ICOM MILAN 2016

ICOM CECA CONFERENCE

MILAN, 3-9JULY 2016

MUSEUMS AND CULTURAL LANDSCAPES CECA ACTIVITIES BEYOND THE MUSEUM WALLS

Book of Abstracts

ICOM CECA

ICOM Milan 2016

CECA

Annual Conference

Book of Abstracts

3

Contents

Theme papers

Magaly Cabral The Museum of Republic and the cultural landscapes

11

Marta Cerda Silva et al. Museo Escolar Hugo Gunckel

12

Subhra Devi Learning together: a collaborative project on community traditional knowledge

13

Tatuébu Zacharie Duflot The Museum of Civilizations and the cultural landscape in Grassland – Cameroon: Impact, limits and challenges in the XXIth century

14 Michael Fuhr Find your public by bringing the collection to them

15

Tsila Hayun A content proposal for the historic town of Rishon Lezion: An open urban museum

16 Rosa María Hervás Avilés et al. Shared memory between Spain and Morocco through landascape and heritage education

17

4

Francine Lelièvre Creating the Montreal archaeology and history complex: a museum’s importance and responsibility in preserving and protecting a heritage district

18 Sarah Orlandi et al. A multimedial storytelling for a silk museum

19

Denise Pozzi-Escot Pachacamac archaeological sanctuary: teaching for conservation

20 Odalice Priosti et al. Museum done by us: the cultural landscape as a product of an educational community

21 Maria Terezinha Resende Martins, Alvaro Campelo Ecomuseu da Amazônia: an instrument of valorisation and appropriation which is responsible for the heritage at Cotijuba Island – Pará-Belém

22 Anna Soffici et al. Museum and community

23

Anna Tiedink Student reports from a historical flooding

24

Leena Tornberg Museum without Walls application, used by 40 Finnish museums

25 Alexandra Tranta et al. Beyond museum walls. Education and cultural actions in support of a dialogue between museums and the cultural landscape where they belong

26 Arja van Veldhuizen Inside outside and vice versa

27

Franca Zuccoli et al. Cultural landscapes: researching and promoting heritage education with a link between art and science

28

5

Research session Chia-Li Chen, Hsu Huang Displaying & engaging visitors in difficult issues:a study of visitors comments on “when the South wind blows” exhibition

31

Manon Douesnard Multi-sensory engagement of museums’ publics: research into docents’ training at the Montreal Museum of fine arts

32

Diadem Gonzalez-Esmero et al. The role of rice science Museum in Philippine rice research and development

33 Rosa María Hervás Aviléset al.The museum as a local development environment. An experience of citizen participation

34

Elisabeth Meunier, Colette Dufresne-Tassé This is horrible! do negative emotions have to be proscribed during a visit to a Fine Arts Museum?

35 Insa Müller Engaging with members of migrant comunities through interviews

36

Georgios Panagiriset al. Impacts’ assessment of the Delphi’s Region candidate for cultural capital of Europe on the local community

37 Patoo Cusripituck, Jitjayang Yamabhaib Creating transformative collectors for heritage sustainability: experience from Black Tai village in Petchaburi province, Thailand

38

Farida Syeda Museums Without Walls – Cultural heritage study for public school children of Pakistan

39

6

Cheung-on Tam Three cases of using object-based learning with university students: A comparison of their rationales, impact and effectiveness

40 Stephanie Wintzerith Can exhibitions change the climate? Looking for the impact of natural history museums on their visitors

41

Niovi-Vasiliki Zarampouka-Chatzimanou Museum of People’s Free Thinking

42

Market of ideas Meysam Abdoli A museum as large as a city

45

Asmah Alias Discover culture and heritage at your doorstep – The School Heritage Corners Programme

46 Vincenza Ferrara Flipped museum, how visual thinking strategies and collaborative work improve competence skills and engage in museum visit

47 Stacy Freeman, Sandra, Sandra Rodegher Sustainability in museums: Local approaches for community impact

48

Michael Gyldendal Open School

49

JooKyung Rhee, Hosam Keynote (Un)Real engagement: reality gaming and youth in museums

50 Negar Sagharichi, Iran Maryam Almasi The role of museums on labor and maltreated children’s culturalization

51

7

Peter Tokofsky et al. The Getty College night: Interdisciplinary partnerships beyond the museum’s walls

52

Poster session Robyn Daw Celebrating our city’s riches: Three stories from Logan

55

Ryohei Egusa et al. The digital contents design for people with hearing impairment in science museums based on collaboration with a University

56 Alice Registro Fonseca The creation of the house Museum of Italian Memory and the visitors

57 Nicole Gesché-Koning Meeting the public outside the museum

58

Yuliya Glazyrina “Discover Permian period!”: Museum beneath their feet

59

Leila Heck et al. The creation of the Sugar Cane Museum

60

Pia Hovi Assad, Acts into saving the old short-wave station in suburban Pori (Finland)

61

Yiping Lu Promoting cultural continuity through revitalizing museum collections. A case study of collaboration between museum of Xiaolin Pinpu indigenous people and their community in Taiwan

62 Maja Nikolova Archival material in private hands. The case of the Educational Museum in Belgrade

63

8

Kamani Perera Museums and cultural landscapes, special reference to Sigiriya Museum

64 Piyanan Petcharaburanin, Pantira Suwansatit Bringing the inside out: Reaching new audiences

65

Rodica Silvia Pop, Livia Sima Maramures living treasure within European cultural heritage

66

Raska Pranskuniene Museum education as (in)visibility of boundaries

67

Elyse Resnick, Martha Friel, Gualtiero Carraro The Milan Model of youth engagement

68

Sofia Trouli, Anastasiadis Panagiotis, Kostas Xristidis The Museum of Contemporary Art of Crete as a vehicle to familiarize children with its surrounding cultural landscape

69 Nicoleta Zagura Artistic education for the Heritage. Building cultural tourism routes

70 List of contributors 73

Theme papers

11

The Museum of the Republic and the cultural landscapes

M. Cabral*

In the first announcement of its General Conference to be held in Milan/Italy, in July/2016, ICOM called attention to the fact that the theme of the Conference ─ “Museums and Cultural Landscapes” ─ presented both an opportunity and a challenge for museums to revive their mission and strengthen their cultural and social role. Although the Letter of Santiago of Chile, from 1972, appointed the definition and the proposition of a museum’s new conception of action ─ the integral museum, designed to promote to the community a conjoint vision of its material and cultural environment ─, it’s very recent the attention that museums in general have given to cultural landscapes. Perhaps because this notion has been always linked to Ecomuseums. The Museum of the Republic, conscious of its social role, situated in a very urban area of the city of Rio de Janeiro, has been working with its cultural landscape for many years. In 2012, Rio de Janeiro was recognized by UNESCO as Cultural Landscape.

* Museu da República, Rio de Janeiro, Brazil, magalycabral@globo.com.

12

Museo Escolar Hugo Gunckel M. Cerda Silva*, M. Hernández. Mella†, L. Vega Trujillo‡

The Hugo Gunckel School Museum, part of the Rural School of Aguada, Comuna de Corral. Region de Los Rios. Territory inhabited by the Mapuche - Lafquenche, who called it Cullamó. The region has a landscape known as the “Valdivian Rainforest” there is a biodiversity of flora and fauna, the ecosystems that characterize it, generated a synthesis between nature and cultural history inherited from the native peoples. It is identified by having topography with steep hills, making up the western side of the Cordillera de la Costa. The Directors of the School gave the facilities to found MEHG. Collections of flora and fauna, Students and Teachers had begun in the early 80s. A Scientific Museology Workshop began at MEHG with Primary School students. The students, who participate in the workshop, learn techniques to preserve museological collections. They understand how they can contribute to building a sustainable future, and the knowledge they get is shared with peers, family and community. This turns students into scientific disseminators of natural and cultural wealth that surrounds them and they also understand the impact of changes in the natural landscape in the cultural, tangible and intangible heritage of communities in this territory.

* Museóloga ICOM-Chile Reg-50023, Camino Paillao Parcela 08, Valdivia, código postal 5090000, Chile, martacerda@uach.cl. † Profesor Escuela Rural la Aguada, Corral, código postal 5190000, Chile, hernandez.corral@gmail.com. ‡ Profesora Escuela Rural la Aguada, Corral, código postal 5190000, Chile, litavegatrujillo@gmail.com

13

Learning together: a collaborative project on Community traditional knowledge

S. Devi*

Tezpur is the district headquarters of Sonitpur district of Assam in the north eastern corner of India. The region is inhabited by ethnic communities like Mishings, Bodo, Nepali, Bengali and other populations constituting the bigger Assamese community. Tezpur University, India has been undertaking a project in collaboration with Tezpur Mahila Samiti- an women’s organization established in 1918AD for empowerment of Women, on awaring the common women of Tezpur area to bring about a change in the state of traditional knowledge of the people of the region. The traditional knowledge of ethnic communites varies as they have different socio-cultural history and practices. However, in the present scenario, when all communities are re-settling in a different context out of their original habitants and in juxtaposition with other communities, their set of traditional knowledge are being under pressure for existence due to changing socio-economic, and environmental conditions etc. Thus, this project is an attempt to document the traditional knowledge of the different communities by an active practitioner, ie, the women of the family and at the same time, they will be given a awareness campaign on do’s and donot’s of their everyday life for the benefit of the heritage of the region.

* Museum and Archive, Tezpur University, Napaam, Tezpur-784028, India, devi.su11@gmail.com.

14

The Museum of Civilizations and the cultural landscape in Grassland -

Cameroon: Impact, limits and challenges in the XXIth century

T. Z. Duflot*

The Museum of the Civilizations located at Dschang (Cameroon) is designed like a center of interpretation wishing to propose a general reading of the man in his natural, socio cultural and economic environment. Considered nationally as the most accomplished museum’s model, this institution beyond the experiences, is dealing with numerous difficulties in its intention to put the public at the heart of its approach through educational actions. With regard to its scientific and cultural project poorly implemented, the amateurism of most of its staff, notwithstanding the ignorance of the field of museum education, there is good reason to wonder about its future. An empirical and synchronic analysis of relationships between the museum and the cultural landscape of Grassland and on the modalities of production and distribution of the knowledge shows us that this institution has to meet still numerous challenges in keeping with the principles of the new museology. What will give to it to go out really of its physical limits to spread out in the territory, thus expanding its activities to the entire cultural heritage.

* Museum of Civilizations, Dschang, Camerun.

15

Find your public by bringing the collection to them

M. Fuhr*

Many museums have collections of objects that derive from places that can clearly be identified even after centuries: churches, castles, public buildings. This is a perfect chance for museums: making locals aware of their local cultural heritage by taking objects out of the museum and repositioning them in their original sites. The only two preconditions should be: Are the objects safe in their new old places? And do the locals actually want them back? In a model project the Museumsberg Flensburg offered dozens of village parishes in the German-Danish border region a return of their medieval artworks from the museum’s collection to the original churches. The main condition was an active participation of the local parishers. Museum curators, educators, theologists, and restorers offered guidance. As a result, a de-centralized exhibition has been developed, connected by a common catalogue, a navigation app and an accompanying program of activities. Should the locals actually identify with their respective loan, there is also the possibility of permanent loans. This could be the model not only for creating permanent bonds between the museum and local communities, but also for solving the problem of overflowing museum depots in an elegant and useful way.

