the Final Program

Eighth International Conference on
The Inclusive Museum
7-9 AUGUST 2015 | HOSTS: NATIONAL COUNCIL OF SCIENCE MUSEUMS, INDIA & INTERNATIONAL
INSTITUTE FOR THE INCLUSIVE MUSEUM | ONMUSEUMS.COM
Common Ground Publishing and the International Institute for the Inclusive Museum gratefully acknowledge the generous support
of the following for the 8th International Conference on the Inclusive Museum, New Delhi:
Rashtrapati Bhavan
Ministry of Culture, Government of India
International Council of Museums, Paris
National Council of Science Museums
National Museum of India, New Delhi
National Gallery of Modern Art of India, New Delhi
Aga Khan Trust for Culture
Indian National Trust for Art & Cultural Heritage
Sanskriti Pratishthan – Sanskriti Foundation, New Delhi
British Council, India
International Institute for the Inclusive Museum
Australian High Commission, New Delhi
International Coalition of Sites of Conscience
Pacific Asia Observatory for Cultural Diversity in Human Development
Federation of International Human Rights Museums
Asian Museum Institute
International Curators Forum
Sahapedia
Commonwealth Association of Museums
Cover Image: CELESTIAL CINEMA
Science and Movement (Cinema) of the Venus (Celestial body) as it crosses the face of the Sun. 6th June 2012 from 5.23 AM to
10.22 AM. National Science Centre, New Delhi, National Council of Science Museums India.
Eighth International Conference on the
Inclusive Museum
“Museums as Civic Spaces”
National Science Museum, Delhi | New Delhi, India | 7-9 August 2015
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@onmuseums | #CGMuseum
International Conference on the Inclusive Museum
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First published in 2015 in Champaign, Illinois, USA
by Common Ground Publishing, LLC
www.commongroundpublishing.com
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All rights reserved. Apart from fair dealing for the purpose of study, research, criticism or review as permitted under the applicable
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Designed by Ebony Jackson
The Inclusive Museum
onmuseums.com
Dear Delegate,
Welcome to the Eighth International Conference on the Inclusive Museum. The conference is a cross-disciplinary forum which brings
together museum practitioners, researchers, and teachers to discuss the nature, objectives and future shape of the museum. The
conference is held annually in different locations around the world, each selected for a particular relationship to an innovative museum
or local museum practices.
The conversations at this conference weave between the theoretical and the empirical, research and application, institutional
pragmatics and social idealism. In professional and disciplinary terms, the conference traverses a broad sweep to construct a
transdisciplinary dialogue which encompasses a broad variety of perspectives and practices.
In addition to the Inclusive Museum Conference, Common Ground also hosts conferences and publishes journals in other areas of
critical intellectual human concern, including aging, food studies, diversity, learning, sustainability, and the interdisciplinary social
sciences, to name several. Our aim is to create new forms of knowledge community, where people meet in person and also remain
connected virtually making the most of the potentials for access using digital media. We are also committed to creating a more
accessible, open and reliable peer review process. Alongside opportunities for well-known academics, we are creating new publication
openings for scholars from developing countries and for researchers from institutions that are historically teaching-focused. We would
like to invite conference participants to develop publishing proposals for original works or for edited collections of papers drawn
from the journal which address an identified theme. Finally, please join our online conversation by subscribing to our monthly email
newsletter, and subscribe to our Facebook, RSS, or Twitter feeds at http://onmuseums.com/.
We are also proud to announce Scholar, created in an association between Common Ground and the University of Illinois. If the
social glue that holds together Facebook is ‘friends’ and the stickiness of Twitter is having ‘followers’, then the common bond created
in Scholar is ‘peers’ working together in knowledge producing communities. We call this a ‘social knowledge’ space. Not only can
you join the Inclusive Museum community in Scholar, you can also create your own knowledge communities and use Scholar as a
learning space, with a strong focus on peer-to-peer dialogue and structured feedback. For more information, visit www.cgscholar.com.
This is the longer story of the Inclusive Museum Conference. The shorter story includes a phenomenal amount of careful planning and
thinking on the part of Professor Amareswar Galla, Executive Director of the International Institute for the Inclusive Museum; Mr.
Ganga Rautela, DG of the National Council of Science Museums, India; Mr. Rama Sarma Dhulipati, Director of the National Science
Centre, Delhi and several of their colleagues in the field of museums in India. On a more personal note, many thanks to thank our
Common Ground colleagues who have put so much work into this conference: Ebony Jackson, Emily Kasak, Izabel Szary, and Jessica
Wienhold-Brokis.
We wish you all the best for this conference, and hope it will provide you every opportunity for dialogue with colleagues from around
the corner and around the world. We also hope you will be able to join us for the Ninth International Conference on the Inclusive
Museum, to be held at the Freedom Centre in Cincinnati, USA, from 17 to19 September 2016.
Yours Sincerely,
Bill Cope
Director, Common Ground Publishing
Professor, Education Policy, Organization, and Leadership
University of Illinois, Urbana-Champaign, USA
FOREWORD
India is on the cusp of an unprecedented museum development. The cultural and linguistic diversity of India, the world’s largest
democracy, provides a challenge and an opportunity for exploring new pathways for developing museums as vibrant civil society
agents, for community building and intercultural understanding. The key concern across the world remains whether museums in
the 21st Century are chameleon like or relevant and responsive cultural institutions that are grounded in social, economic, cultural
and environmental futures of sustainability. What are the key cultural indicators for appreciating the transformations of museums as
civic spaces with regard to the new Sustainable Development Goals and the post-2015 UN Development agenda that is imminent for
adoption in the UN General Assembly as we conference here?
The International Council of Museums (ICOM) and the Inclusive Museum Knowledge Community are tireless advocates for developing
museums as civic spaces for all people, irrespective of their backgrounds, legacies and inheritances. Nobel Laureate Amartya Sen
succinctly states the reality that ‘…. we all have many affiliations and associations, and each of these identities fit into the way we
lead­­—and can continue to lead—our lives, without displacing other identities.’ (Identity and Violence: The Illusion of Destiny, 2007).
In this context, developing critical museological discourse has become imperative for addressing reflective, revealing and confronting
narratives to unravel the layers of significances in our collections, past and contemporary, for bringing people and their heritage
together.
The Inclusive Museum Knowledge Community facilitates an ongoing dialogue and with this aspiration throughout the year –
registration is for the three days here face-to-face, and then for the next year on line. Participatory democracy is facilitated in the digital
domain through triangulating Collections – Connectivity – Communities. Collections are embedded knowledge systems with layers of
significance. Connectivity provides the means for engagement and interactivity through the affordances and possibilities in the digital
domain. Stakeholder communities, in all their meanings, manifestations, cultural understandings; and the multitude of publics and
audiences remain in the liminal space between the collections and connectivities – the aspirational Inclusive Museum.
The 28th General Assembly of ICOM, meeting on 17 August, 2013, in Rio de Janeiro, Brazil, resolved to ‘Evaluate the extent to which
programs and ICOM activities are in accordance with the ICOM 2010 Cultural Diversity Charter of ICOM adopted in Shanghai and
implement a policy of gender equality as an integral part of the strategic directions of ICOM’. The Inclusive Museum Conference is a
partnership activity contributing to these professional endeavours of ICOM.
Several pathways inform the processes of the Inclusive Museum Knowledge Community. Through case study analysis and facilitated
dialogue participants explore in the next three days as to how museums can transform their operations and practices to meet the
changing and complex needs of society in a rapidly globalizing world. What are our current museological approaches in addressing
cultural and linguistic diversity and should they be re-envisioned? What practices and strategies do we employ to be or become
inclusive? What are the challenges and benefits? How can museums measure their relevance and impact using the ICOM Cultural
Diversity Charter?
There are many dedicated people that have made this Conference and the Knowledge Community activities possible in New Delhi.
