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gesellschaftlicher Partizipation an. Die »Declaration of Quebec« forderte 1984 als »Neue Museologie« (ecomuseo- logy, community museology) die Erweiterung der traditionellen Museumsaufgaben durch Einbeziehung der gesellschaftlichen Entwicklung und die »Erziehung der Besucher zum aktiven Museumsgast« durch interdisziplinäre Ansätze (Vieregg, 1994: 132). Neighbourhoodmuseen, Ecomuseen und andere Beispiele in Skandina- vien begründeten weitergehende Traditionsbildungen in der Museumslandschaft, nicht zuletzt auch das Nachbarschaftsmuseum e. V. (Gößwald/Klages, 1996: 147 ff

precursor to the practices of museology and art history that still inform our understanding of artistic work today, serving as an important cardinal point for mapping the origination of festivals for arts and culture since the mid 19th century. Before examining arts festivals from the late 19th century until the present, it is important to acknowledge that universal exhibitions should not be thought of as the sole progenitor of contemporary festivals. For instance, theatre festivals in ancient Greece also prove to share many similarities in terms of their array of eco

different relationship between the festival format and its role in developing countries, one that does not per se need to position itself towards the festival as a “Western” import, but rather as part of a larger, self-determined strategy.6 2.2 The Anatomy of Festivals and Biennales 2.2.1 Fest/ival The previous section presented the Crystal Palace Exhibition, as well as subsequent universal exhibitions, as a precursor to the practices of museology and art history that still inform our understanding of artistic work today, serving as an important cardinal point for mapping