By Helaine Silverman
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Additional resources for Archaeological Site Museums in Latin America
Thus, just before the gala inauguration of the Royal Tombs of Sipán Museum in 2002, a proposal for an adjacent open-air Mochica artisans village was approved by the Ministry of Trade and Tourism and is now functioning. Lambayeque artists/artisans sell to tourists their own replicas of ancient Mochica pottery, textiles, and metalwork, along with ethnographic crafts, thereby achieving employment and income. The ability of site museums to promote development, however, should be constrained by what Kirshenblatt-Gimblett (1998: 171) calls a “responsibility to their ‘product’ that distinguishes them from market-driven amusement, whose primary responsibility is profitability.
Fifth, there should be the mural paintings of the public domains, as well as the type of representations. • Sixth, I’d have interpretations of the processions, mythical scenes, possible titles, and so forth. Conclusion I have indulged myself in the hypothetical power with which to redesign the two museums at Teotihuacan. I propose to break with the traditional art historical view that characterizes the two museums at Teotihuacan. I argue that new presentations are needed that offer a more lively view of the site and more effectively present Teotihuacan’s processes and relations.
Some decades after the National Museum’s inauguration, we see a change in this tradition to one that is more dominated by the art historians, in which little is said about processes and interrelationships and in which archaeological objects are displayed for the pleasure of admiring them, without attention to context, function, chronology, and associations. There is not one museum in Mexico that focuses on change through time, on the living conditions of the common people in the cities, on craft specialization and its importance in political economy, on social differentiation and ethnic affiliation.