We are grateful to Shri. Ganga S. Rautela, DG, National Council of Science Museums for hosting the Conference and the Ministry of
Culture, Government of India for its magnanimous support to make the event possible; Dr. Saroj Ghose, former President of ICOM, for
his continuing inspiration and guidance; the generous support of the co-conveners—Shri Sanjiv Mittal, IAS., DG, National Museum of
India; Professor Rajeev Lochan, Director, National Gallery of Modern Art; Shri Ratish Nanda, Director, Aga Khan Trust for Culture,
India; Shrimati Nerupama Y. Modwel, Intangible Heritage section, INTACH; Mr. O.P.Jain, Founder, Sanskriti Museums; and Shri
Promod Kumar Jain, IAS., Joint Secretary, Ministry of Culture; and The British Council, the Australian High Commission and National
Art Gallery of Denmark for co-sponsoring the plenary events. Finally the dedication of Shri Dhulipati Rama Sarma as the local anchor
and his staff at the National Science Centre has been outstanding and is gratefully appreciated. We finally thank many sponsors
at Common Ground Publishing: The President, Professor Bill Cope; Director of Conferences, Dr. Phillip Kalantzis-Cope, Assistant
Director of Conferences Emily Kasak, Designer Ebony Jackson, and Conference Producer Izabel Szary.
Finally it is a privilege for all of us to be the guests at the inauguration of the Conference by the Honorable President of India, Shri
Pranab Mukherjee. Two distinguished personalities of India, civil society voices of conscience and meaningful engagement, will lay
down the challenges for addressing the theme Museums as Civic Spaces: Professor Emirati Romila Thapar on the past as present and
Nobel Laureate Shri Kailash Satyarthi on civil society and community engagement in intergenerational ethics.
Esteemed colleagues and delegates, we invite you to productive discussions, to vision and re-envision the way forward for promoting
the institution of the Museum as an Inclusive Civic Space.
Yours sincerely,
Prof. Amareswar Galla, PhD
Chairperson, the Inclusive Museum Knowledge Community, Common Ground Publishing & Executive Director, International Institute
for the Inclusive Museum
Email. [email protected]
Web. www.inclusivemuseum.org
Dear Delegates,
Dear Delegates,
At the outset, I would like to extend a warm welcome to you all, personally and on behalf of the National Council of Science
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dedication and purity, ‘The Taj’!
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Ganga S. Rautela
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We look
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National Council of Science Museums, India
forward to a successful conference.
At the end, you may enjoy the exiting experience of the visit to one of the most famous wonders of the world, the Taj Mahal. The
symmetry of the grand marble structure and marvelous geometrical patterns of gardens add magnificence to this symbol of love,
dedication and purity, ‘The Taj’!
We have worked for several months to put together an exciting and focused agenda bringing together experts, visionaries and
professionals from the world of museums. We wish you an interesting, challenging and enjoyable stay in India.
Ganga S. Rautela
Director General
National Council of Science Museums, India
| About Common Ground
Our Mission
Common Ground Publishing aims to enable all people to participate in creating collaborative knowledge and to share that
knowledge with the greater world. Through our academic conferences, peer-reviewed journals and books, and innovative
software, we build transformative knowledge communities and provide platforms for meaningful interactions across diverse
media.
Our Message
Heritage knowledge systems are characterized by vertical separations—of discipline, professional association, institution, and
country. Common Ground identifies some of the pivotal ideas and challenges of our time and builds knowledge communities
that cut horizontally across legacy knowledge structures. Sustainability, diversity, learning, the future of the humanities,
the nature of interdisciplinarity, the place of the arts in society, technology’s connections with knowledge, the changing
role of the university—these are deeply important questions of our time which require interdisciplinary thinking, global
conversations, and cross-institutional intellectual collaborations. Common Ground is a meeting place for these conversations,
shared spaces in which differences can meet and safely connect—differences of perspective, experience, knowledge base,
methodology, geographical or cultural origins, and institutional affiliation. We strive to create the places of intellectual
interaction and imagination that our future deserves.
Our Media
Common Ground creates and supports knowledge communities through a number of mechanisms and media. Annual
conferences are held around the world to connect the global (the international delegates) with the local (academics,
practitioners, and community leaders from the host community). Conference sessions include as many ways of speaking
as possible to encourage each and every participant to engage, interact, and contribute. The journals and book imprint
offer fully-refereed academic outlets for formalized knowledge, developed through innovative approaches to the processes
of submission, peer review, and production. The knowledge community also maintains an online presence—through
presentations on our YouTube channel, monthly email newsletters, as well as Facebook and Twitter feeds. And Common
Ground’s own software, Scholar, offers a path-breaking platform for online discussions and networking, as well as for
creating, reviewing, and disseminating text and multi-media works.
11
The Inclusive Museum
Knowledge Community
Exploring the role of museums, with
a particular focus on how they can
become more inclusive
The Inclusive Museum Knowledge Community
The Inclusive Museum Knowledge Community is brought together by common concern for the future role of the museum,
and in particular, how it can become more inclusive. The community interacts through an innovative, annual face-to-face
conference, as well as year-round virtual relationships in a weblog, peer reviewed journal, and book imprint.
Conference
The conference is built upon four key features: Internationalism, Interdisciplinarity, Inclusiveness, and Interaction.
Conference delegates include leaders in the field as well as emerging artists and scholars, who travel to the conference from
all corners of the globe and represent a broad range of disciplines and perspectives. A variety of presentation options and
session types offer delegates multiple opportunities to engage, to discuss key issues in the field, and to build relationships
with scholars from other cultures and disciplines.
Publishing
The Inclusive Museum Knowledge Community enables members to publish through two media. First, community members
can enter a world of journal publication unlike the traditional academic publishing forums—a result of the responsive,
non-hierarchical, and constructive nature of the peer review process. The International Journal of the Inclusive Museum
provides a framework for double-blind peer review, enabling authors to publish into an academic journal of the highest
standard. The second publication medium is through the book imprint, The Inclusive Museum, publishing cutting edge
books in print and digital formats. Publication proposal and manuscript submissions are welcome.
Community
The Inclusive Museum Knowledge Community offers several opportunities for ongoing communication among its members.
Any member may upload video presentations based on scholarly work to the community YouTube channel. Monthly
email newsletters contain updates on conference and publishing activities as well as broader news of interest. Join the
conversations on Facebook and Twitter, or explore our new social media platform, Scholar.
15
The Inclusive Museum Themes
On the relation of
museum to its
communities of users.
Theme 1: Visitors
• Visitor diversity in the inclusive museum
• Defining museum stakeholders and measuring participation
• The politics of heritage: national, regional, ethnic, diasporic, and first nation identities
• Multilingualism: accessibility for small languages and cultures
• Gender and sexual orientation in the museum
• Disability access in the museum
• Competing cultures: high, folk, popular, techno-scientific
• Public trust: re-establishing the bases of ‘authority’
• Defining the ‘education’ and ‘communications’ roles of museums
• Pedagogy as presentation or dialogue: how the museum relates to its visitors
• The ubiquitous museum: towards the anywhere anytime learning resource
• Competing pleasures: museums against or with ‘entertainment’ and ‘edutainment’
• Cross connections: with schools, with universities
• Sponsorship and philanthropy: logics and logistics
• The economics of admissions
• Memberships: changing roles and demographics
• Voluntarism and professionalism: calibrating the mix
• Government stakeholders (local, state, national, transnational): museums in politics and
navigating government funding and policies
On the practices and
processes of collecting
and curating.
Theme 2: Collections
• The changing work of the curator
• Exhibition didactics: the dynamics of visitor learning
• The idea of ‘heritage’: changing conceptions of what counts
• Authenticity, decontextualization and recontextualization of objects-on-show
• Custodianship and community assets: meanings and purposes for the museum
• Representing social and cultural intangible heritage
• The ‘ethnographic’ and the ‘anthropological’: framing first peoples and other ‘traditions’
• Technologies in the museum
• Arts in the museum
• Environment in the museum
• The process of acquisition: competing demands and limited resources
• Conservation, preservation: negotiating changing priorities
• Artifacts: what are the objects of the museum?