* Director, Museumsberg Flensburg, Städtische Museen und Sammlungen für das Herzogtum Schleswig, Museumsberg 1, D-24937, Flensburg, fuhr.michael@stadt.flensburg.de.

16

A content proposal for the historic town of Rishon Lezion:

An Open Urban Museum T. Hayun*

Rishon Lezion, established in 1882, is the cradle of much of Israel’s educational and cultural history. Hebrew education was founded and developed here, its educators numbering among those who renewed the Hebrew tongue in what became the State of Israel, achieving the unique revival of an ancient language after 2000 years. It is now the fourth-largest city in Israel, spreading from the Mediterranean coastline with the historic nineteenth-century town at the heart of its modern centre. About a decade ago, Rishon Lezion’s municipality initiated a conservation project including the renovation of twelve original buildings. The city museum is housed in three of these buildings, located directly in the city centre. In 2015, the municipality requested a new master plan for the cultural and historic city centre, using trails, indoor and outdoor exhibits, and distinctive signage. The lecture will present the plan’s main points, its development, issues and conflicts encountered in conserving and renewing culture, and the balance between modern urban branding and an emphasis on historic local and national cultural core values. The plan incorporates digital media in an interactive tour, appealing to visitors’ personal interests by adapting the content, and combining outdoor exhibits with traditional and modern museum displays.

* Hotam – Culture Initiator, 219 Ktalav, Zur Hadassa, 9987500, Israel, tsila@hotam-ltd.co.il.

17

Shared memory between Spain and Morocco

through landscape and heritage education

R.M. Hervás Avilés*, E. Tiburcio Sánchez†, F. Navarro Hervás‡

In this paper we make an identification of the Hispano-Moroccan common landscape and heritage, underlining the importance of heritage education as a strategy for their promotion. Currently, cultural and natural heritage is increasingly understood as part of a set of common goods, even when local differences enrich us all. Landscape is perceived differently depending on the culture and country. It is about a multifaceted and comprehensive concept that includes physical, natural and geographical meanings, determined by anthropological, social, economic and cultural variables. Landscapes are part of the heritage that we should preserve, interpret and look after, both in their material and immaterial aspects. In the issue at hand, the Spanish-Moroccan common past is evident. Until the middle of the XIII century, the kura of Tudmir maintained intensive contacts with the Maghreb, especially during the Almoravid and Almohad domains. These contacts are still visible in the appearance of the Spanish Southeast, for example in the numerous monumental remains of the Andalusian defensive elements, in water management, in the urban scene of different villages, in place names, in its landscape and its heritage. All these elements reflect the common history and richness of both territories. Population could know them by actions related to heritage education. In conclusion, training is a fundamental strategy to raise awareness to the citizens about the need to protect those heritage elements that are part of their identity.

* University of Murcia, Faculty of Education, Murcia, Spain, rhervas@um.es. † University of Murcia, Faculty of Education, Murcia, Spain, elena.t.s@um.es. ‡ University of Murcia, Faculty of Education, Murcia, Spain, franaher@um.es.

18

Creating the Montréal archaeology and history complex:

A Museum’s importance and responsibility in preserving and protecting

a heritage district F. Lelièvre*

Pointe-à-Callière is an in situ urban archaeology museum, with the mission of preserving and celebrating a number of historic and heritage sites. Set in the heart of a historic district, it plays a unique role in protecting and interpreting traces of the past and of Montréal’s birthplace. Ever since it was created, the Museum has been a leader in rallying major partners, making it possible to bring to light and safeguard exceptional evidence of the city’s history. Recent extensive archaeological excavations have revealed new archaeological zones and major historical remains. The planned Archaeology and History Complex will bring together about a dozen one-of-a-kind heritage and historic sites, including Fort Ville-Marie – the first French settlement in North America – and the very first Parliament of the United Province of Canada. All of Pointe-à-Callière’s initiatives are aimed at familiarizing the community and visitors with the distant or recent past and with our heritage of today and yesterday, and convincing them of the importance of acting individually to preserve and promote this common treasure. Investing in this vision lets the institution assert its responsibility, enhance people’s sense of identification and act in an open, committed fashion – all ways of bequeathing this vital heritage to future generations.

* Pointe-à-Callière, cité d‘archéologie et d‘histoire de Montréal 350, Place Royale, Montréal, Québec, H2Y 3Y5, Canada, flelievre@pacmusee.qc.ca.

19

A multimedial storytelling for a silk museum

S.D. Orlandi*, M. Boldrini†, P. Pioltelli‡

A wide-angle ethnographic research to tell the social memory of a territory using today’s digital tools. In Lecco’s territory, up until the end of the nineteen-twenties, silk production was a dominant factor in the local economy and in people’s lives. In order to preserve the working memory of their territory, the Liberi Sogni Cooperative, together with the Abegg Silk Museum, have given life to a project – the voices of the textile mill - of retrieval of the tales of the silk-workers’ experience. Through an extensive ethnographic research work, a team of sociologists, historians and videomakers have interviewed the women who used to work in the production of silk, perusing at the same time the available archives, looking for historical documents and labour chants. The multi-media content they produced (historical documents, pictures, videos, songs, and info-graphs) create the social storytelling. A web app with modern graphics and a strong visual identity presents the available contents: inside the museum, for guided tours and projected into 4 screens; throughout the territory, with totems; on the web (Italian and English texts available). A museum as a space for the memory of the territory.

* CECA ICOM 67780 IT, via Nerino 5, Milano 20123, Italy, sarahdominique.orlandi@fastwebnet.it. † Zetalab studio, via tadino, Milano, 2034, Italy, info@zetalab.com. ‡ Cooperativa Soc Liberi Sogni, Via San Carlo 13, 23801, Calolziocorte, Italy.

20

Pachacamac archaeological sanctuary: Teaching for conservation

D. Pozzi-Escot*

The Pachacamac Archaeological Sanctuary is the largest monumental complex of the Peruvian central coast. It’s located south of Lima, and its occupation dates between the 3rd-16th centuries A.D. The site is partially surrounded by an urban environment composed mainly of low-income residents. Since 2008, Pachacamac has been running awareness and participation workshops with the community in order to protect and conserve the site while maximising its educational, historical and practical value for the local inhabitants. With this in mind, we have designed a programme of activities with the local schools and neighbours directed both at students and the general community. We run dynamic workshops of heritage education, mud-structure conservation, and programmes designed to increase the economic income of a small group of craftsmen and women. In 2015, we successfully trained 70 families and over 1500 students. In the past, the local inhabitants regarded the sanctuary as an alien space with no real purpose or usefulness for their knowledge and development. Today, their views have changed, and Pachacamac has become a source of knowledge and work opportunities.

*Director of the Museo de sitio de Pachacamac, Ministerio de Cultura, Perez Roca 233 Barranco, Lima, Perú, dpozzi@cutura.gob.pe.

21

Museum done by us: the cultural landscape as a product

of an educational community O. Priosti*, M. Pinto De Oliveira†, N. Pereira Mendonça junior‡

Practices and methods made by the community, at the development of a socio educational community action, through NOPH Ecomuseu de Santa Cruz pathfinder experience (1983/2016) as witnesses of an innovative social technology, which is based on the concept of ecomuseum/educator-liberating museum, for the appropriation and the accountability by heritage. Recognition, diffusion, and transformation of the cultural landscape as a result of the community prominence. Museum has done by the community since 1992. Educational action, in partnership with several local institutions, shown by its own community at I Encontro Internacional de Ecomuseus, in Rio de Janeiro and that spread all over Brazil. Santa Cruz community not only as a breeder and manager of its museum as also “comunidade educadora”, protagonist of an endogenous action that, since its foundation, it has used strategically the educational action outside the schools to recognize, preserve and disseminate the heritage found in its territory, which corresponds to the clipping place-temporal of Antiga Fazenda of Santa Cruz, focusing the original district of the main hardcore – Santa Cruz and its adjacents, the west end of Rio de Janeiro, as the heritages that compose its cultural handscape.

* NOPH Ecomuseu de Santa Cruz , Santa Cruz /ABREMC , Rio de Janeiro, Código postal 23550-134 Brasil, owpriosti@gmail.com. † NOPH Ecomuseu de Santa Cruz/ETESC Centro de Memória, Rio de Janeiro, Código postal 2350-134, Brasil, Mpo.pinto@ig.com.br. ‡ NOPH Ecomuseu de Santa Cruz/ Pesquisador, Rio de Janeiro, Código postal 23550-134, Brasil, nelmend@gmail.com.

22

Ecomuseu da Amazônia: an instrument of valorization and appropriation which is responsible for the heritage at Cotijuba

Island – Pará-Belém M.T. Resende Martins*, Á. Campelo†

Amazon is one of the most important ecological places in our planet. But it is, also, an exceptional cultural landscape, which was adequate and built by man. Our work intends to question, in a time when we see exhaustive transformations, the aim of Eco museums in deal with the initiative of inventory, study and communication about the cultural landscape, in accordance to the construction dynamics of the cultural identity and of the new social and economic problems of this territory. Ecomuseu da Amazônia, in Belém-PA, in the North of Brazil is a place to discuss this kind of subject. The complexity of the ecological place and the communities require, the communities’ heritage preservation to define their development strategies. It forces the researcher to construct methodologies of inventory and innovative participations. Ecomuseums have to be dynamic places between dynamic places and events, where the dialogue between ecological heritage and the cultural heritage invite to the understanding the amazon society and to be able to look for the future in a critical way. In this way Ecomuseu da Amazônia contributes, through the experience of the cultural heritage, to construct the citizenship.

* Conselho Internacional de museus – ICOM-BR-CECA (Member). Ecomuseu da Amazônia/Fundação Escola Bosque professor Eidorfe Moreira-Belém- PA-BR (Coordenator). Address: Nossa Senhora da Conceição Avenue S/N, Zipe Code: 66.815-000, Caratateua Island-Belém-PA; Associação Brasileira de Ecomuseus e Museus Comunitários-ABREMC (President)-District: Santa Cruz, RJ; Colegiado Setorial de Museus-Instituto Brasileiro de Museus-IBRAM/Ministério da Cultura-Minc (Member)-Brasilia-DF. ecomuseudamazonia@gmail.com; mirmartins@yahoo.com.br † Professor Associado da Universidade Fernando Pessoa – Porto – Portugal. campelo@ufp.edu.pt

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Museum and Community A. Soffici*, Fond. Studio Marangoni†, N. Matteuzzi‡

Museum and Community is a photographic project aimed at exploring and interpreting the connection between local museums of the Chianti area and their territory through the medium of photography. Starting from the collections of “Giuliano Ghelli” Museum in San Casciano in Val di Pesa, seven young photographers of Fondazione Studio Marangoni have immortalise subjects and situations confirming the existence of this cultural connection along five research guidelines (“Art and Faith”, “Art and Landscape”, “Art and Craft”, “Art of yesterday and today”, “Art and Theatre”). In their photos they illustrated how the collections of a civic museum can not only be known, but also reinterpreted: they can be related both to the present local community and the material and immaterial cultural heritage of the territory outside the museum walls (devotional practices, craft traditions, expressions of contemporary art and theatre). A selection of photos have been collected in a video which is both the final project of the photographers involved in the learning experience and an educational tool used in the local schools to help foster a sense of responsibility towards heritage and landscape among younger citizens. The project will be soon extended to other museums of the Chianti area.

