Text | Music instrument
In the traditional impression, the museum is equated with the "old", the cultural relics inside are quietly displayed in the window, and visitors can enjoy the exhibits while reading the text introduction, from which to understand the origin, use and other information of the exhibits. With the development of the times, people's impressions of museums have become more diverse. In recent years, there have been many different types of museums, either because of strange exhibits or because of innovative exhibition methods, they have "gone out of the circle".
Shanghai's Music Box Museum, Xiamen's Organ Museum, Qingdao's Beer Museum, the unexpected exhibition categories give the museum a broader connotation; the Tang Palace girls who have crossed the millennium have danced on the stage, and the combination of classical and fashion cultural and creative products is in short supply, and the museum culture that is separated from the "window" appears in front of people's eyes in a more diverse way.
Recently, Hainan Province issued opinions on promoting the development of non-state-owned museums, aiming to use social forces to gather cultural content and products of certain historical value in various places and display them to the public.
As we all know, as the carrier of culture, museums are one of the important ways of cultural dissemination and exchange. In today's society, many people regard visiting museums and watching exhibitions as a daily way of leisure and entertainment, and museums have entered more and more families and integrated into the lives of more people. Non-state-owned museums are an important part of China's museum system, and the founders rely on personal investment to collect cultural relics and artworks scattered in the folk for exhibition. Both public and private, they have contributed a lot of strength in cultural promotion. Hainan is not the first to encourage social forces to run museums, and similar documents have been issued in Beijing and other places.
It is worth affirming that the museum has its unique advantages by introducing social forces: it is interesting and flexible in style. The non-state-owned museum has shed seriousness and heaviness, and has more of a maverick flavor. This is closely related to the diversification of social aesthetic needs. The public's need for a better life is becoming more and more intense, the requirements for cultural life are getting higher and higher, and museums must also be "more".
The so-called "many" refers not only to the quantity, but also to the type, but also to the novelty. In the construction of non-state-owned museums, the first thing to be vigilant about is to blindly follow the trend. The museum must be based on the unique local cultural traditions and customs. Museums that are divorced from cultural roots cannot stand, and museums without innovative souls have no future.
Another question to consider is how to develop in the long run. On the one hand, non-state-owned museums have the attribute of public welfare; on the other hand, non-state-owned museums must also consider the issue of profitability, and the relationship between the two is complementary. Therefore, in addition to the support of national policies, museums must also have a self-"hematopoietic" function, so as to survive in the wave of market economy. How to transform culture into economic benefits and how to bring "support" to funds after the project is landed are mandatory questions for operators of non-state-owned museums.
There is no doubt that non-state-owned museums bloom like a hundred flowers, enriching and enriching the spiritual life of the people and injecting new vitality into urban development. However, hundreds of flowers bloom with four seasons to follow. The sustainable development of non-state-owned museums and the formation of a more visible social scale still have a long way to go.
Text: Musical Instrument
Image: Network
Column moderator: Zhang Yongqun
Editor-in-charge: Wang Yuanfang
Editor: Chang Ying, Zhu Xiaofan