• Places for amateurism: barefoot repositories and the self-made museum
16
The Inclusive Museum Themes
On museums as
repositories and
communicators of culture
and knowledge.
Theme 3: Representations
• Museums as knowledge makers and cultural creators
• Architectonics: designing buildings and information architectures
• Research and investigation in the museum
• Measuring knowledge ‘outputs’
• Intellectual property: commons versus commercialism?
• Knowledge management paradigms and practices
• ‘Neutrality’, ‘balance’ and ‘objectivity’; or ‘narrative’ and ‘politics’? The knowledge rhetorics of the
museum
• Knowledge frames: modern and postmodern museums
• Cross connections: with libraries, with galleries, with educational institutions, with arts centers
• The digitization of everything: from collection objects to media representations
• The virtual museum
• Online discoverability and public access
• Museums in and for the knowledge society: preserving heritage ‘born digital’
• New literacies: changing the balance of creative agency in the era of the Internet and new media
• Addressing the digital divide
• Digital disability access
• Cataloguing, metadata, discovery and access
• Internet standards, semantic publishing and the semantic web
17
The Inclusive Museum 2015 Special Focus
Museums as Civic Spaces
The inclusive museum is an aspirational civic space that is created and recreated based on the context and relevance to
diverse stakeholders. It liberates museums and communities from legacies, enables a first voice, and empowers people of
culturally and linguistically diverse backgrounds with a sense of place and multiple identities. The challenge is also to address
intersectionality across cultural borders through appropriate research, development and capacity building. This must be at
all levels of engaged partners from curators, educators, conservators to directors and trustees. Connecting collections and
communities is critical.
The Inclusive Museum Knowledge Community continues to build on the lessons learnt and ongoing discursive crossings
to promote for posterity the museum for diverse peoples irrespective of their backgrounds. India on the cusp of an
unprecedented museum development is the host to the Eighth International Conference on the Inclusive Museum. As the
world’s largest democracy it is also well known for its cultural and language diversity. This diversity is embedded in the
nation’s Constitution. A vibrant civil society such as India mandates relevant and responsive cultural institutions, especially
inclusive museums.
18
The Inclusive Museum Scope and Concerns
Visitors
No longer the universal individual citizen of our recent modern aspirations, visitors of today are recognizably diverse. The
dimensions of this diversity are material (class, locale, family circumstances), corporeal (age, race, sex and sexuality, and
physical and mental characteristics) and symbolic (culture, language, gender, family, affinity and persona). These are the
gross demographics, the things that insist on our attention. But if we take the time to look more closely at today’s public, it is
qualified by intersections and layers of identity which immediately turn the gross demographics into sometimes dangerous
oversimplifications. The paradox of today’s public is that, in an era of globalization, cultures are diverging: dispositions,
sensibilities, values stances, interests, orientations, affinities and networks.
So how can one speak to audiences? How does participation work? How can we create meanings which are germane?
‘Inclusivity’ names a paradoxically two sided answer. One side is to recognize particularity. What and who should be
represented in the museum? What is it to be comprehensive? What is canonical or definitive? To answer these questions
today, we need to move beyond the divisions of high as opposed to popular culture, the techno-scientific as opposed to
the everyday, the national-modern as opposed to the ethnographic-traditional. No longer can we solve the problem of
difference, of ‘us’ and ‘them’, by dividing people and their objects into separate categories and separating them in spaces unto
themselves. We need to anticipate the particularities of visitors.
The other side of this answer requires us not just to catalogue of differences, to check them off from a list of potential points
of dissonance. Perhaps we also need to create a new and paradoxical form of universality, the universality of inclusivity. How
do we create a museum where the text is open, where every visitor is allowed the space to create their own meanings, where
no visitor is left out? The answer in part is in to devise new …
Forms of Engagement
What is the role today of the reader, the viewer, the audience, the citizen, the customer, the patron? Our recent modernity
was premised on relatively passive readers, viewers and audiences; relatively compliant employees and dependent citizens;
and relatively appreciative customers and patrons. To take just a few touchstones of change, the new media transform
readers, viewers and audiences into users, players and characters. Workers are supposed to personify the enterprise and
citizens to assume responsibility for themselves. Customers are always right—for their differences, products and services have
to be customized. So too, the quirks of patrons must be patronized.
The change represents an evening up of balance of agency and a blurring of roles, between the person in command and the
person consenting, between producers and consumers of knowledge, and between creators and readers of culture.
In museums, more than simply ‘interaction’, visitors need to place themselves in the exhibition, to belong in the space and to
join the cultural dialogue. For museums, this is the basis for a new communicative frame of reference and a new pedagogics.
This will be made possible at least in part through the new…
19
The Inclusive Museum Scope and Concerns
Modalities of Representation
The emerging communications environment—in which image, sound and word are all made of the same digital stuff—affords
new openings for museums, and new challenges.
Not only are museums challenged to preserve heritage which is increasingly ‘born digital’. It is also the case today that there
is no collectable object, no site-specific experience, which cannot be reproduced and made available to ‘visitors’ at the ends of
the earth though digital means of representation.
This creates unique challenges in the realm of intellectual property. It raises new practicalities of relating to visitors who
are more diverse than ever. It presents a new task for museum workers to explore the communicative affordances of the
‘mutiliteracies’ of digital representation.
In meeting these challenges, museums are destined to reflect their changing world, and also—at times provocatively, riskily—
change that world. The Museum Conference, Journal, Book Imprint and News Weblog provide a forum for the discussion of
these and other fundamental questions which will surely determine the changing shape and future role of museums.
20
The Inclusive Museum Community Membership
About
The Inclusive Museum Knowledge Community is dedicated to the concept of independent, peer-led groups of scholars,
researchers, and practitioners working together to build bodies of knowledge related to topics of critical importance to society
at large. Focusing on the intersection of academia and social impact, The Inclusive Museum Knowledge Community brings
an interdisciplinary, international perspective to discussions of new developments in the field, including research, practice,
policy, and teaching.
Membership Benefits
As an Inclusive Museum Knowledge Community member you have access to a broad range of tools and resources to use in
your own work:
• Digital subscription to the The International Journal of the Inclusive Museum for one year.
• Digital subscription to the book imprint for one year.
• One article publication per year (pending peer review).
• Participation as a reviewer in the peer review process, with the opportunity to be listed as an Associate Editor after
reviewing three or more articles.
• Subscription to the community e-newsletter, providing access to news and announcements for and from the knowledge
community.
• Option to add a video presentation to the community YouTube channel.
• Free access to the Scholar social knowledge platform, including:
◊ Personal profile and publication portfolio page;
◊ Ability to interact and form communities with peers away from the clutter and commercialism of other social media;
◊ Optional feeds to Facebook and Twitter;
◊ Complimentary use of Scholar in your classes—for class interactions in its Community space, multimodal student
writing in its Creator space, and managing student peer review, assessment, and sharing of published work.
21
The Inclusive Museum Engage in the Community
Present and Participate in the Conference
You have already begun your engagement in the community by attending the conference, presenting
your work, and interacting face-to-face with other members. We hope this experience provides a
www.facebook.com/
OnMuseums.CG
valuable source of feedback for your current work and the possible seeds for future individual and
collaborative projects, as well as the start of a conversation with community colleagues that will
continue well into the future.
@onmuseums
#CGMuseum
Publish Journal Articles or Books
We encourage you to submit an article for review and possible publication in the journal. In this way,
you may share the finished outcome of your presentation with other participants and members of
the community. As a member of the community, you will also be invited to review others’ work and
contribute to the development of the community knowledge base as an Associate Editor. As part of
your active membership in the community, you also have online access to the complete works (current
and previous volumes) of journal and to the book imprint. We also invite you to consider submitting a
proposal for the book imprint.
Engage through Social Media
There are several ways to connect and network with community colleagues:
Email Newsletters: Published monthly, these contain information on the conference and
publishing, along with news of interest to the community. Contribute news or links with a
subject line ‘Email Newsletter Suggestion’ to [email protected].