* AMISC (Amici del Museo di Impruneta e San Casciano), P.za Buondelmonti 19, Impruneta, 50023, Italy, annasoffici@virgilio.it. † Fondazione Studio Marangoni, Via San Zanobi 32r, Florence, 50129, Italy. ‡ Sistema Museale del Chianti e Valdarno Fiorentino, Via N.Machiavelli 56, San Casciano in Val di Pesa, 50026, Italy.

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Student reports from a historical flooding A. Tiedink*

The Zuiderzeemuseum is an open-air museum about life in the Zuiderzee region (coastal area) between 1880 and 1930. A fierce storm flooded the whole of the region in January 1916. Leaving many people homeless, killing 16 humans and over 10.000 life stock. In 2016 we turn one of the streets of the museum into a place of disaster. It will look like it is 1916 and has just been flooded; it’s completely ruined. In between the ruins are two people (living history actors) trying to get by. Living below sea level is common in the Netherlands. But even so many people are not aware of the risks. Students (11-13 yrs) will go in to the area as documentary makers. They will talk to and film the actors about what they went through. Besides these testimonials they will interview visitors on their ideas and knowledge about the risk of flooding in their country/region. Afterwards the students will edit their own two minute documentary. Aim of the program is to make students aware of the special circumstances, living below sea level, and help them form an opinion about the subject.

* Zuiderzeemuseum, Wierdijk 18, Enkhuizen, 1601LA, The Netherlands, anna.tiedink@zuiderzeemuseum.nl.

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Museum without Walls application used by 40 Finnish museums

L. Tornberg*

Finnish schools will start working according to the new curricula in autumn 2016, which include so called transversal generic competences described as seven competence areas. Two of them are Cultural competence, interaction and expression and ITC-competences. The school authorities and schools on local level are given much freedom of creating one’s own curricula based on national one in co-operation of the surrounding community, for example with museums, libraries, etc. Many museums have taken up the challenge. One of them is Museum without Walls mobile device application. The Finnish Museums Association offered for museums designed application first time already in 2013. Museums have a lot of their collections outside museum walls like statues, cultural landscapes, places connected to historical persons etc. but also digital material. The idea of Museum without Walls is to produce guided routes for people to find these places independently with their mobile phone in one’s own community or when travelling. In the beginning of the year 2016 about 40 museums have chosen this application. In the beginning of the year 2016 also the first museum-school co-operation is starting to use the application. The presentation is telling of this process, which will be followed and observed during the spring.

* Finnish Museums Association, Annankatu 16 B 50, 00120 Helsinki, Finland, leena.tornberg@museoliitto.fi.

26

Beyond museum walls. Education and culture actions

in support of a dialogue between museums & the cultural landscape where they belong

A. Tranta*, A. Kallinikidou†, C. Cartalis‡, E. Vlachou§

A cultural landscape is an area with natural features and elements created and/or modified by human activity, with tangible or intangible cultural and historical patterns of evidence layered in the landscape and reflecting human relationships and interactions with that landscape. Should museums located and, even more, linked to cultural landscapes take over the responsibility to orient activities beyond their walls in an obvious effort to establish a “dialogue” between the Museum and the cultural landscape? In this paper, the approach followed by the Piraeus Bank Cultural Foundation (hereinafter referred to as PIOP) so as to establish and facilitate such a “dialogue” between its Museums, as developed in regional Greece (www.piop.gr/ en/diktuo-mouseiwn.aspx), and the cultural landscapes and communities where they belong, is presented. The “dialogue” is facilitated by actions beyond the Museum walls which reflect the values of the cultural landscape: (a) the aesthetic value; (b) the historic value; (c) the scientific value and (d) the social value. Furthermore the activities respect a number of critical priorities, for instance (a) that individuals and their communities have had in the past, and continue to have today, a role in giving form and meaning to their landscape and (b) that resilience and recognition of threats and vulnerabilities are critical so as to preserve the landscape. In this way, PIOP’s Museums become integral parts of the landscape and act as interpretation and dissemination centres. Specific examples of education and cultural actions of PIOP along the line “Beyond the Museum walls” will be presented with emphasis given to actions linking cultural to natural heritage, actions based on new technologies, or referring to Museums in cultural landscapes with recognized (by UNESCO) intangible heritage or laying within the NATURA 2000 network of ecosystems.

* Piraeus Bank Cultural Foundation, Aggelou Geronta 6, Athens 105 58, Greece, TrantaA@piraeusbank.gr † Piraeus Bank Cultural Foundation, Aggelou Geronta 6, Athens 105 58, Greece ‡ Piraeus Bank Cultural Foundation, Aggelou Geronta 6, Athens 105 58, Greece. University of Athens, Panepistimiopolis, Athens 157 84, Greece § Piraeus Bank Cultural Foundation, Aggelou Geronta 6, Athens 105 58, Greece

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Inside outside & vice versa A. van Veldhuizen*

Every child is born into an environment that simply is there. Also tourists meet a ‘ready-made’ cultural landscape. But every single bit of it came into being in certain times, for certain reasons. Particularly in The Netherlands about every m2 is man-made, so landscape and culture are one entity for my organisation. We enhance all actors in this field to tell the stories of the province of Utrecht together. This is necessary, as most people find it hard to ‘read’ the cultural landscape. They see buildings or remains in the landscape outside and they might see objects inside a museum. But only when these single elements are connected the patterns appear, so they can make sense of it. My organisation contributes to projects involving many partners, each showing part of the story. A few examples will come up, like the Dutch water defence system and the Roman border. I will try to identify the roles museums (could) play, as they are used to transfer stories in attractive ways. I will touch key factors for successful results; it’s not always easy for museums to act together with others and step outside their own museum walls.

* Landschap Erfgoed Utrecht, Postbus 121, 3730 AC De Bilt, The Netherlands, a.vanveldhuizen@landschaperfgoedutrecht.nl.

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Cultural landscapes: researching and promoting heritage education

with a link between art and science F. Zuccoli*, P. Berera†, A. De Nicola‡, C. Fredella§, M. Sugni**

The research project aims at developing new tools for visitors to enjoy landscape and historic/artistic heritage and for engaging audiences in three locations: Villa Carlotta, Comacina Island and Bergamo Botanic Garden. Heritage, professional expertise, educational activities and audiences have been studied through a qualitative and quantitative research by means of interviews, observations, questionnaires, focus groups. Two target groups have been particularly studied: teenagers and people over 60s; these are in fact the most difficult audiences to be reached with educational activities. After analysing the data collected, some experimental experiences have been carried on aiming at a deeper (sensory, emotional, practical) involvement of visitors in reading and interpreting cultural landscapes. This was achieved by using hands on/minds on methodologies. A format has been developed, named VIP (Visitor in Practice), which consists of a series of engagement activities to be performed by visitors on their own using a VIP kit. The VIP kit contains some objects such as cardboard frames, pictures, post-it, drawing tools. Research activities were also focused on harmonizing two languages, scientific and humanistic, while working on the landscape, which is a suitable theme for linking art, history and science because of its declinations from garden to urban environment.

* Department of Human Science for Education “R. Massa”, Piazza Ateneo Nuovo, 1, 20126 Milan, Italy, franca.zuccoli@unimib.it. † Rete degli Orti Botanici della Lombardia, Piazza Matteotti, 27, 24100 Bergamo, Italy. ‡ Department of Human Science for Education “R. Massa”, Piazza Ateneo Nuovo, 1, 20126 Milan, Italy. § Department of Human Science for Education “R. Massa”, Piazza Ateneo Nuovo, 1, 20126 Milan, Italy. ** Villa Carlotta, Via Regina, 2, 22016 Tremezzina CO.

Research session

31

Displaying & engaging visitors in difficult issues: a Study of Visitor Comments on “when the South wind blows” Exhibition

C. Chen*, H. Huang†

How severely has pollution impacted the lives of residents of one costal village? How does a museum exhibition raise visitors’ awareness and activism towards environmental issue? Museum curators collaborated with two photographers to document and display the lives and sufferings of residents of Taixi Village, who are influenced by the pollution broadcast into the air of the Sixth Naphtha Cracking Plant in the summertime. Each photograph exhibited presents a shocking story about this land and its people, many of which capture the torment of pollution-related illnesses and cancer. Computers installed displayed a series of three questions for visitors to answer. A systematic analysis of 1780 comments left by visitors revealed that many felt sorry and shocked by what they saw and some became very critical of the roles of the government and corporation. The exhibition also successfully encouraged visitors to reflect on the long-term costs of economic development and the importance of protecting the environment.

* Director of Graduate Institute of Museum Studies, Taipei National University of the Arts, No.1 Hsueh-Yuan Rd., Peitou, Taipei City, 112, Taiwan, chiali21@hotmail.com. † Associate Curator of National Museum of Natural Science, 1 Guancian Rd, Taichung, 404, Taiwan.

32

Multi-sensory engagement of museums’ publics: research into docents’ training at

the Montreal museum of fine art M. Douesnard*

The findings of my past studies (2016 in press, 2015, 2013) show that multi-sensory engagement enhances participants’ experiences of art. More precisely, they show that the use of hearing, taste, smell and touch, as well as physical movement provide new aesthetic dimensions (aural, physical, orientational, spatial, imaginative, and interpretative) to art experiences. These studies also highlighted the importance of participants’ previous sensory experiences as foundational in the construction of their knowledge. This research paper will present preliminary results of open-ended interviews with docents at the Montreal Museum of Fine Arts. They will focus on identifying the positive effects as well as the learning challenges of the multisensory methods proposed to the docents of the MMFA as tools of engagements with the museum’s publics. This paper will use docents’ reflective testimonials as primary sources of information. This research is important because it is at the forefront of a discussion on paradigm-altering training methods for docents based on multisensory engagement and the construction of knowledge in museum settings. It is also important because this experiment, taking place at the MMFA, will be a showcase of educational research, for more authentic, memorable and lasting experiences of a personal and social nature.

* CECA, 6755 42nd avenue, Montreal, Quebec, H1T 2T1, Canada, manondouesnard@gmail.com

33

The role of rice science Museum in Philippine rice research and

development D. Gonzales-Esmero*, N. C. Esmero†, F. G. E. Manuel‡, C. L.

