Disrupting Social Exclusion in the Museum Through the Use of Rock as a Place of Memory

María Isabel Flores Varela


The majority of people prefer to go to the movies rather than to a museum. This is not surprising given the image of a high-cultured, history-based, representation-controlled museum-cemetery that pervades in the collective imaginarium. We can admit that the museum as a whole, is affected by a set of wicked problems, and one resonates pretty loud: the social exclusion.

There are many forces that have facilitated the social exclusion in the museum. In this article, I would like to share the results of my research, “Rock as a place of memory,” in which I analyze how history has superseded memory through the museum ́s genealogy and propose the transformation of rock music into a place of memory as a tool to disrupt social exclusion of the museum.


Memory; Music; Rock Museum; Social Exclusion; Desecrate.


Agamben, Giorgio. “¿Qué es un dispositivo?”. Sociológica 26, no. 73 (2011): 249-264. http://www.scielo.org.mx/pdf/soc/v26n73/v26n73a10.pdf

Anderson, Gail. “Preface”. In Reinventing the Museum. Historical and Contemporary Perspectives on the Paradigm Shift, edited by Gail Anderson, x. Lanham: Altamira Press, 2004.

Arendt, Hannah. De la historia a la acción. Barcelona: Paidós, 2005.

Bey, Hakim. 1985. “T.A.Z. The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism”. Accessed July 30, 2019. https://theanarchistlibrary.org/library/hakim-bey-t-a-z-the-temporary-autonomous-zone-ontological-anarchy-poetic-terrorism#toc45

Cameron, Duncan F. “The Museum, a Temple or the Forum (1971)”. In Reinventing the Museum. Historical and Contemporary Perspectives on the Paradigm Shift, edited by Gail Anderson, 61-73. Lanham: Altamira Press, 2004.

Casey, Dawn. “Museums as agents for social and political change”. Artshub. Accessed July 30, 2019. http://www.artshub.com.au/au/news-article/opinions/visual-arts/museums-as-agents-for-social-and-political-change-12921

Findlen, Paula. “The Museum. Its Classical Etymology and Renaissance Genealogy”. Journal of History of Collections 1, no. 1 (1989): 59-78.

ICOM. “ICOM Ecomuseums and Community Museums.” Accessed July 30, 2019. https://ecomuseums.com/icom-ecomuseums-community-museums/

McMurray, Jacob. Taking Punk to the Masses from nowhere to Nevermind. A visual history from the permanent collection of Experience Music Project. Seattle: Fantagraphics Books, 2001.

Misztal, Barbara A. Theories of Social Remembering. Philadelphia: Open University Press, 2003.

Nora, Pierre. “Between Memory and History: Les Lieux de Mémoire”. Representations Special Issue: Memory and Counter-Memory 26 (1989): 7-24.

Pomián, Krzysztof. “Coleccionistas, aficionados y curiosos. París y Venecia, 1500-1800”. In Producciones de sentido: el uso de las fuentes en la historia cultural, coordinated by Valentina Torres Septién, 133-202. Mexico: Universidad Iberoamericana, 2002.

Maffesoli, Michel. El tiempo de las tribus el ocaso del individualismo en las sociedades posmodernas. Mexico: Siglo XXI, 2004.

Martín Prada, Juan. La apropiación Posmoderna. Arte, práctica apropiacionista y teoría de la Posmodernidad. Madrid: Fundamentos, 2001.

Ríos Manzano, Abraham. Tianguis Cultural del Chopo. Una larga jornada. Mexico: Ediciones AB, 1999.

Sabido, Alejandro. “Museología, Presencia–Dispositivo”. In Memorias del Tercer Seminario Permanente de Museología en América Latina, edited by Luis Gerardo Morales Moreno. Córdoba: ENCRYM-INAH, 2015.

Sandell, Richard. “Museums as Agents of Social Inclusion”. Journal Museum Management and Curatorship 17, no. 4 (2017): 407-418.

Sevcenko, Liz, and Maggie Russell-Ciardi. “Sites of Conscience: Opening Historic Sites for Civic Dialogue”. The Public Historian A Journal of Public History 30, no. 1 (February 2008): 9-15.

Teruggi, Mario E. “The Role of Museums in today’s Latin America.” Museum 25, no. 3 (1973): 129-133.

Wittlin, Alma. “A Twelve point program for Museum Renewal”. In Reinventing the Museum. Historical and Contemporary Perspectives on the Paradigm Shift, edited by Gail Anderson, 44-60. Lanham: Altamira Press, 2004.

Full Text: PDF (Español)


  • There are currently no refbacks.

Creative Commons License
This work is licensed under a Creative Commons Attribution 3.0 License.