Scholar: Common Ground’s path-breaking platform that connects academic peers from
around the world in a space that is modulated for serious discourse and the presentation of
knowledge works.
Facebook: Comment on current news, view photos from the conference, and take advantage of
special benefits for community members at: http://www.facebook.com/OnMuseums.CG.
Twitter: Follow the community @onmuseums and talk about the conference with
#CGMuseum.
YouTube Channel: View online presentations or contribute your own at http://onmuseums.
com/the-conference/types-of-conference-sessions/online-presentations.
22
The Inclusive Museum Advisory Board
The principle role of the Advisory Board is to drive the overall intellectual direction of the Inclusive Museum Knowledge
Community and to consult on our foundational themes as they evolve along with the currents of the community. Board
members are invited to attend the annual conference with a complimentary registration and provide important insights on
conference development, including suggestions for speakers, venues, and special themes. We also encourage board members
to submit articles for publication for consideration to The International Journal of the Inclusive Museum as well as proposals
or completed manuscripts to The Inclusive Museum Book Imprint.
We are grateful for the continued service and support of these world-class scholars and practitioners.
• Professor Laishun An, Deputy Director of the International Friendship Museum of China; and Secretary General of
Chinese Society of Museums, Beijing, China.
• Professor Corazon S. Alvina, Former Director, National Museum of the Philippines, Manila, Philippines.
• Professor Henry C. (Jatti) Bredekamp, Former Chief Executive Officer, Iziko Museums of Cape Town, South Africa.
• Alissandra Cummins, Immediate Past President of ICOM; Director, Barbados Museums and Historical Society,
Barbados; Former Chairperson, Executive Board, UNESCO, Paris, France.
• Dr. Ann Davis, Former Director, The Nickle Arts Museum, University of Calgary, Alberta, Canada; and President, ICOM
international Committee for Museology, Paris, France.
• Dr. Nevra Ertürk, Güzel Sanatlar Fakültesi, Sanat Eserlerinin Konservasyonu ve Restorasyonu Bölümü, Mimar Sinan
Güzel Sanatlar Üniversitesi, Istanbul
• Mlle Christine Hemmet, Responsable de l’unité patrimoniale des collections Asie, Musée du quai Branly, Paris, France.
• Professor Dr Rohit Jigyasu, UNESCO Chair Professor, Research Centre for Disaster Mitigation of Urban Cultural
Heritage, Ritsumeikan University, Kyoto
• Lcda Lucía Astudillo Loor, Directora, Museo de los Metales, Cuenca, Ecuador.
• Professor Pascal Makambila, Conservateur en chef des musées, Brazzaville, Congo.
• Adi Meretui Ratunabuabua, Pacific Heritage Hub Manager, University of South Pacific; and Principal Cultural
Development Officer, Department of Culture and Heritage, Ministry of Fijian Affairs, Culture and Heritage, Suva, Fiji
Islands.
• Professor Dr. Tereza C. Moletta Scheiner, Coordinator, Postgraduate Program in Museology and Heritage, Federal
University of the State of Rio de Janeiro – UNIRIO, Rio de Janeiro, Brazil, Vice President, ICOM Executive Council.
• Dr. Lina G. Tahan, Centre for Tourism and Cultural Change, Leeds Metropolitan University, Leeds, UK.
• Dr. Shahid Vawda, School of Social Sciences, University of Witwatersrand, Johannesburg, South Africa.
• Professor Dr Jørgen Wadum, Keeper of Conservation & Director of CATS, Statens Museum for Kunst/National Gallery
of Denmark & Chairman of the Department of Conservation & Restoration at the Faculty of Humanities, University of
Amsterdam
• W. Richard ‘Rick’ West, Jr., President and CEO, Autry National Center for the American West, Los Angeles, California
& Founding Director and Director Emeritus, National Museum of the American Indian, Smithsonian Institution,
Washington DC
23
The Inclusive Museum Advisory Board
Chairperson of the Advisory Board
• Professor Dr. Amareswar Galla, Executive Director, International Institute for the Inclusive Museum, Australia; Former
Vice President, ICOM, Paris
Assisting the Chairperson
• Rama Sarma Dhulipati, Director, National Science Centre, New Delhi, India (2015 Museum Conference)
Ex Officio
• Professor Dr. Hans-Martin Hinz, President of the International Council of Museums, former Deputy Director, Deutsches
Historisches Museum, Berlin and Deputy Minister of Culture for Berlin, 2000-2001
• Dr. Anne-Catherine Robert-Hauglustaine, Director General, International Council of Museums, Paris, France
• Ganga Rautela, Director General, National Council of Science Museums, New Delhi/Kolkata, India (2015 Museum
Conference)
• Sanjeev Mittal, Director General, National Museum of India, New Delhi (2015 Museum Conference)
24
A Social Knowledge Platform
Create Your Academic Profile and Connect to Peers
Developed by our brilliant Common Ground software team, Scholar connects academic peers from around the world in a
space that is modulated for serious discourse and the presentation of knowledge works.
Utilize Your Free Scholar Membership Today through
• Building your academic profile and list of published works.
• Joining a community with a thematic or disciplinary focus.
• Establishing a new knowledge community relevant to your field.
• Creating new academic work in our innovative publishing space.
• Building a peer review network around your work or courses.
Scholar Quick Start Guide
1. Navigate to http://cgscholar.com. Select [Sign Up] below ‘Create an Account’.
2. Enter a “blip” (a very brief one-sentence description of yourself).
3. Click on the “Find and join communities” link located under the YOUR COMMUNITIES heading (On the left hand
navigation bar).
4. Search for a community to join or create your own.
Scholar Next Steps – Build Your Academic Profile
• About: Include information about yourself, including a linked CV in the top, dark blue bar.
• Interests: Create searchable information so others with similar interests can locate you.
• Peers: Invite others to connect as a peer and keep up with their work.
• Shares: Make your page a comprehensive portfolio of your work by adding publications in the Shares area - be these
full text copies of works in cases where you have permission, or a link to a bookstore, library or publisher listing. If you
choose Common Ground’s hybrid open access option, you may post the final version of your work here, available to
anyone on the web if you select the ‘make my site public’ option.
• Image: Add a photograph of yourself to this page; hover over the avatar and click the pencil/edit icon to select.
• Publisher: All Common Ground community members have free access to our peer review space for their courses. Here
they can arrange for students to write multimodal essays or reports in the Creator space (including image, video, audio,
dataset or any other file), manage student peer review, co-ordinate assessments, and share students’ works by publishing
them to the Community space.
25
A Digital Learning Platform
Use Scholar to Support Your Teaching
Scholar is a social knowledge platform that transforms the patterns of interaction in learning by putting students first,
positioning them as knowledge producers instead of passive knowledge consumers. Scholar provides scaffolding to
encourage making and sharing knowledge drawing from multiple sources rather than memorizing knowledge that has been
presented to them.
Scholar also answers one of the most fundamental questions students and instructors have of their performance, “How
am I doing?” Typical modes of assessment often answer this question either too late to matter or in a way that is not clear or
comprehensive enough to meaningfully contribute to better performance.
A collaborative research and development project between Common Ground and the College of Education at the University
of Illinois, Scholar contains a knowledge community space, a multimedia web writing space, a formative assessment
environment that facilitates peer review, and a dashboard with aggregated machine and human formative and summative
writing assessment data.
The following Scholar features are only available to Common Ground Knowledge Community members as part of their
membership. Please email us at [email protected] if you would like the complimentary educator account that comes
with participation in a Common Ground conference.
• Create projects for groups of students, involving draft, peer review, revision and publication.
• Publish student works to each student’s personal portfolio space, accessible through the web for class discussion.
• Create and distribute surveys.
• Evaluate student work using a variety of measures in the assessment dashboard.