B. Gado§, C. N. Bibal**, R. N. Bibal††, R. B. Bajit‡‡

The findings of my past studies (2016 in press, 2015, 2013) show that multi-sensory engagement enhances participants’ experiences of art. More precisely, they show that the use of hearing, taste, smell and touch, as well as physical movement provide new aesthetic dimensions (aural, physical, orientational, spatial, imaginative, and interpretative) to art experiences. These studies also highlighted the importance of participants’ previous sensory experiences as foundational in the construction of their knowledge. This research paper will present preliminary results of open-ended interviews with docents at the Montreal Museum of Fine Arts. They will focus on identifying the positive effects as well as the learning challenges of the multisensory methods proposed to the docents of the MMFA as tools of engagements with the museum’s publics. This paper will use docents’ reflective testimonials as primary sources of information. This research is important because it is at the forefront of a discussion on paradigm-altering training methods for docents based on multisensory engagement and the construction of knowledge in museum settings. It is also important because this experiment, taking place at the MMFA, will be a showcase of educational research, for more authentic, memorable and lasting experiences of a personal and social nature.

* Curator, Rice Science Museum, Philippine Rice Research Institute (PhilRIce) Maligaya, Munoz, Nueva Ecija, Philippines 3119, dbgonzales.esmero@gmail.com, dg.esmero@philrice.gov.ph † PhD Candidate, Australian National University ‡ Science Research Specialist II, PhilRice § Senior Science Research Specialist II, PhilRice ** Visual artist, PhilRice †† Visual artist, PhilRice ‡‡ Architect, PhilRice

34

The museum as a local development environment. An experience of citizen participation

R.M. Hervás Avilés *, A. M. Sánchez Lázaro †, M. Castejón Ibáñez ‡

The new social and territorial functions of the museums pose important challenges that involve the need of new museological proposals, according to their responsibility in heritage preservation, diffusion and protection. How to get a greater permeability between museums and cultural landscapes? How to involve the sociocultural agents in a responsible way? This research aims to present and diffuse the work done in the University of Murcia to facilitate the integration of the museum as a social development environment, favouring the diffusion and preservation of heritage through new interdisciplinary approaches. This is a qualitative and quantitative research in an exploratory mode, where the heads of cultural associations, agents, educators and potential public of museums, provide relevant information to know the lacks of these institutions. It tries to identify the strengths and weaknesses of the museums in relation with the territory in which they are situated, showing the competences and necessary resources to turn them into heritage interpretation and diffusion centres from an integrative perspective.

* University of Murcia, Murcia, 30003, Spain, rhervas@um.es † University of Murcia, Murcia, 30003, Spain, amsanchez@um.es ‡ University of Murcia, Murcia, 30003, Spain, mmagdalena.castejon@um.es

35

This is horrible! Do negative emotions have to be proscribed

during a visit to a Fine Arts Museum? É. Meunier *, C. Dufresne-Tassé †

The museum community attaches great importance to the visitors’ emotions. Indeed, professionals seek to raise them because they believe that they have a motivating character, bringing visitors to treat an object of art in depth as well as greatly contributing to a memorable experience. So one can say that there is a recognition of the importance of emotions in the museum field. However, they remain rarely investigated. And when they are, researchers are mainly interested in the positive emotions. But what about the negative ones? Are they to be avoided in the museum experience? This question has led us to use the "Thinking Aloud" method to collect information on visitor’s emotions during their visit. We have used this technique with a sample of 20 adult visitors of the general public type who look at a permanent exhibition of paintings and sculptures in a fine arts museum. Using this technique, we were able to answer many questions about the emotions experienced in front of a piece of art. The proposed communication will present the results corresponding to the following questions: 1. What is the proportion of the negative emotions experienced during the visit of a fine arts exhibition? 2. What are these negative emotions? 3. What are the effects of their presence? And should they be avoided?

* Université de Montréal, C.P. 6128, succ. Centre-Ville, Montréal H3C 3J7, Canada, elisabeth.meunier@umontreal.ca. † Université de Montréal, C.P. 6128, succ. Centre-Ville, Montréal H3C 3J7, Canada, colette.dufresne.tasse@umontreal.ca.

36

Engaging with members of migrant communities through interviews

I. Müller*

Migration and mobility alter perceptions of ‘the local’, local history and demands towards local history museums. Hitra and Frøya are islands in middle Norway with approximately 4,500 inhabitants each. Traditionally, the islands were characterized by homogeneity and emigration. The situation has changed dramatically during the last ten years: As a result of the growth of aquaculture, today, labour migrants from Eastern European countries represent approximately 15% of the population. In summer 2015, the Coastal Museum in Hitra - a local history museum - started a documentation and exhibition project about current changes in the region. Interviews with members of minority communities were conducted. In these interviews we wanted to make sure that our interviews offered immediate benefits for both the museum and individual minority group members. To achieve this we drew our main inspiration from the concepts of historical consciousness (Seixas, Jensen) and dialogue (Habermas, Freire). Based on observations and analyses of interview data, in my presentation I will discuss the interviews’ contributions to a) making local history relevant for immigrants and thereby facilitating historical learning, b) cultural exchange and cultural diplomacy and c) democratizing the local museum.

* Dep. of historical studies, Norwegian University of Science and Technology (NTNU), Trondheim, NO-7491, Norway, insa.muller@ntnu.no.

37

Impacts’ assessment of the Delphi’s Region candidate for cultural capital of

Europe on the local community G. Panagiaris*, Ef. Papageorgiou†, El. Giannopoulou‡,

Aik. Soulopoulou§, Ath. Kastana**, Kr. Konsta††, El. Moustaka‡‡, Ath. Panagiotopoulos§§

The creation of Delphi’s candidate for European Capital of Culture 2021 (ECC/21) based on participatory planning method. In this framework, a survey of public implemented by the Local Authority distributing a total of 1250 questionnaires to corresponding households aiming to determine area residents' attitudes towards cultural and creative affairs. A total of 612 responses were received. The main findings can be summarized as follows: - 90% of respondents feel that being awarded the title of ECC/21

will enhance local pride and that will be an opportunity for regional economic growth.

- The majority of respondents claims that History, Culture and Natural Environment are those elements of local identity that they should be stressed out mainly through museums and galleries.

- Participation in cultural activities through volunteering is the preferred means of 68.4% of respondents, while 3.1% is willing to make a donation. Moreover, 25.4% locals would like to actively participate in the organization of cultural actions.

It is clear that Delphi’ s local community considers that cultural actions are the main vehicle of social and economic development, the cultural bodies constitute a fundamental tool for the accomplishment of this and desires to actively contribute to the achievement of this vision.

* Technological Educational Institute of Athens, Ag. Spyridonos, Aegaleo, 12243,Greece, gpanag@teiath.gr. † Technological Educational Institute of Athens, Ag. Spyridonos, Aegaleo, 12243,Greece. ‡ Technological Educational Institute of Athens, Ag. Spyridonos, Aegaleo, 12243,Greece. § Technological Educational Institute of Athens, Ag. Spyridonos, Aegaleo, 12243,Greece. ** Municipality of Delphi, Kehagia Square, Amfissa, 33100, Greece, dimarxos@delphi.gov.gr. †† Municipality of Delphi, Kehagia Square, Amfissa, 33100, Greece. ‡‡ Municipality of Delphi, Kehagia Square, Amfissa, 33100, Greece §§ Mayor of Delphi, Municipality of Delphi, Kehagia Square, Amfissa, 33100, Greece.

38

Creating transformative collectors for heritage sustainability:

experience from Black-Thai village in Petchaburi province, Thailand

P. Cusripituck*, J. Yamabhaib†

Nowadays, one of the problematic of cultural heritage in ethnic minority society in Thailand is the young generation do not want to be inheritors. This participatory action research aim to facilitate a learning process for cultural heritage transmission via a local living museum. The pilot project was launched at Black-Thai village in Phetchaburi province, Thailand. We found that the establishing of local living museum is an apparatus to help creating learning process between the two generations for heritage shared meaning. This heritage should be comprised of valued cultural heritage, contemporary, and useful in daily-life practice or give an interest in transmission to the younger generation. Therefore, In cultural transmission procedure, It is very important to create ‘transformative collectors’ - a group of intergeneration local people who share the consubstantiality and able to create their own collections and display or exhibit them with in the community by themselves. In this sense, the local living museum means living place and living people.

* Lecturer, Research Institute for Languages and Cultures of Asia (RILCA), Mahidol University, Salaya, Nakhon Pathom, 73170 Thailand, patoocu@gmail.com. † Research Institute for Languages and Cultures of Asia (RILCA), Mahidol University, Salaya, Nakhon Pathom, 73170 Thailand, jitjayang@gmail.com.

39

Museums Without Walls. Cultural Heritage Study

for Public School Children of Pakistan F.B. Syeda*

This research paper closely interrogates a pedagogical approach in the museum studies, developed in the last three years at National College of Arts, Lahore, Pakistan, to counter the ever-present gap in cultural and heritage studies of Pakistan. Reading it as a case study, it is maintained that the new pedagogical approach is helping in developing cultural heritage awareness. The public school children are being aware of their cultural heritage in the face of existing insufficient knowledge provided by public school education. Secondly, students of NCA realize their unique position to contribute creatively in filling a gap about cultural heritage, by designing researched interactive products for school children of all age groups. Since 1977 in Pakistan, school curriculum does not include a comprehensive heritage study due to the Islamization process of military ruler Zia-ul-Haq. The new pedagogy for Pakistani context dissolves the four walls of the class rooms at NCA and public schools by making student research in Lahore Museum as a lab, and then bring school children out of their schools to the museum – an abode of heritage – to conduct workshops with them with careful selection of topics and methodologies to avoid triggering charges of spreading other religions in Pakistan.

* National College of Arts, Lahore, 54000, Pakistan, farida.b@gmail.com.

40

Three cases of using object-based learning with university students:

a comparison of their rationales, impact and effectiveness

C. Tam*

This paper examines three cases of object-based learning in the field of visual arts. The first case involved a group of Master’s degree-level students in a mediated experience of museum objects using mobile technology. The students used an interactive multimedia guide in the study of artworks at the Hong Kong Museum of Art. The second case involved a group of Bachelor level students in research on a self-selected artwork from a museum collection. Using a framework developed from object-based learning theory, the students engaged in an in-depth interrogation of the work and wrote a piece of art criticism with related pedagogical activities. The third case involved a group of university students who took a General Education course on the development of body consciousness and aesthetic awareness. The students explored two aesthetic objects in the class and reflected on their authentic experiences of viewing and touching them. Data on the students’ learning experiences and the impact of learning through objects were obtained from reflective essays or journals written by the students themselves. A comparison between the backgrounds and effectiveness of the three cases, and feedback from the students, revealed different rationales, strategies and impacts underlying the different contexts of object-based learning.

* Department of Cultural and Creative Arts, The Hong Kong Institute of Education, 10 Lo Ping Road, Tai Po, New Territories, Hong Kong, cotam@ied.edu.hk

41

Can exhibitions change the climate? Looking for the impact of natural history

museums on their visitors S. Wintzerith*

A natural history museum is a perfect place to present an exhibition about climate change. Its scientists contribute to the necessary research and thus bring this huge outdoor topic inside the museum’s walls. Curators and educators strive to make it intelligible to both scientific and non scientific audiences. They open their doors to the general public and expect their exhibition and education program to have an impact first on their visitors and maybe on a larger scale too. They hope it might even contribute a tiny little bit to saving the planet. Tracking the impact of an exhibition is a real challenge. The question of what happens inside the exhibition is hard enough to answer, though it has been described, studied and researched so many times. But then comes another question: what about the long-term impact? Coming out of the exhibition, what does a visitor take away in his mind (new knowledge, inspiration, interest, emotions and much more), what does he remember weeks afterwards? Did he change something in his daily life or understand things differently than before? In short, did the exhibition change its visitors? A review of several cases will show examples of how curators and educators try to make a difference, to raise awareness and even to change behaviours. Which would be a conditio sine qua non for changing the world.

