exhibitions typically understand nostalgia either as a challenging issue for curatorial work in keeping with its ability to easily intervene between the message and the visitor and so should therefore be critically curated (Brabazon and Mallinder , 98) or as a natural and desirable resource assisting humans in decodifying messages (Hoeven ). This being the case, the majority of these accounts seek to critically elaborate on the advantages and disadvantages of both positions whether approaching them theoretically (Hoeven ; Leonard and Knifton ) or through reference to concrete exhibitions (Mortensen and Kapper ; Mortensen and Madsen ).…”
Section: Literature Reviewmentioning
confidence: 99%
“…Considerations about nostalgia in relation to popular music exhibitions typically understand nostalgia either as a challenging issue for curatorial work in keeping with its ability to easily intervene between the message and the visitor and so should therefore be critically curated (Brabazon and Mallinder , 98) or as a natural and desirable resource assisting humans in decodifying messages (Hoeven ). This being the case, the majority of these accounts seek to critically elaborate on the advantages and disadvantages of both positions whether approaching them theoretically (Hoeven ; Leonard and Knifton ) or through reference to concrete exhibitions (Mortensen and Kapper ; Mortensen and Madsen ).…”
Section: Literature Reviewmentioning
confidence: 99%
“…People can come in, it's a very accessible experience, they've got lots of memories, brings back memories or perhaps challenges them, and it's actually a very safe doorway for people to enter a cultural institution like this one. Respondent 14For Mortensen and Madsen (2015), nostalgia re-enchants popular music heritage, and they argue that it is music museums' mission to engage in such romantic perspectives towards popular music. As such, nostalgia can be triggered through particular elements within popular music exhibits, notably through the use of certain music (Mortensen and Madsen, 2015).…”
Section: (Respondent 1)mentioning
confidence: 99%
“…This is echoed by Cortez (2016) who writes, 'the efficacy of the processes whereby the meanings of popular music are made significant to museum visitors have not yet been fully assessed ' (p. 153). We therefore seek to examine and critically assess the clusters of structuring concepts developed by, in particular, Leonard (2007) and Cortez (2015), and to draw into the conversation structuring concepts that have been observed by other scholars, including Mortensen and Madsen (2015) and Baker et al (2016a). Through a consideration of the subjective experiences of curators involved in the exhibition of popular music in museums in a range of geographical locations (see Table 1), we argue that such a framework acts as a useful tool for comparing institutional practices internationally and to begin to understand the ways in which popular music history is presented to museum visitors.…”
Section: Introductionmentioning
confidence: 99%
“…The formal commemoration of popular music in dedicated museums, individual exhibitions, halls of fame, historic houses, or related types of institutions is a long-standing and common practice. While large numbers of such places are found in the southern United States, many similar institutions exist in cities such as Los Angeles, New York, Chicago, Seattle, Cleveland, and Liverpool (UK), and increasingly around the world in such places as Australia, Denmark, Sweden, and Jamaica (Mortensen and Madsen, 2015;Baker et. al., 2016a).…”
Section: Introductionmentioning
confidence: 99%