Scholar is a generation beyond learning management systems. It is what we term a Digital Learning Platform—
it transforms learning by engaging students in powerfully horizontal “social knowledge” relationships. For more
information, visit: http://knowledge.cgscholar.com.
26
The Inclusive Museum
Journal
Addressing how the institution of the
museum can become more inclusive
The Inclusive Museum
International Journal of the
Inclusive Museum
About
The International Journal of the Inclusive Museum addresses the key question: How can the
institution of the museum become more inclusive? The journal brings together academics, curators,
museum and public administrators, cultural policy makers and research students to engage in
discussions about the historic character and future shape of the museum.
The International Journal of the Inclusive Museum is peer-reviewed, supported by rigorous processes
of criterion-referenced article ranking and qualitative commentary, ensuring that only intellectual
work of the greatest substance and highest significance is published.
Editor
Amareswar Galla, Executive Director, International Institute for the Inclusive
Museum, Australia; Former Vice President, ICOM, Paris
Indexing
Art Abstracts
Art Full Text
Art Index
Art Source
Scopus
The Australian Research
Council (ERA)
Founded:
2010
Publication Frequency:
Quarterly (March, June,
September, December)
ISSN:
1835-2014 (print)
1835-2022 (online)
Associate Editors
Articles published in The International Journal of the Inclusive Museum are peer reviewed by
scholars who are active members of the Inclusive Museum knowledge community. Reviewers may
be past or present conference delegates, fellow submitters to the journal, or scholars who have
volunteered to review papers (and have been screened by Common Ground’s editorial team). This
engagement with the knowledge community, as well as Common Ground’s synergistic and criterionbased evaluation system, distinguishes the peer review process from journals that have a more
top-down approach to refereeing. Reviewers are assigned to papers based on their academic interests
and scholarly expertise. In recognition of the valuable feedback and publication recommendations
that they provide, reviewers are acknowledged as Associate Editors in the volume that includes the
paper(s) they reviewed. Thus, in addition to The International Journal of the Inclusive Museum’s
Editors and Advisory Board, the Associate contribute significantly to the overall editorial quality and
content of the journal.
onmuseums.com
ijz.cgpublisher.com
29
The Inclusive Museum Submission Process
Journal Collection Submission Process and Timeline
Below, please find step-by-step instructions on the journal article submission process:
1. Submit a conference presentation proposal.
2. Once your conference presentation proposal has been accepted, you may submit your article by clicking the “Add a
Paper” button on the right side of your proposal page. You may upload your article anytime between the first and the
final submission deadlines. (See dates below)
3. Once your article is received, it is verified against template and submission requirements. If your article satisfies these
requirements, your identity and contact details are then removed, and the article is matched to two appropriate referees
and sent for review. You can view the status of your article at any time by logging into your CGPublisher account at www.
CGPublisher.com.
4. When both referee reports are uploaded, and after the referees’ identities have been removed, you will be notified by
email and provided with a link to view the reports.
5. If your article has been accepted, you will be asked to accept the Publishing Agreement and submit a final copy of your
article. If your paper is accepted with revisions, you will be required to submit a change note with your final submission,
explaining how you revised your article in light of the referees’ comments. If your article is rejected, you may resubmit it
once, with a detailed change note, for review by new referees.
6. Once we have received the final submission of your article, which was accepted or accepted with revisions, our Publishing
Department will give your article a final review. This final review will verify that you have complied with the Chicago
Manual of Style (16th edition), and will check any edits you have made while considering the feedback of your referees.
After this review has been satisfactorily completed, your paper will be typeset and a proof will be sent to you for approval
before publication.
7. Individual articles may be published “Web First” with a full citation. Full issues follow at regular, quarterly intervals. All
issues are published 4 times per volume (except the annual review, which is published once per volume).
Submission Timeline
You may submit your article for publication to the journal at any time throughout the year. The rolling submission deadlines
are as follows:
• Submission Round 1 – 15 January
• Submission Round 2 – 15 April
• Submission Round 3 – 15 July
• Submission Round 4 (final) – 15 October
Note: If your article is submitted after the final deadline for the volume, it will be considered for the following year’s volume.
The sooner you submit, the sooner your article will begin the peer review process. Also, because we publish “Web First,” early
submission means that your article may be published with a full citation as soon as it is ready, even if that is before the full
issue is published.
30
The Inclusive Museum Common Ground Open
Hybrid Open Access
All Common Ground Journals are Hybrid Open Access. Hybrid Open Access is an option increasingly offered by both
university presses and well-known commercial publishers.
Hybrid Open Access means some articles are available only to subscribers, while others are made available at no charge to
anyone searching the web. Authors pay an additional fee for the open access option. Authors may do this because open access
is a requirement of their research-funding agency, or they may do this so non-subscribers can access their article for free.
Common Ground’s open access charge is $250 per article­–a very reasonable price compared to our hybrid open access
competitors and purely open access journals resourced with an author publication fee. Digital articles are normally only
available through individual or institutional subscriptions or for purchase at $5 per article. However, if you choose to make
your article Open Access, this means anyone on the web may download it for free.
Paying subscribers still receive considerable benefits with access to all articles in the journal, from both current and past
volumes, without any restrictions. However, making your paper available at no charge through Open Access increases its
visibility, accessibility, potential readership, and citation counts. Open Access articles also generate higher citation counts.
Institutional Open Access
Common Ground is proud to announce an exciting new model of scholarly publishing called Institutional Open Access.
Institutional Open Access allows faculty and graduate students to submit articles to Common Ground journals for
unrestricted open access publication. These articles will be freely and publicly available to the whole world through our
hybrid open access infrastructure. With Institutional Open Access, instead of the author paying a per-article open access fee,
institutions pay a set annual fee that entitles their students and faculty to publish a given number of open access articles each
year.
The rights to the articles remain with the subscribing institution. Both the author and the institution can also share the final
typeset version of the article in any place they wish, including institutional repositories, personal websites, and privately or
publicly accessible course materials. We support the highest Sherpa/Romeo access level—Green.
For more information on how to make your article Open Access, or information on Institutional Open Access, please contact
us at [email protected].
31
The Inclusive Museum Journal Awards
International Award for Excellence
The International Journal of the Inclusive Museum presents an annual International Award for Excellence for new research
or thinking in the area of museums. All articles submitted for publication in The International Journal of the Inclusive
Museum are entered into consideration for this award. The review committee for the award is selected from the International
Advisory Board for the collection and The Inclusive Museum annual conference. The committee selects the winning article
from the ten highest-ranked articles emerging from the review process and according to the selection criteria outlined in the
reviewer guidelines.
Award Winner, Volume 7
Allison Callender, Curator Art/Art History, Barbados Museum and Historical Society, St. Philip, Barbados
For the Article
“Accessibility of Museums in Barbados”
Abstract
This paper aims to provide an overview of the issues surrounding accessibility for disabled visitors at four museums in
Barbados, with a focus specifically on hearing impaired visitors. “Access has long been a critical issue in relation to museums
and galleries, the needs of disabled people have often been very low down the list.” The same can be said of museums in
Barbados, where access is still an underdeveloped area which needs to be addressed more broadly. Not enough has been
written on accessibility, and there are still some misconceptions surrounding the appropriate terminology of disability and
impairment, as it relates to access and accessibility in museums. There is no doubt that museums play an important role in
society, and while some museums may cater to people with disabilities, many museums do not. “Accessibility of Museums in
Barbados” is a study which investigates whether hearing impaired visitors benefit from visiting museums in Barbados.
32
The Inclusive Museum Subscriptions and Access
Community Membership and Personal Subscriptions
As part of each conference registration, all conference participants (both virtual and in-person) have a one-year digital
subscription to The International Journal of the Inclusive Museum. This complimentary personal subscription grants access
to both the current volume of the journal as well as the entire backlist. The period of complimentary access begins at the
time of registration and ends one year after the close of the conference. After that time, delegates may purchase a personal
subscription.