* Wintzerith – Evaluation für Kultureinrichtungen, Jahnstrasse 1, 76133, Karlsruhe, Germany, swi@wintzerith.de.

42

Museum of people’s free thinking N-V. Zarampouka-Chatzimanou*, M. Tsekou†

M.E.Σ.Α., Μουσείο Ελεύθερης Σκέψης Ανθρώπων (Museum of People’s Free thinking), is a collaborative and interdisciplinary museum outreach program aiming at promoting social inclusion of prisoners and ex drug addicts currently in six institutions all over Greece. It was developed in 2015 with the support of EMST- National Museum of Contemporary Art, in Athens with the aspiration to enable the prisoners of the pilot team in the prison of Trikala to design, implement and visit their own museum despite their confinement. It promotes art as a tool of social inclusion, but also underlines the social role of the Museums, in a context where there are no prisoners and drug addicts but simply collaborators working and expressing themselves together, exceeding the limits of prison or of an addiction. «MΕΣΑ» in Greek means “inside” and although it can be related to being inside prison or inside an addiction, we prefer to think that it means inside the society, inside life. In this research paper we intend to present the key points of the project’s evaluation as well as the main points of the toolkit to be produced for the better dissemination of the knowledge gained through the phase II of ΜΕΣΑ which is currently implemented.

* Project Curator, 17 Archelaou, Athens, 11635, Greece, v.zacha@gmail.com. † Education Curator, Vrahoriou 38b, 10444, Athens.

Market of ideas

45

A Museum as Large as a city M. Abdoli*

Last year a project was performed by the municipality accompanied by some museums in Tehran in which more than 700 museum-objects were exposed to the public attention on municipal billboards for 10 days. Such an event in this scale was happening for the first time in Iran, as an effort to attract people’s attention to museums. In this project a various collection of artworks from different resources and different contexts were chosen to form a great collage in different areas of Tehran. This event which could be described as the separation of these works from their social and historical context to make an extensive public exhibition in the streets brought up this question whether this project was successful in communication with the public. This article aims to study different reviews of this event and analyze it, and to suggest some solutions for optimizing such events in the future.

* Museum curator, Malek national museum And library, Imam Khomeini St., Imam Khomeini Sq. Tehran, 111555/547, Iran, Meysam_abdoli@yahoo.com

46

Discover culture & heritage at your doorstep.

The School Heritage Corners Programme A. Alias*

Museums have always served as authentic destinations for experiential learning. During museum visits, students learn about history and heritage through first-hand observation and interaction with historical and cultural artefacts. However beyond museum walls, the opportunities to further disseminate knowledge for heritage and culture, encourage self-learning and foster greater personal ownership of heritage are limitless. This paper details a key outreach initiative by National Heritage Board (NHB) Singapore; the School Heritage Corners Programme where NHB supports schools in establishing their own heritage corners or galleries via funding and consultative services. The aim is to enable schools to document elements of school, community and national heritage within their premises, allow schools to act as a focal point for heritage within their community, cultivate a sense of belonging and identity amongst students, and nurture the next generation of heritage enthusiasts. The school heritage corners also allow the community to discover heritage at their doorsteps as student guides are trained to conduct tours for schoolmates and the community. This in turn encourages students to play an active role in heritage promotion and grow their interest in heritage from a young age. Currently, more than 30 schools have been supported under the Heritage Corners Programme.

* Senior Assistant Director (Education & Community Outreach), National Heritage Board, 61 Stamford Road #03-08, Postal 178892, Singapore. asmah_alias@nhb.gov.sg

47

Flipped Museum. How visual thinking strategies and

collaborative work improve competence skills and engage in museum visit

V. Ferrara*

Cultural Heritage is considered useful content for learning and for making cross-disciplinary lessons by teachers. On the other side innovative museum education recommends visual strategies and collaborative practices in the museum visit for engaging and stimulating students to enrich their knowledge. This idea allows to build a flipped museum very close to the innovative learning theories. This paper reports a research study that investigated the application of Visual Thinking Strategies (VTS) practices and collaborative work in museum visits to improve fundamental skills for students from primary school to university. VTS improves skills that make mental processes repeatable, more or less knowingly, every time that the learning mechanism is activated, so VTS can be useful in all education or training subjects and for all students. Furthermore the observation of art related to other disciplines presented how collaborative work allows students to be protagonist of learning processes and manage the content with their level of knowledge also to allow inclusion of disability or diverse cultural groups. Experience with medical students showed how viewing art with a different approach helps them increase their interest in the museum visit.

* DIGILAB- Sapienza University, Via dei Volsci, 122, Rome, 00185, Italy, vincenza.ferrara@uniroma1.it

48

Sustainability in museums: Local approaches for community impact

S.V. Freeman, S.L. Rodegher*

Sustainability – environmental resilience, economic prosperity and social justice – is important to address in the wake of a changing world. Sustainability problems are global, but implementation requires place-based, culturally-relevant solutions. As community anchors, museums are poised to disseminate locally - and culturally - specific information to engage the public in sustainability science and action. Furthermore, museums play a critical role as conveners and have potential for identifying and serving pluralistic values that are inherent in society and critical to (a) identification and preservation of cultural heritage of subgroups and (b) success of sustainability initiatives. In this session, Dr. Sandra Rodegher and Stacey Freeman will frame the conversation around how museums can be sustainability leaders and increase public sustainability knowledge and community resilience. They will discuss the benefits and challenges of university/museum partnerships. Specifically, they will introduce an example of a multi-organization collaboration, the Sustainability Fellowship program, which included museum professionals from twelve countries on five continents. They will highlight fellows that successfully implemented placed-based, culturally-relevant sustainability education projects. Topics may include: museum audience considerations, project themes (e.g. energy, social justice), and programs developed (e.g. floor, adult, maker space). Dr. Rodegher and Ms. Freeman will conclude with free sustainability resources and future opportunities for collaboration.

* Arizona State University, 21 E. 6th Street, Suite 126C, Tempe, Arizona, 85281, U.S.A., stacey.freeman@asu.edu; sandra.rodegher@asu.edu

49

Open School M. Gyldendal*

In 2014 Denmark implemented a new school reform. One of the ingredients in the new reform is that the school is supposed to open up to the surrounding society, be a part of local community, engage with sport clubs, visit nearby businesses and most important make partnerships with cultural institutions. At the Danish Museum of Science and Technology we are very excited with the new reform, because it opens up new opportunities to the museum. We need to rethink our educational programs and we must make them fit into the new curriculum, we also need to open up to the surroundings outside the museums wall. At the Danish Museum of Science and Technology we would like to have a partnership with other nearby cultural institutions such as our nature and art school. One of the main focuses in the new curriculum is Innovation and Entrepreneurship, and a partnership with nature and art schools together with local business and schools would be obvious to strengthen our programs. But it takes two to tango, so how do we engage our schools to take part in this new partnership?

* Head of education, Danish Museum of Science and Technology, Fabriksvej 25, DK-3000 Helsingør, mg@tekniskmuseum.dk

50

(Un)Real Engagement: Reality Gaming & Youth in Museums

J. Rhee, H. Kim*

The Kochon Memorial Hall has so far attracted numerous visitors, ranging students from elementary to vocational schools. Still, we understand that one of the key elements required to better manage the museum is creating cooperative educational environment through allowing visitors engagement and involvement. Using IT and dramatic elements, our new mixed reality game attempts to break down the concept of so-called “traditional” museum. Visitors will be given a scenario, we have developed, with a series of missions for developing a new vaccine against infectious. They will use their own mobile devices to search for clues to accomplish the mission. We have designed all visual aids and moving images that appear on the screen of mobile devices.

* Kochon Memorial Hall, 8, Chungjeongro, Seodaemun-gu, Seoul, 03742, Korea, hosan@kochonhall.or.kr.

51

The Role of Museums on Labor and Maltreated Children’s Culturalization

N. Sagharichi*, M. Almasi†

Maltreated and labor children are two vulnerable groups which are deprived of the childhood because of family structure, poverty, and drastic economic changes due to war, etc. and are sometimes made to work full time. The process of culturalization happens too fast and makes them face issues like drug addiction, sexual harassment, exploitation and trafficking of organs which play important role on social problems like class conflict, poverty, crimes and lack of economic and social development. They will follow inappropriate features and become involved in social, cultural issues. According to ICOM, one of the main missions of museums, is education which is believed should be compatible to the official education. Museums as an intercultural space has the benefit of being a place in which maltreated and labor kids can learn about social life and share their experiences. Malek Museum of Iran has held exhibitions and workshops inside and outside of the museum’s walls. This paper is going to discuss these experiences, tools and methods, concepts, goals and challenges. These experiences can be used for helping the 120 million children that according to ILO are forced to do labors and the 250 million maltreated children recorded. Museums can help the governments to reduce the outcomes of this phenomenon.

* Museum Exhibition Designer, No 65, Easter 188 St., 3rd Sq., Tehranpars, Tehran,1655857541, Iran, N.Sagharichi@gmail.com † M.A Student of Museum Studies, No. 555, Pamchal St., Danesh Blvd., Karaj, 3185894735, Iran.

52

The Getty College Night: interdisciplinary partnerships beyond the museum’s walls

P. Tokofsky*, I. D. Costache†, J. A. Morris‡

College Nights have become widely popular events at many American museums with the purpose of introducing college students to museums and engaging them in becoming regular visitors and active supporters of these institutions. In 2010, due to previous low attendance, the Getty Museum Education Department reached out beyond its institutional walls and invited students to partner with the museum in planning and developing the annual college night. The students selected included business, art, communications, and other majors, all part of the interdisciplinary CSUCI Museum Course taught by Dr. Costache and Dr. Morris (which had collaborated with the Getty on other projects). The partnership focused on formulating a program that addresses the culture of students who might attend, rather than exclusively promoting the agenda of the museum. The success of the event marked a turning point for the Getty Museum’s annual College Night and set new guidelines, whose continuous benefits culminated in 2015 with attendance surpassing all expectations. This presentation will discuss the specific (inter-disciplinary, inter-professional, and inter-institutional) challenges and benefits of developing such projects and will focus on the value of collaborations among professionals to reach out beyond customary practices, institutional inflexibility, and tested formulas to engage the community – in this case, students – in novel dialogues with museums, transforming them from passive viewers into active contributors.

