February 27, 2020
Diary of an NUS Museum Intern is a series of blog posts written by our interns about their experiences during the course of their internships. Working alongside their mentors, our interns have waded through tons of historical research, assisted in curatorial work, pitched in during exhibition installations and organised outreach events! If you would like to become our next intern, visit NUS Museum’s student development page for more information.
Sin Melia is a third-year Sociology major and Southeast Asian minor at the NUS Faculty of Arts and Social Sciences. Working as an Exhibitions Interns for the South & Southeast Asian Collection, Melia was involved in the curatorial processes of the on-going exhibition another diorama.
The shock I experienced when I was informed that I had been accepted into this programme was quickly followed by anxieties of what exactly this internship would entail. Of course, having applied for the program, I, like many of my fellow interns (and I’m sure many before us), began with an interest in art, curation, and just the preservation of heritage in general. However, this interest can manifest in many different ways―as I’ve learned during the course of this internship.
Our batch of interns was lucky enough to enter this programme during a rather exciting period of time in the international museum community. As the International Council of Museums (ICOM) had recently postponed their vote on a new museum definition, we took the opportunity to critically evaluate the current and proposed definitions. This discourse was supplemented by field trips to institutions such as the NUS Baba House, Golden Mile Complex, the Asian Civilisations Museum and the Singapore Science Centre (and accompanied by relevant readings). From these field trips emerged dynamic conversations about how we could go about conceptualising these institutions―institutions that for so long have simply been passive receptacles of artefacts and art.
Naturally, these conversations and excursions got me thinking about what a museum was supposed to be―based on the definition (current or proposed), what would the ideal museum look like? Could there ever be such thing? If not, why bother with a museum definition at all?
Personally, I was struck by a phrase from an article by Alfonse Chiu: “the negotiation of remembrance”. The idea that the act of preserving, of safeguarding―of remembering―is, in itself, a process and we have to treat it as such. With that being said, I think the proposed museum definition is correct in bringing specific attention to the “polyphonic” nature of our social world. Furthermore, we have established that museums have and should make a conscious move away from traditional museological conventions―specifically the imperialistic practices that promote passive transmission of knowledge and intellectual dominion.