To view articles, go to http://ijz.cgpublisher.com/. Select the “Login” option and provide a CGPublisher username and
password. Then, select an article and download the PDF. For lost or forgotten login details, select “forgot your login” to
request a new password.
Journal Subscriptions
Common Ground offers print and digital subscriptions to all of its journals. Subscriptions are available to The International
Journal of the Inclusive Museum and to custom suites based on a given institution’s unique content needs. Subscription
prices are based on a tiered scale that corresponds to the full-time enrollment (FTE) of the subscribing institution.
For more information, please visit:
• http://onmuseums.com/publications/journal/subscriptions-and-orders
• Or contact us at [email protected]
Library Recommendations
Download the Library Recommendation form from our website to recommend that your institution subscribe to The
International Journal of the Inclusive Museum: http://onmuseums.com/publications/journal/library-recommendation.
33
The Inclusive Museum
Book Imprint
Aiming to set new standards in
participatory knowledge creation
and scholarly publication
The Inclusive Museum Book Imprint
Call for Books
Common Ground is setting new standards of rigorous academic knowledge creation and scholarly publication. Unlike other
publishers, we’re not interested in the size of potential markets or competition from other books. We’re only interested in
the intellectual quality of the work. If your book is a brilliant contribution to a specialist area of knowledge that only serves a
small intellectual community, we still want to publish it. If it is expansive and has a broad appeal, we want to publish it too,
but only if it is of the highest intellectual quality.
We welcome proposals or completed manuscript submissions of:
• Individually and jointly authored books
• Edited collections addressing a clear, intellectually challenging theme
• Collections of articles published in our journals
• Out-of-copyright books, including important books that have gone out of print and classics with new introductions
Book Proposal Guidelines
Books should be between 30,000 and 150,000 words in length. They are published simultaneously in print and electronic
formats and are available through Amazon and as Kindle editions. To publish a book, please send us a proposal including:
• Title
• Author(s)/editor(s)
• Draft back-cover blurb
• Author bio note(s)
• Table of contents
• Intended audience and significance of contribution
• Sample chapters or complete manuscript
• Manuscript submission date
Proposals can be submitted by email to [email protected]. Please note the book imprint to which you
are submitting in the subject line.
37
The Inclusive Museum Book Imprint
Call for Book Reviewers
Common Ground Publishing is seeking distinguished peer reviewers to evaluate book manuscripts.
As part of our commitment to intellectual excellence and a rigorous review process, Common Ground sends book
manuscripts that have received initial editorial approval to peer reviewers to further evaluate and provide constructive
feedback. The comments and guidance that these reviewers supply is invaluable to our authors and an essential part of the
publication process.
Common Ground recognizes the important role of reviewers by acknowledging book reviewers as members of the Editorial
Review Board for a period of at least one year. The list of members of the Editorial Review Board will be posted on our
website.
If you would like to review book manuscripts, please send an email to [email protected] with:
• A brief description of your professional credentials
• A list of your areas of interest and expertise
• A copy of your CV with current contact details
If we feel that you are qualified and we require refereeing for manuscripts within your purview, we will contact you.
38
The Inclusive Museum Book Imprint
The Museum for the People
Sharon A. Pittman
Opening during the tumultuous sixties as “the museum for the people,” the Oakland Museum of
California (OMCA) has from time to time been at the center of political tensions that have become
characteristic of the city known as “the home of the Black Panther Party.” The Museum for the
People traces OMCA’s roots back to its pre-sixties origins, i.e. the period when its surrounding
neighborhoods transitioned from predominantly white to increasingly African American. Three
cultural institutions that were founded in the early 1900s merged, relocating to the current site
during the sixties, and were met by protests before actually opening the doors of what is now OMCA.
Delivering the history through the voices of individuals such as L. Thomas Frye, the Oakland Museum
of California’s founding curator of History, and providing various current accounts from recent
employees and visitor feedback, the author describes an institution that has remained viable by
reaching out to “the people” during various critical times throughout its history.
ISBN—978-1-61229-484-1
135 Pages
Community Website:
onmuseums.com
Bookstore:
onmuseums.
cgpublisher.com
Author Bio:
Sharon Annette Pittman retired in 2012 from a 28-year career as a secondary school art and
cross-cultural educator and currently teaches at the college level. Since 2004, she has been involved
in research on relationships between historically marginalized peoples and institutions, particularly
schools and museums. In 2004, she presented a scholarly paper on the Ebonics controversy at the
Annual Modern Language Association Convention that was held in Philadelphia, Pennsylvania. Her
presentation was focused on the Oakland public school system. Other writings include a critique
of James Cuno’s book Whose Culture?, in which she defended the rights of Third World nations
in particular to have their cultural property repatriated from Western encyclopedic museums. The
Museum for the People is an adaptation of her doctoral dissertation, which she successfully defended
in 2013 to receive a Ph.D. in cultural studies with a concentration in museum studies.
39
The Inclusive Museum Book Imprint
Museums in Human Development:
The Place of Museums in a Globalised and Transforming
World
Conrad Gershevitch
Museums in Human Development attempts to answer four inter-related questions: What is
happening to our world? Why is it happening? How can we think about and understand these first
two questions? What are some solutions to the challenges posed by contemporary modernity?
Museums in Human Development is a sweeping review of global trends and risks, a summary
of approaches to understanding these trends, a study of civil society and those UN systems that
incorporate heritage, sustainability, human rights, and distributive and cultural equity. It argues
that cultural institutions, in particular museums, can provide the vectors of positive, transformative
ISBN—978-1-61229-249-6
287 Pages
Community Website:
onmuseums.com
Bookstore:
onmuseums.
cgpublisher.com
change for a world in crisis. New museology as a principle and the ecomuseum as a site share much
in common with other inter-disciplinary approaches, such as urban planning and health promotion,
which are approaches that respond to human necessities and the human condition in fair, consensual,
flexible, sustainable, and creative ways.
In the future—in a world that is increasingly urban, crowded, conflicted, resource poor, and where
cultures, people, and faiths encounter each other as never before—museums can be sites of collective,
democratic decision making, where information is sublimated into knowledge, global problems are
faced at the local level, and the dehumanised is rehumanised.
Author Bio:
Conrad Gershevitch has worked for many years on issues of human rights, cultural liberty, antidiscrimination, and health promotion and planning in both the government and non-government
sectors. He has post-graduate qualifications in literary studies, public sector economics, and
museolgy. A generalist, Conrad has a wide range of personal interests including music, the arts,
gastronomy, astronomy, and horticulture. He has two children, currently works in the healthcare
sector, and lives in the World Heritage-listed Blue Mountains, west of Sydney, Australia.
40
The Inclusive Museum
Conference
Curating global interdisciplinary
spaces, supporting professionally
rewarding relationships
The Inclusive Museum About the Conference
Conference History
Founded in 2008, the International Conference on the Inclusive Museum brings together a community of museum
practitioners, researchers, and thinkers. The key question addressed by the conference: How can the institution of the
museum become more inclusive? In this time of fundamental social change, what is the role of the museum, both as a
creature of that change, and perhaps also as an agent of change?
The International Conference on the Inclusive Museum is built upon four key features: Internationalism, Interdisciplinarity,
Inclusiveness, and Interaction. Conference delegates include leaders in the field as well as emerging scholars, who travel
to the conference from all corners of the globe and represent a broad range of disciplines and perspectives. A variety of
presentation options and session types offer delegates multiple opportunities to engage, to discuss key issues in the field, and
to build relationships with scholars from other cultures and disciplines.
