BA José Antonio González Rodríguez
Museology Director at the National Cultural Heritage Council
At the end of the 19th century, Emilio Bacardi Moreau, Elvira Cape, Oscar Maria de Rojas, Emilio Heredia, Antonio Rodríguez Morey and renowned Cubans were engaged in opening museums in the cities of Santiago de Cuba, Cardenas and Havana. These museums were conceived as spaces to enhance knowledge and love for history, though not only as an exhibition space but also as libraries to educate the population. Some of these proposals included museum classrooms aimed at assisting the teaching-educational process.
These promoters were aware of the influence museums could have in the social behavior of these institutions. Such change was part of the main objective of their foundation. This was the only way to do it at a time when the country was changing its colonial status to a republican one, which was characterized, since its inception, by the United States intervention. A thirty-year Independence war and the patriotic fervor frustrated as a result of the opportunistic involvement of the neighbor of the North, the need to rescue and praise the values that Cuban considered essential in their struggle for freedom against the Spanish colonizing power spur men and women to perpetuate the memory of those who died for their homeland.
Msc. Gladys Collazo Usallán
Transculture Project Integrating Cuba, the Caribbean and the European Union through Culture and Creativity
Santa Clara College for Training in the Arts and Crafts of Restoration in Cuba and the Caribbean
New Museology is a movement that was initiated under a specific historical, social, cultural and economic context against the “immobilism” of museums and Museology, the discipline that studies museums. During the 1960s and 1970s, professionals from different countries such as France, Canada, Mexico, and the United States, among others, began patrimonialization and musealization processes based on the protagonist role of the community in which they were inserted
This meant modifying the conventional parameters with which the Museum concept was socially understood, i.e., shifting from a building to a territory, from a collection to integral heritage, and from a public to an entire community. But it also meant emphasizing the social function of museums, sometimes above their other functions and implementing methodologies linked to local development through multidisciplinary teams.
Read more: Social Museology
Lic. Lien Lucía García Miranda Quisicuaba
The unique Quisicuaba Museum is a special national institution conceived to display the Cuban social museology. It is under the management of the Quisicuaba Association -a duly registered association acknowledged by Cuban authorities which has been granted significant national and international awards for its social programs.
On October 12, 1939, the illustrious Cuban,Andrea B. Zabala Ortega,founded this renowned religious institution. With barely time to evolve, this great guild of Crossed Kardecian Spiritualists produced, with a unique physical and practical simultaneity, a chapter focused on African-origin religions in Cuba intertwined with spiritualist practices, thus enhancing the prestige of this religious house and strengthening the authentic expression of all ethnic components making up our nationality.
Reed more: The Quisicuaba Museum
Msc. Dayami Cabrera González
The term “museum” can define either an institution or the establishment or place which is generally conceived to carry out the selection, study or account of tangible and intangible testimonies by individuals and their environment. The form and functions of the museum have significantly varied over the centuries. Its content has been diversified as well as its mission, functioning means and management.
Since 2007, the Statutes of the International Council of Museums (ICOM) state that the museum is a non-profitable permanent institution in the service of society and its development, opened to the public who acknowledges, preserves, studies, exhibits and conveys the tangible and intangible heritage of mankind and its environment in the search for both education and pleasure. Likewise, the museum is an institution in the service of society where the public can find representative testimonies depicting the evolution of men and nature.
MSc. Luis Benito Cintado Tortoló
Currently, heritage education, as an independent study field within art and heritage museums and institutions has gained a significant importance. They have become an undeniable heritage management tool for society to disseminate the heritage knowledge that citizens should have about their cultural property.
The term heritage education is not a common term used in Cuba, Nevertheless, there are many practical experiences supporting the cultural extension and vivacity, its application and contributions to the worldwide development of museology. In recent times, the world has experienced a transformation in dealing with cultural heritage, since it has also included social, communication, educational, economic and environmental aspects, among others, aimed at its protection.
Read More: Heritage education
MSc. Loyda E. Arias Jimeránez,
Master in Heritage Preservation and Restoration,
Instituto Superior de Arte (ISA)
Professor at the Centro de Superación “Félix Varela”, firstname.lastname@example.org
Member of ICOM-CUBA
On January 1959 the National Institute of Culture –then located in the Fine Arts Palace– underwent a profound transformation, further to which the Cuban intellectuals and artists expressed their views on the future performance and functions of this institution.
Several claims, mostly expressed by young artists and published in the Revolución newspaper, revealed the nonconformity accumulated throughout the years and increased tensions within the convulsive political landscape. As a result of the meeting held at the Lyceum Habanero, a Declaration by Intellectuals and Artists was proclaimed with the program of what would become the New Institute of Culture. Several days afterwards, the name would change to General Division of Culture (DGC, its Spanish acronym) under the Ministry of Education.
Read more: Heritage Protection
Social and cultural project Quisicuaba resides in Maloja # 26 e/ Ángeles y Águila, Comunidad Los Sitios, Centro Habana, La Habana, Cuba
Phone number: (+53)7863 0683
Email: email@example.com firstname.lastname@example.org email@example.com