* Senior Public Programs Specialist, J. Paul Getty Museum, 1200 Getty Center Dr., Los Angeles, CA 90000, U.S.A., ptokofsky@getty.edu † Professor of Art History, California State University Channel Islands (CSUCI), 1 University Dr. Camarillo, CA 93021, U.S.A., irina.costache@csuci.edu ‡ Professor of Business and Chair, Martin V. Smith School of Business, CSUCI, 1 University Dr. Camarillo, CA 93021, U.S.A., john-andrew.morris@csuci.edu

Poster session

55

Celebrating our city’s riches: Three stories from Logan

R. Daw*

Logan, Australia, is known for its culturally diverse communities, having over 215 different cultural groups represented in the city. If we really want to engage with our community, then programming for diversity is a must. Not only does it make our programming relevant to the many different communities who live in Logan, but staff understand that an appreciation of cultural diversity goes hand-in-hand with achieving a just and equitable society, and that art can be a catalyst for promoting understanding. For the past few years, the team at Logan Art Gallery have consciously sought to raise awareness of the different communities within Logan, by focussing on exhibitions and public programs that showcase the city’s diverse cultural wealth. As a result, Logan Art Gallery’s exhibitions and programs have had life-changing impacts on artists and audiences alike. This talk will focus on three case studies: the exhibitions and programs for Journey blong yumi (our journey): Australian South Sea Islander 150 and Australian Muslim women artists, and the Yugambeh Museum partnership program Write into art.

* Cultural Services Program Leader, Logan City Council, cnr Wembley Road and Jacaranda Avenue, Logan Central, Queensland Australia, 4114. robyndaw@logan.qld.gov.au

56

The digital contents design for people with hearing impairment in science museum based on collaboration with a university

R. Egusa*, F. Kusunoki†, S. Iwasaki‡, Y. Ogawa§, A. Ishiyama**, M. Namatame††, S. Inagaki‡‡

Public understanding of science becoming more important, science education in science museums has gained attention in recent year. Science museums have great contents for education. However, it is known that people with hearing impairment have trouble in learning in science museums. In this study, we aim to consider the way of improvement of information accessibility for people with hearing impairment at science museums by using digital contents. Then, we hold a design workshop for supporting people with hearing impairment to learn in science museum, and facilitate participants to produce digital contents as teaching materials. After the workshop, we evaluate thease works from participants’ products and interviews. Details of this workshop are as follow. Participants are 19 students at Japanese Art University. Facilitators are 5 curators at National Museum of Nature and Science, Tokyo. The participants were organized into groups of 2–4, and chose contents. Contents are as below: “Mosses, mushrooms, and lichen,” “pressed leaves,” “Microscope,” “Horns of animals,” “Butterfly and moth,” “Evolution of plants,” “Meteorite and space science”. Finally, teaching materials they produce was used for education program of people with hearing impairment actually in the proper departments of the museum.

* JSPS Reserch Fellow, 5-3-1, Kojimashi, Tokyo, 102-0083, Japa. Kobe University, 3-11, Tsurukabuto, Kobe, Hyogo, 657-0013, Japan. 126d103d@stu.kobe-u.ac.jp.Japan † Tama Art University, 2-1723, Yarimizu, Hachioji, Tokyo, 192-0394, Japan ‡ National Museum of Nature and Science, 7-20, Ueno, Tokyo, 110-8718, Japan § National Museum of Nature and Science, 7-20, Ueno, Tokyo, 110-8718, Japan ** Tama Art University, 2-1723, Yarimizu, Hachioji, Tokyo, 192-0394, Japan †† JSPS Reserch Fellow, 5-3-1, Kojimashi, Tokyo, 102-0083, Japan ‡‡ JSPS Reserch Fellow, 5-3-1, Kojimashi, Tokyo, 102-0083, Japan

57

The creation of the house museum of Italian memory and the visitors

A.R. Fonseca*

The House of Italian Memory created in 2013, is maintained by an Institute of the same name. Installed in a residential building of 1925 in the city of Ribeirão Preto, São Paulo, Brazil, has the objective of preserving the building, its decoration and original items. The institution also has the project of conducting research and dissemination of the history and memory of Italian immigration in Brazil. Since 2014 the work team performs museological activities such as inventory, research and conservation of the collection and since May 2015 also happen guided visits. The proposal receiving the public is to promote interaction between visitors and the institution. Through questionnaires the visitors leave their opinions and reviews of the activities in the House Museum and suggestions for achievements in the future. Moreover, they are invited to share their memories and experiences. The data from the questionnaires during the period May to December 2015 were analyzed and reveal that visitors are concerned about the preservation of the architectural heritage of the city of Ribeirão Preto. The answers about the public expectations can guide the planning of cultural activities, exhibitions and actions for next year.

* House Museum of Italian Memory, Rua Tibiriça 776, Ribeirão Preto, 14010-090, Brazil. aliceregistro@gmail.com

58

Meeting the public outside the museum N. Gesché-Koning*

Once or twice a year the twelve university museums of the Université libre de Bruxelles (ULB) organize a common event outside their walls, be it on one of the university campus, in the city or outside. The purpose of these events is to attract non-university people and non-scholars to get better acquainted with research and the fabulous collections, which have been gathered throughout the years by passionate researchers. How this is achieved and for what results will be described, analyzing the latest activities organized by the different museums of the Network of museums of the ULB. Around a common theme these museums with collections ranging from medicine, anatomy, physics, contemporary art, pharmacy, zoology, chemistry, precious books, botanical plants, folk art and crafts manage to create fascinating exhibitions around one common theme for the benefit of all.

* Université libre de Bruxelles (ULB), Network of Museums of the ULB, 105 avenue Latérale, 1180 Brussels, Belgium. ngesche@me.com

59

“Discover Permian period!”: museum beneath their feet

Y. Glazyrina*

The Permian (299 - 251 million years ago) is the only geological period in Earth history discovered in Russia. Museum of Permian Antiquities presents the Permian Period in a context of geological history of the Earth: deposits from the Permian are found in Europe, North and Central America, South Africa, and China. But the Permian Period isn’t only fossils and minerals in museum displays but also everything that the inhabitants and visitors of the Perm region see every day beneath their feet – petrified bottom of the Permian sea; eat for breakfast – salt and traditional cakes made with the sprouts of horsetail. The project “Discover Permian Period!” which includes tourist routes and the mobile app available for free, allows the museum venture beyond its walls, to the city streets and regional territories engaging city dwellers – teenagers, families, tour guides, scientists – in discussion and interpretation. The project brings together objects of culture, geology and regional history. We support grass-roots initiatives and work within an ‘open brand book’ framework which implies not only audience engagement but a principle of an open-ended outcome to encourage people embraces their heritage. The project had initiated a series of independent activities: from the installation of the prehistoric shell monument to launch an ecological routes, and 13000 people joined us online and offline.

* Perm Regional Museu: Museum of Permian Antiquities, Sibirskaya st. 15, Perm, 614000, Russia. glazyrina_yuliya@mail.ru

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The creation of the Sugar Cane Museum, Brazil

L. Heck*, A.R. Fonseca†, T.C. Registro‡

The Sugar Cane Museum, created in 2013, is located in Pontal in the State of São Paulo, Brazil. It is a cultural institution that congregate a preserved set of buildings such as the Mill Schmidt 1906, machinery of the nineteenth century, equipment and original tools production and processing of sugarcane. The museum is maintained by the Cultural Institute of Central Mill and has the purpose to promote the preservation and research on the collections, buildings, machinery and knowledge about the preparation of products from the sugarcane Also has a set of primitive sugar mill, dating from the XVI century. The Museum has educational activities with visitors, groups and schools. Moreover, the museum promotes cultural activities, exhibition, workshops, lectures about preservation of the history and memory of work and technology of sugarcane. The first inserts the museum in the community was through a scholarship project for young people between 18-25 years. Twenty-two young persons were chosen for activities to study and practices of conservation techniques. After, three young people were hired by the Institute. Currently they work in conservation activities of buildings and as guides tours.

* Sugar Cane Museum, Farm Engenho Central, house 1 , Pontal, 14.180-000, Brazil. leila@museudacana.org.br † House Museum of Italian Memory, Rua Tibiriça 776, Ribeirão Preto, 14010-090, Brazil. aliceregistro@gmail.com ‡ Sugar Cane Museum, Farm Engenho Central, house 1 , Pontal, 14.180-000, Brazil. taniaregistro@hotmail.com

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Acts into saving the old short-wave station in suburban Pori (Finland)

P. Hovi-Assad*

The city of Pori (Finland) museum's current activities in the suburbs are sporadic due to a scarcity of resources. In the autumn of 2015, the Art Museum organized an architecture walk, which presented the architecture of the Sampola suburb. These types of walks can unlock the unique features of suburban architecture. There is an old short-wave station, which was built to transmit the 1940 Olympics that were cancelled due to the break of WWII. It represents functionalistic style, designed by architect H. Harmia. The area is a regionally valuable culture landscape. The elderly people living in the area would like that the museums would record memory based data of the short-wave station. For Finland, as well as for the perspective of local history, it would be important to collect this data. Elderly people have proven to be a valuable asset in the operations of the museums. Satakunta Museum’s friendship association’s volunteers have under the guidance of the museum conservator restored and opened the museum tug boat. They are currently retrieving a pre historic grave area in close cooperation with the museum’s archaeologist and the Park Services. The Finnish National Board of Antiquities has supported the management of the project.

* Project Researcher, Turku University, Uikunkuja 15, 28100 Pori, Finland. pmhoas@utu.fi

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Promoting Cultural Continuity through Revitalizing Museum Collections.

A Case Study of Collaboration between Museum of Xiaolin Pinpu Indigenous

People and their Community in Taiwan Yiping Lu*

The purpose of this paper is aimed at discussing the cultural revival actions of source community which is collaborating with museum, and the issue of social responsibility of local museum. With the viewpoint of museum anthropology, this paper focused on the positive effect in cultural revival actions that museum, collections and collaboration project could bring to source community—the indigenous people community from which museum collections originate. Siraya tribe in Taiwan was marginalized due to different administration policies from different regimes and being excluding from statutory aboriginal. Recently, Siraya tribe revitalized their traditional embroidery workmanship on the basis of Siraya clothing collections from museums. They viewed these collections as their resources and cultural symbols when they reshaping their ethnic identity and identity reclamation. This paper took the collaboration project between museum and Siraya tribe for example. Indicating that through constructing mutual relationship and utilizing museum collections, source community could be beneficial to raise their ethnic identity, and showing their agency to the modern society.

* Graduate Student of The Graduate University for Advanced Studies (In National Museum of Ethnology, Japan), 10-1 Senri Expo Park, Suita, Osaka 565-8511, Japan. lunapin346@gmail.com

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Archival material in private hands: The case of the Educational Museum in

Belgrade M. Nikolova*

In Educational museum in Belgrade there are personal and family funds with legacy of educational workers in which there are the documents about their education, career moves, their handwritten work, diaries and photographs. The formation of such funds is connected with donation of teachers’ or professors’ families, but also with the work with private persons in whose possession are the original documents. In some cases private persons are not ready to part with all original and in the Fund are also digital copies. It should be noted that there are cases, when the individuals are satisfied whit the preservation of archives, are ready to give the rest of the original document. The holders of the document may not always be familiar with their historical importance, and there are often emotionally attached to them, so it is need to make contact with them which based on mutual confidence. This paper aims to highlight the importance of finding, recording and making connection with the owner of archival material, as well as the ability to form personal and family funds with using some digital copies.