Past Conferences
• 2008 - National Museum of Ethnology, Leiden, Netherlands
• 2009 - University of Queensland, Brisbane, Australia
• 2010 - Yildiz Technical University, Istanbul, Turkey
• 2011 - University of Witwatersrand, Johannesburg, South Africa
• 2012 - University of the West Indies, Cave Hill, Barbados
• 2013 - National Art Gallery of Denmark, Copenhagen, Denmark
• 2014 - The Autry National Center, Los Angeles, USA
• 2015 - The National Science Museum, New Delhi, India
Plenary Speaker Highlights:
The International Conference on the Inclusive Museum has a rich history of featuring leading and emerging voices from the
field, including:
• Finn Andersen, The Danish Cultural Institute, Copenhagen, Denmark (2013)
• Julien Anfruns, International Council of Museums, Paris, France (ICOM) (2009)
• Catherine Branson, Australian Human Rights Commission, Sydney, Australia (2009)
• Lonnie G. Bunch, III, Smithsonian‘s National Museum of African American History and Culture, Washington DC, USA
(2012)
• Alissandra Cummins, Barbados Museum and Historical Society, Bridgetown, Barbados (2008, 2009, 2010, 2012)
• Steven Engelsman, National Museum of Ethnology, Leiden, Netherlands (2008)
• Liebe Geft, Museum of Tolerance, Los Angeles, USA (2014)
• Hans-Martin Hinz, The Internationals Council of Museums, Berlin, Germany (2009, 2010, 2013)
• Sonwabile Mancotywa, National Heritage Council of South Africa, Pretoria, South Africa (2011)
• Omarakhan Massoudi, National Museum of Afghanistan, Kabul, Afghanistan (2010)
• Craddock Morton, National Museum of Australia, Acton, Australia (2009)
• Karsten Ohrt, National Gallery of Denmark, Copenhagen, Denmark (2013)
• Lejo Schenk, Amsterdam Tropenmuseum, Amsterdam, The Netherlands (Royal Tropical Institute)
• Elizabeth Silkes, International Coalition of Sites of Conscience, New York City, USA (2013)
• W. Richard West, Jr., Smithsonian National Museum of the American Indian, Washington DC, USA (2008)
43
The Inclusive Museum About the Conference
Past Partners
Over the years the International Conference on the Inclusive Museum has had the pleasure of working with the following
organizations:
Autry National Center of
Barbados Museum,
Commonwealth Association
the American West,
Bridgetown, Barbados (2012)
of Museums,
Los Angeles, USA (2014)
London, UK(2011-2014)
Commonwealth
Danish Institute for
Faculty of Art and Design, Department of Art,
Foundation (2012)
Human Rights,
Art Management Division Museum Studies
Copenhagen, Denmark (2013)
Graduate Program,
Yildiz Technical University,
Istanbul, Turkey (2009)
ICOM (2008-Present)
International Coalition of
International Curators Forum,
Sites of Conscience,
London, UK (2012-2013)
New York City, USA (2013)
Iziko Museums,
Museum of Copenhagen,
Nationaal Natuurhistorisch Museum
Cape Town, South Africa (2011)
Copenhagen, Denmark (2013)
(National Museum of Natural History),
Leiden, The Netherlands (2008)
44
The Inclusive Museum About the Conference
National Gallery of Denmark,
National Museum of Ethnology,
Turkish Ministry of
Copenhagen, Denmark (2013)
Leiden, The Netherlands (2008)
Culture and Tourism,
Istanbul, Turkey (2010)
University of Queensland,
University of the West Indies,
University of Witwatersrand,
Brisbane, Australia (2008-2010)
Kingston, Jamaica (2012)
Johannesburg, South Africa (2011)
Become a Partner
Common Ground Publishing has a long history of meaningful and substantive partnerships with universities, research
institutes, government bodies, and non-governmental organizations. Developing these partnerships is a pillar of our
Knowledge Community agenda. There are a number of ways you can partner with a Common Ground Knowledge
Community. Contact us at [email protected] to become a partner.
45
The Inclusive Museum About the Conference
Conference Principles and Features
The structure of the conference is based on four core principles that pervade all aspects of the knowledge community:
International
This conference travels around the world to provide opportunities for delegates to see and experience different countries and
locations. But more importantly, the Inclusive Museum Conference offers a tangible and meaningful opportunity to engage
with scholars from a diversity of cultures and perspectives. This year, delegates from over 25 countries are in attendance,
offering a unique and unparalleled opportunity to engage directly with colleagues from all corners of the globe.
Interdisciplinary
Unlike association conferences attended by delegates with similar backgrounds and specialties, this conference brings
together researchers, practitioners, and scholars from a wide range of disciplines who have a shared interest in the themes
and concerns of this community. As a result, topics are broached from a variety of perspectives, interdisciplinary methods are
applauded, and mutual respect and collaboration are encouraged.
Inclusive
Anyone whose scholarly work is sound and relevant is welcome to participate in this community and conference, regardless
of discipline, culture, institution, or career path. Whether an emeritus professor, graduate student, researcher, teacher,
policymaker, practitioner, or administrator, your work and your voice can contribute to the collective body of knowledge that
is created and shared by this community.
Interactive
To take full advantage of the rich diversity of cultures, backgrounds, and perspectives represented at the conference, there
must be ample opportunities to speak, listen, engage, and interact. A variety of session formats, from more to less structured,
are offered throughout the conference to provide these opportunities.
46
The Inclusive Museum Ways of Speaking
Plenary
Plenary speakers, chosen from among the world’s leading thinkers, offer formal presentations on
topics of broad interest to the community and conference delegation. One or more speakers are
scheduled into a plenary session, most often the first session of the day. As a general rule, there are
no questions or discussion during these sessions. Instead, plenary speakers answer questions and
participate in informal, extended discussions during their Garden Conversation.
Garden Conversation
Garden Conversations are informal, unstructured sessions that allow delegates a chance to meet
plenary speakers and talk with them at length about the issues arising from their presentation. When
the venue and weather allow, we try to arrange for a circle of chairs to be placed outdoors.
Talking Circles
Held on the first day of the conference, Talking Circles offer an early opportunity to meet other
delegates with similar interests and concerns. Delegates self-select into groups based on broad
thematic areas and then engage in extended discussion about the issues and concerns they feel are
of utmost importance to that segment of the community. Questions like “Who are we?”, ”What is our
common ground?”, “What are the current challenges facing society in this area?”, “What challenges
do we face in constructing knowledge and effecting meaningful change in this area?” may guide the
conversation. When possible, a second Talking Circle is held on the final day of the conference, for the
original group to reconvene and discuss changes in their perspectives and understandings as a result
of the conference experience. Reports from the Talking Circles provide a framework for the delegates’
final discussions during the Closing Session.
Themed Paper Presentations
Paper presentations are grouped by general themes or topics into sessions comprised of three or four
presentations followed by group discussion. Each presenter in the session makes a formal twentyminute presentation of their work; Q&A and group discussion follow after all have presented. Session
Chairs introduce the speakers, keep time on the presentations, and facilitate the discussion. Each
presenter’s formal, written paper will be available to participants if accepted to the journal.
Colloquium
Colloquium sessions are organized by a group of colleagues who wish to present various dimensions
of a project or perspectives on an issue. Four or five short formal presentations are followed by
commentary and/or group discussion. A single article or multiple articles may be submitted to the
journal based on the content of a colloquium session.
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The Inclusive Museum Ways of Speaking
Focused Discussion
For work that is best discussed or debated, rather than reported on through a formal presentation,
these sessions provide a forum for an extended “roundtable” conversation between an author and
a small group of interested colleagues. Several such discussions occur simultaneously in a specified
area, with each author’s table designated by a number corresponding to the title and topic listed in the
program schedule. Summaries of the author’s key ideas, or points of discussion, are used to stimulate
and guide the discourse. A single article, based on the scholarly work and informed by the focused
discussion as appropriate, may be submitted to the journal.
Workshop/Interactive Session
Workshop sessions involve extensive interaction between presenters and participants around an idea
or hands-on experience of a practice. These sessions may also take the form of a crafted panel, staged
conversation, dialogue or debate—all involving substantial interaction with the audience. A single
article (jointly authored, if appropriate) may be submitted to the journal based on a workshop session.
Poster Sessions
Poster sessions present preliminary results of works in progress or projects that lend themselves to
visual displays and representations. These sessions allow for engagement in informal discussions
about the work with interested delegates throughout the session.