* Museum adviser, Zahumska 2, Belgrade, 11000, Serbia. ngomusketar@hotmail.com

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Museums and cultural landscapes: special reference to Sigiriya Museum, Sri

Lanka K. Perera*

Museums and cultural landscapes can be defined as richest historical records we possess and it is associated with pleasure, pain, loss or memory. Thus, it touches human hearts and brings us intangible value via tangible artefacts. Museums, cultural landscapes and civilians are inter woven into a fabric of great beauty in Sri Lanka which known as pearl of the Indian Ocean. Sigiriya Museum is a unique example, which creates value for museums in Sri Lanka and has become a treasure house that preserves archaeological materials, which found from Sigiriya site and its surroundings which refreshes our past memory and bring us pleasure as it merges with forest. It makes us enlightened by revealing human settlements in the past around Sigiriya and helps to link our future to past and reveals how we connected to our ancestors. The uniqueness of this museum is that it adopted eco-focused design and conserves the archaeological materials, which found from Sigiriya site. Being a world heritage site, Sigiriya rock and its surroundings demonstrate the cultural landscaping, historical arts and paintings, engineering, hydraulic technology etc. through its wonderful museum. Ultimately, Sigiriya museum helps to disseminate the knowledge of the cultural heritage conservation beyond its walls.

* Regional Centre for Strategic Studies, 20/73, Fairfield Gardens, Colombo 8, 00800, Sri Lanka. Kamaniperera2015@yahoo.com

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Bringing the inside out: Reaching new audiences

P. (Poom) Petcharaburanin, P. (Kwang) Suwansatit*

The Queen Sirikit Museum of Textiles (QSMT), opened in 2012 on the grounds of the Grand Palace, Bangkok, is charged with presenting and interpreting historic and contemporary royal dress (particularly that of Her Majesty Queen Sirikit), Thai textile history, and weaving traditions from Thailand and beyond. Bringing The Inside Out: Reaching New Audiences will discuss some of the ways the museum has met the challenges of reaching beyond its walls to educate Thai students and adults. A series of outreach programs were developed for use by educators both at the museum and in the classroom with activity leaflets, games, quizzes, and tool kits graded for K-12 and university-level classes. The museum also holds on-site, specialist-led seminars and lectures in Thai for the general public. Presentations of temporary exhibitions in public spaces will also be discussed. In the near future, the QSMT plans to create mobile exhibitions that will travel to venues in all regions of Thailand. Another form of outreach are children’s books related to the exhibitions, such as sericulture in Thailand and traditional Thai dress, composed by the museum’s educator and available at the museum and bookstores around Thailand.

* Queen Sirikit Museum of Textiles, Ratsadakorn-bhibhathana Building, The Grand Palace, Phra Nakhon, Bangkok, 10200 Thailand. pppetchara@gmail.com, pp18@qsmtthailand.org

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Maramureş living treasure within European Cultural Heritage

R. S. Pop*, L. Sima†

In the current historical context, when the whole world participates to the development of common templates for the culture's future, it is mandatory to rework and update the profound cultural heritage values, in order to pass themt to future generations. Yes," museums should not only take all responsibility for their collections, but also for the cultural heritage around them". From this perspective the attractiveness of Maramures cultural heritage comes from the unknown, and unexpected world, due to the cultural diversity it offers. Unfortunately much of this ”living treasure” is still anonymous and unknown. Therefore ANTREC and the West University Vasile Goldis, from Romania and The Akureyri University from Iceland developed this project, to identify and promote, Maramures multiethnic intangible cultural heritage, to make it known in a modern and open system. After a deep research, there were organised outside the museums, three exhibitions with 200 year old cultural heritage items: “wood”, “pottery”, and “textile” discovered in the remote area farms,"far from the madding crowd". There were also eight folkart perforrmances , both in Romania and Iceland . It is an integrated project, an international challenge, aiming to facilitate access, to minorities' culture, and enhance intercultural dialogue.

* Maramures County Museum for History and Archeology,Baia Mare, Address,Monetariei Street No1-3, Baia Mare City, Postal code, 430406, Romania. rodicapop_2005@yahoo.com † National Association for Rural, Cultural and Ecological Tourism – Maramureş (ANTREC), Address.:Decebal Street, No.3, Flat 23,City: Baia Mare Postal Cod:43013, România. livia_sima@yahoo.com

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Museum education as (in)visibility of boundaries

R. Pranskuniene*

Today we have an opportunity and a challenge for museums to revive their mission and strengthen our cultural and social role, as educational role in nowadays museum is very changeable. With this paper I would like to discuss the (in)visibility of boundaries of the (post)modern museum education. According to various theorists, empirical studies and personal experience (as museum education researcher and museum professional), these discussions raise many questions, such as: Are the boundaries of the (post)modern museum education global or local? Are these boundaries physical ones? Are these boundaries digital ones? Are these boundaries crossing? Are these boundaries blurring? Are these boundaries fragile? Are we testing the boundaries? Are we ignoring the boundaries? Should we keep the boundaries? What are the limits of the boundaries? Are these boundaries visible or invisible?

* R. Pranskuniene, Universiteto 2 -542, Kaunas, LT- 53343, Lithuania. rasapr@gmail.com

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The Milan Model of youth engagement E. Resnick*, M. Friel †, G. Carraro‡

The Milan Model uses the city of Milan to launch a mechanism by which adolescents can engage with elements of local cultural heritage. The model creates a coherent map of the city’s cultural landscape through the lens of a specific learning objective. The target audience follows a path through the city’s cultural heritage that continuously reinforces the learning objective. Local residents as well as visitors can access the program, and it can be followed by individual families and student groups. Content is delivered through an app that employs GPS location programming and allows participants to interact with cultural heritage through 3D augmented/virtual reality. Users also travel back in time to visit spaces and places that no longer exist. Quizzes are administered by the app to check for progressive comprehension and users are given a virtual reward for completion of the path. By curating the rich cultural heritage that exists outside cultural institutions, Milan itself becomes an open-air museum. This model provides landscape communities with a mechanism by which they can become interpretation centers of heritage and territory, and it can also be used by individual museums or museum networks to create learning paths through one or more collections.

* USA/Italy Fulbright Commission, Via Castelfidardo 8, Roma 00185, Italy. elyseresnick@hotmail.com † Università Cattolica del Sacro Cuore, Largo A. Gemelli 1, Milano 20123, Italy. martha.friel@css-ebla.it ‡ Telecom Design, Via Valle Calepio 5, Palazzolo S/O 25036, Italy. gualtiero.carraro@telecomdesign.it

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The Museum of Contemporary Art of Crete as a vehicle to familiarize children with its

surrounding cultural landscape S. Trouli*, A. Panagiotis†, K. Xristidis‡

The Museum of Contemporary Art of Crete is located in the heart of the old town of Rethymno. The Museum has acquired a high-quality museum space of approximate 1000 sq and its permanent collection of some 500 works comprise creations by the rethymnian artist Lefteris Kanakakis as well as works by other contemporary Greek artists which cover the entire spectrum of the Greek contemporary artistic reality from 1950 to this day. The Museum searches for opportunities to revive its mission not only as a center of contemporary art inside and outside its walls, but also take initiatives as a social and cultural agent who is trying to make local communities more responsible for their cultural heritage. In this paper we are going to present the cooperation of the Museum and its educational sector of art workshops with the Department of Primary Education of the University of Crete and the Municipality of Rethymno for the organization of an innovative educational program, entitled Odysseas in the Old town of Rethymno. Having as a meeting point the Museum of Contemporary Art of Crete and the Arts Workshops, the children, aged 6-8, toured in a creative way the old town of Rethymno and its long history.

* PhD Museum educator, Museum of Comtemporary Art of Crete, Chalkiadaki 3, 74100. Rethymno Greece. arisvi@hotmail.com † Associated Professor, University of Crete, Gallos, 74100, Rethymno, Greece ‡ Instructor University, University of Crete. Director of the educational sector of the Museum of Contemporary Art of Crete, Gallos, 74100, Rethymno. Greece

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Artistic education for the heritage. Building cultural tourism routes

N. Zagura*

Artistic Education for the Heritage is a project developed by Art & Heritage Association inside UNESCO World Heritage sites and museums located in their neighbourhood. The main idea of the project is to help small country side museums to develop educational actions inside local communities and to make them aware how important is the heritage they possess. The project is bringing together artists and museum workers all around the world, they have the possibility during one month to develop an in depth study about the location of a cultural landscape and the museums and cultural sites included in its area. During their stay the working team organise artistic creativity workshops for the children and their parents in the museums or the courtyards of cultural sites in order to point up the importance of promotion and preservation of the traditional cultural values and their pass on from one generation to another. Every workshop is closed by a presentation of invited guests from the museums all around the world. The project was developed inside the regional partnership between ICOM Committees Moldova-Romania-Ukraine since 2009. Nowadays its activities are developed as well in Bulgaria, Italy and Mexico following the same model of implementation.

* President Art & Heritage Association, Bucuresti, 040171, Romania. artandheritageorg@gmail.com

List of contributors

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M. Abdoli Malek national museum And library, Imam Khomeini St., Imam Khomeini Sq. Tehran, 111555/547, Iran Meysam_abdoli@yahoo.com A. Alias National Heritage Board, 61 Stamford Road, Singapore asmah_alias@nhb.gov.sg M. Almasi Museum Studies, Pamchal St., Danesh Blvd., Karaj, Iran R. B. Bajit Rice Science Museum, Philippine Rice Research Institute (PhilRIce) Maligaya, Munoz, Nueva Ecija, Philippines P. Berera Dept. of Human Science for Education “R. Massa”, Milan, Italy C. N. Bibal Rice Science Museum, Philippine Rice Research Institute (PhilRIce) Maligaya, Munoz, Nueva Ecija, Philippines R. N. Bibal Rice Science Museum, Philippine Rice Research Institute (PhilRIce) Maligaya, Munoz, Nueva Ecija, Philippines M. Boldrini Zetalab studio, via tadino, Milano, 2034, Italy info@zetalab.com M. Cabral Museu da República, Rio de Janeiro, Brasil magalycabral@globo.com A. Campelo Universidade Fernando Pessoa, Porto, Portugal campelo@ufp.edu.pt G. Carraro Telecom Design, Palazzolo, Italy gualtiero.carraro@telecomdesign.it

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C. Cartalis Piraeus Bank Group Cultural Foundation, Athens, Greece CartalisC@piraeusbank.gr M. Castejón Ibáñez University of Murcia, Murcia, 30003, Spain mmagdalena.castejon@um.es M. Cerda Silva Museóloga ICOM-Chile Reg-50023, Camino Paillao Parcela 08, Valdivia, código postal 5090000, Chile martacerda@uach.cl C. Chen Graduate Institute of Museum Studies, Taipei National University of the Arts,Taipei City, Taiwan chiali21@hotmail.com I. D. Costache California State University Channel Islands, 1 University Dr. Camarillo, U.S.A. irina.costache@csuci.edu P. Cusripituck Research Institute for Languages and Cultures of Asia (RILCA), Mahidol University, Salaya, Nakhon Pathom, Thailand patoocu@gmail.com R. Daw Cultural Services Program, Logan City Council, Queensland Australia robyndaw@logan.qld.gov.au A. De Nicola Dept. of Human Science for Education “R. Massa”, Milan, Italy S. Devi Museum and Archive, Tezpur University, Napaam, Tezpur, India devi.su11@gmail.com M. Douesnard CECA, 6755 42nd avenue, Montreal, Quebec, Canada manondouesnard@gmail.com

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T. Z. Duflot Museum of Civilizations, Dschang, Camerun C. Dufresne-Tassé Université de Montréal, Canada colette.dufresne.tasse@umontreal.ca R. Egusa Kobe University, Tsurukabuto, Kobe, Hyogo, Japan 126d103d@stu.kobe-u.ac.jp.Japan N. C. Esmero Philippine Rice Program, School of Anthropology and Archaeology, Australian National University V. Ferrara DIGILAB- Sapienza University, Rome, Italy vincenza.ferrara@uniroma1.it A.R. Fonseca House Museum of Italian Memory, Ribeirão Preto, Brazil aliceregistro@gmail.com C. Fredella Dept. of Human Science for Education “R. Massa”, Milan, Italy S. Freeman Arizona State University, Tempe, Arizona, U.S.A. stacey.freeman@asu.edu M. Friel Università Cattolica del Sacro Cuore, Milano, Italy martha.friel@css-ebla.it M. Fuhr Museumsberg Flensburg, Städtische Museen und Sammlungen für das Herzogtum Schleswig, Museumsberg 1, Flensburg, Germany fuhr.michael@stadt.flensburg.de C. L. B. Gado Rice Science Museum, Philippine Rice Research Institute (PhilRIce) Maligaya, Munoz, Nueva Ecija, Philippines

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N. Gesché-Koning Académie royale des Beaux-Arts de Bruxelles/École supérieure des Arts et Université libre de Bruxelles, Belgique ngesche@me.com E. Giannopoulou Department of Public & International Relations International Office, Technological Educational Institute of Athens Y. Glazyrina Perm Regional Museu: Museum of Permian Antiquities, Sibirskaya st. 15, Perm, 614000, Russia glazyrina_yuliya@mail.ru D. Gonzalez-Esmero Rice Science Museum, Philippine Rice Research Institute (PhilRIce) Maligaya, Munoz, Nueva Ecija, Philippines dbgonzales.esmero@gmail.com; dg.esmero@philrice.gov.ph M. Gyldendal Danish Museum of Science and Technology, Helsingør, Denmark mg@tekniskmuseum.dk T. Hayun Hotam – Culture Initiator, 219 Ktalav, Zur Hadassa, Israel tsila@hotam-ltd.co.il L. Heck Sugar Cane Museum, Farm Engenho Central, Pontal, Brazil leila@museudacana.org.br M. Hernández Mella Escuela Rural la Aguada, Corral, Chile hernandez.corral@gmail.com R. M. Hervás Avilés University of Murcia, Faculty of Education, Murcia, Spain rhervas@um.es P. Hovi-Assad Turku University, Uikunkuja 15, 28100 Pori, Finland pmhoas@utu.fi

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H. Huang National Museum of Natural Science, Taichung, Taiwan S. Inagaki JSPS Reserch Fellow, 5-3-1, Kojimashi, Tokyo, Japan A. Ishiyama Tama Art University, 2-1723, Yarimizu, Hachioji, Tokyo, Japan S. Iwasaki National Museum of Nature and Science, 7-20, Ueno, Tokyo, Japan A. Kallinikidou Piraeus Bank Group Cultural Foundation, Athens, Greece KallinikidouA@piraeusbank.gr A. Kastana Municipality of Delphi, Kehagia Square, Amfissa, Greece dimarxos@delphi.gov.gr H. Kim Kochon Memorial Hall, 8, Chungjeongro, Seodaemun-gu, Seoul, 03742, Korea hosan@kochonhall.or.kr C. Konsta Municipality of Delphi, Kehagia Square, Amfissa, Greece K. Fusako Tama Art UniversityFaculty of Art and Design,Tokyo, Japan kusunoki@tamabi.ac.jp F. Lelièvre Pointe-à-Callière, Place Royale, Montréal, Québec, Canada flelievre@pacmusee.qc.ca Y. Lu In National Museum of Ethnology Japan, Suita, Osaka, Japan lunapin346@gmail.com

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F. Gershwin E. Manuel Rice Science Museum, Philippine Rice Research Institute (PhilRIce) Maligaya, Munoz, Nueva Ecija, Philippines N. Matteuzzi Sistema Museale del Chianti e Valdarno Fiorentino, San Casciano in Val di Pesa, Italy E. Meunier Université de Montréal, succ. Centre-Ville, Montréal, Canada elisabeth.meunier@umontreal.ca J. A. Morris Martin V. Smith School of Business, CSUCI, 1 University Dr. Camarillo, CA 93021, U.S.A. john-andrew.morris@csuci.edu E. Moustaka Municipality of Delphi, Kehagia Square, Amfissa, Greece I. Müller Dep. of historical studies, Norwegian University of Science and Technology (NTNU), Trondheim, Norway insa.muller@ntnu.no M. Namatame Tsukuba University of Technology, 4-3-15, Tsukuba, Ibaraki, Japan F. Navarro Hérvas University of Murcia, Faculty of Education, Murcia, Spain franaher@um.es M. Nikolova Museum adviser, Zahumska 2, Belgrade, 11000, Serbia ngomusketar@hotmail.com Y. Ogawa National Museum of Nature and Science, 7-20, Ueno, Tokyo, Japan S. Orlandi CECA ICOM 67780 IT, via Nerino 5, Milano 20123, Italy sarahdominique.orlandi@fastwebnet.it

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G. Panagiaris Department of Conservation of Antiquities and Works of Art (T.E.I. of Athens), Athen, Greece gpanag@teiath.gr A. Panagiotis University of Crete, Gallos, 74100, Rethymno, Greece A. Panagiotopoulos Municipality of Delphi, Kehagia Square, Amfissa, Greece E. Papageorgiou Department of Medical Laboratories, Technological Educational Institute of Athens efipapag@teiath.gr N. Pereira Mendonça Junior NOPH Ecomuseu de Santa Cruz/ Pesquisador, Rio de Janeiro, Brasil nelmend@gmail.com K. Perera Regional Centre for Strategic Studies, Fairfield Gardens, Sri Lanka. Kamaniperera2015@yahoo.com P. (Poom) Petcharaburanin Queen Sirikit Museum of Textiles, Bangkok,Thailand. pppetchara@gmail.com M. Pinto De Oliveira NOPH Ecomuseu Santa Cruz, Centro de Memória, Rio de Janeiro, Brasil Mpo.pinto@ig.com.br P. Pioltelli Cooperativa Soc Liberi Sogni, Via San Carlo 13, 23801 Calolziocorte, Italy R. S. Pop Maramures County Museum for History and Archeology,Baia Mare, Monetariei, Romania. rodicapop_2005@yahoo.com

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D. Pozzi-Escot Museo de sitio de Pachacamac, Ministerio de Cultura, Lima, Perú dpozzi@cutura.gob.pe R. Pranskuniene Universiteto 2, Kaunas, Lithuania. rasapr@gmail.com O. Priosti NOPH Ecomuseu de Santa Cruz, Santa Cruz, Rio de Janeiro, Brasil owpriosti@gmail.com E. Resnick USA/Italy Fulbright Commission, Roma, Italy. elyseresnick@hotmail.com T.C. Registro Sugar Cane Museum, Farm Engenho Central, Pontal, Brazil taniaregistro@hotmail.com M. T. Resende Martins Ecomuseu da Amazônia-Centro de Educação Ambiental Fundação Escola Bosque Professor Eidorfe Moreira, Belém, Pará, Brasil ecomuseudamazonia@gmail.com; mirmartins@yahoo.com.br J. Rheea Kochon Memorial Hall, 8, Chungjeongro, Seodaemun-gu, Seoul, 03742, Korea S. Rodegher Arizona State University, Tempe, Arizona, U.S.A. sandra.rodegher@asu.edu N. Sagharichi Museum Exhibition Designer., Tehranpars, Tehran, Iran N.Sagharichi@gmail.com A. M. Sánchez Lázaro University of Murcia, Murcia, Spain amsanchez@um.es

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L. Sima National Association for Rural, Cultural and Ecological Tourism – Maramureş (ANTREC), Baia Mare, România. livia_sima@yahoo.com A. Soffici Amici del Museo di Impruneta e San Casciano, Impruneta, Italy annasoffici@virgilio.it K. Soulopoulou Department of Public & International Relations International Office, Technological Educational Institute of Athens M. Sugni Villa Carlotta, Tremezzina, Como, Italia P. Suwansatit Queen Sirikit Museum of Textiles, Bangkok,Thailand. pp18@qsmtthailand.org F. Syeda National College of Arts, Lahore, Pakistan farida.b@gmail.com C. Tam Department of Cultural and Creative Arts, The Hong Kong Institute of Education, Tai Po, New Territories, Hong Kong cotam@ied.edu.hk E. Tiburcio Sánchez University of Murcia, Faculty of Education, Murcia, Spain elena.t.s@um.es A. Tiednik Zuiderzeemuseum, Wierdijk 18, Enkhuizen, The Netherlands anna.tiedink@zuiderzeemuseum.nl P. Tokofsky J. Paul Getty Museum, 1200 Getty Center Dr., Los Angeles, U.S.A. ptokofsky@getty.edu

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L. Tornberg Finnish Museums Association, Helsinki, Finland leena.tornberg@museoliitto.fi A. Tranta Piraeus Bank Group Cultural Foundation, Athens, Greece TrantaA@piraeusbank.gr S. Trouli Museum of Comtemporary Art of Crete, Rethymno, Greece arisvi@hotmail.com M. Tsekou Education Curator, Vrahoriou 38b, Athens A. van Veldhuizen Landschap Erfgoed Utrecht, The Netherlands a.vanveldhuizen@landschaperfgoedutrecht.nl L. Vega Trujillo Escuela Rural la Aguada, Corral, Chile litavegatrujillo@gmail.com E. Vlachou Piraeus Bank Group Cultural Foundation, Athens, Greece VlachouE@piraeusbank.gr S. Wintzerith Evaluation für Kultureinrichtungen, Karlsruhe, Germany swi@wintzerith.de. K. Xristidis University of Crete. Director of the educational sector of the Museum of Contemporary Art of Crete, Gallos, Rethymno. Greece J. Yamabhaib Research Institute for Languages and Cultures of Asia (RILCA), Mahidol University, Salaya, Nakhon Pathom, Thailand jitjayang@gmail.com

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N. Zarampouka-Chatzimanou Project Curator, 17 Archelaou, Athens, Greece v.zacha@gmail.com N. Zagura Art & Heritage Association, Bucuresti, Romania. artandheritageorg@gmail.com F. Zuccoli Dept. of Human Science for Education “R. Massa”, Milan, Italy franca.zuccoli@unimib.it