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The Inclusive Museum ICOM Cultural Diversity Charter
As an integral part of the outcomes of the activities of 2010—The International Year for the
Rapprochement of Cultures, The International Year of Biodiversity, and The International Year
of Youth: Dialogue and Mutual Understanding; and in response to the ICOM Cross Cultural
Task Force recommendation for a set of guiding principles that are consistent with the 1998
Cultural Diversity Policy Framework of ICOM, and in continuing to address the wide range of
issues with cross cultural dimensions through intercultural and intergenerational dialogue, and
in developing inclusive approaches and guidelines as to how museums should endeavour to deal
with cultural diversity and biodiversity, the 25th General Assembly of the International Council of Museums meeting on 12
November 2010 in Shanghai, China, adopted the following set of principles as the
ICOM Cultural Diversity Charter:
1. DIVERSITY: To recognise and affirm all forms of cultural diversity and biological diversity at local, regional and
international levels, and to reflect this diversity in all policies and programs of museums across the world.
2. PARTICIPATORY DEMOCRACY: To promote enabling and empowering frameworks for active inputs from all
stakeholders, community groups, cultural institutions and official agencies through appropriate processes of
consultation, negotiation and participation, ensuring the ownership of the processes as the defining element.
3. COOPERATION AND COORDINATION: To cooperate and coordinate in sharing projects and enhancing professional
exchanges so as to maximise resources and expertise at regional and global levels.
4. PEACE AND COMMUNITY BUILDING: To promote the sense of place and identity of diverse peoples through
appreciating their multiple inheritances — natural and cultural, tangible and intangible, movable and immovable — and
fostering a shared vision inspired by the spirit of reconciliation through intercultural and intergenerational dialogue.
5. INNOVATION AND INSPIRATION: To foster creativity and to develop challenging approaches to stimulate inclusive
heritage consciousness in culturally and linguistically diverse museum contexts.
6. CAPACITY BUILDING: To make directed and sustained endeavours to increase the operational capacity of museums to
respond with vigour and insight to transformation and change in culturally and linguistically diverse societies.
7. PRODUCTIVE DIVERSITY: To maximise approaches that will encourage the diversification of resources to address and
reconcile the competing demands of cultural diversity and biodiversity with economic imperatives.
8. STANDARD SETTING: To discuss and debate various UN and UNESCO international heritage law instruments,
both soft law recommendations, charters and declarations and hard law conventions and treaties, providing strategic
professional leadership, especially with reference to the cultural suite of international legal instruments.
9. SUSTAINABILITY AND CLIMATE CHANGE: To locate culture as the fourth pillar along with economic, social and
environmental sustainability and to address the cultural and creative dimensions of climate change.
10.DIGITAL DOMAIN: To understand the differences between digitisation, digital access and digital heritage, to
support digital access in all activities, and to recognise that digital access is not a substitute for return, restitution and
repatriation.
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The Inclusive Museum ICOM Cultural Diversity Charter
La Charte de la diversité culturelle de l’ICOM
Dans le cadre de l’Année internationale du rapprochement des cultures, l’Année internationale de la biodiversité et l’Année
internationale de la jeunesse : dialogue et compréhension mutuelle et suite à l’adoption par l’ICOM en 1998 d’une Politique
de diversité culturelle, le Groupe de travail interculturel de l’ICOM recommande de poursuivre, grâce à un dialogue entre
cultures et générations, les réflexions que posent les approches transculturelles, et de développer des approches de travail
inclusives ainsi que des lignes directrices relatives à la façon dont les musées devraient traiter la question de la diversité
culturelle et de la biodiversité.
Dans cet esprit, l’Assemblée générale du Conseil international des musées adopte l’ensemble des principes suivants comme
Charte de la diversité culturelle de l’ICOM:
1. DIVERSITÉ : reconnaître et promouvoir toutes les formes de diversité culturelle ou biologique aux niveaux local,
régional et international et refléter cette diversité dans tous les programmes et politiques des musées partout dans le
monde.
2. DÉMOCRATIE PARTICIPATIVE : promouvoir des cadres d’action encourageant la participation active de toutes les
parties prenantes, associations locales, établissements culturels et agences gouvernementales, grâce à des processus de
consultation, négociation et participation appropriés, et en prenant l’appropriation de ces processus comme élément
déterminant.
3. COOPÉRATION ET COORDINATION : coopérer et coordonner pour collaborer à des projets et améliorer les échanges
professionnels afin de disposer des meilleures ressources et expertises possibles tant au niveau régional qu’international.
4. PAIX ET RENFORCEMENT DES COMMUNAUTÉS : promouvoir le sentiment d’appartenance et d’identité de divers
peuples grâce à la valorisation de l’ensemble de leur patrimoine (naturel et culturel, tangible et intangible, meuble et
immeuble) et développer une vision commune inspirée par l’esprit de réconciliation grâce à un dialogue entre cultures et
entre générations.
5. INNOVATION ET INSPIRATION : encourager la créativité et le développement d’approches originales pour développer
une conscience commune du patrimoine dans des contextes muséaux culturellement et linguistiquement différents.
6. RENFORCEMENT DES CAPACITÉS : accomplir des efforts ciblés et durables visant à augmenter la capacité
opérationnelle des musées à faire face aux transformations et changements avec dynamisme et perspicacité dans des
sociétés culturellement et linguistiquement différentes.
7. DIVERSITÉ PRODUCTIVE : optimiser les façons d’encourager la diversification des ressources pour concilier entre elles
les demandes concurrentes de diversité culturelle et répondre aux préoccupations en matière de biodiversité eu égard
aux impératifs économiques.
8. ÉTABLISSEMENT DE NORMES : débattre et interpréter les divers instruments juridiques de l’UNESCO en matière
de patrimoine international, qu’il s’agisse du droit mou (recommandations, chartes et déclarations) ou de norme
contraignante (accords et traités), en dégageant un positionnement stratégique de meneur, en particulier en ce qui
concerne l’ensemble des instruments de législation internationale.
9. ÉVELOPPEMENT DURABLE ET CHANGEMENT CLIMATIQUE : identifier la culture comme quatrième pilier aux côtés
des trois autres axes de développement durable (économique, social, écologique) et répondre à la dimension culturelle de
la problématique de changement climatique.
10.LE NUMÉRIQUE : comprendre la différence entre numérisation, accès numérique et patrimoine numérique et soutenir
l’accès numérique pour toutes les activités, et prendre conscience que l’accès numérique ne saurait remplacer le retour,
la restitution ni le rapatriement des objets culturels.
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The Inclusive Museum ICOM Cultural Diversity Charter
Carta de la diversidad cultural del ICOM
Como parte integral de los resultados de las actividades del año 2010, Año Internacional de Acercamiento de las Culturas,
Año Internacional de la Biodiversidad, y Año Internacional de la Juventud - El diálogo y la comprensión mutua; - el ICOM
Cross Cultural Task Force recomienda, dentro del marco de políticas de diversidad cultural del ICOM de 1998, y dando
continuidad a la amplia gama de temas relacionados al encuentro de culturas a través del diálogo intercultural e intergeneracional; y desarrollando enfoques inclusivos y directrices relativas a la forma en que los museos deberían esforzarse
por manejar la diversidad cultural y la biodiversidad; que la 25ª reunión de la Asamblea general del Consejo internacional de
museos, celebrada en noviembre de 2010 en Shanghái, China, adoptar el siguiente conjunto de principios como la Carta de la
diversidad cultural del ICOM.
1. DIVERSIDAD: El reconocimiento y la afirmación de todas las formas de la diversidad cultural y la diversidad biológica
a nivel local, regional e internacional y el reflejo de esta diversidad en todas las políticas y programas de los museos de
todo el mundo.
2. DEMOCRACIA PARTICIPATIVA: Promoción de sistemas de trabajo que permitan el aporte de todas las partes
interesadas, grupos comunitarios, instituciones culturales u organismos oficiales, a través de procesos adecuados de
consulta, la negociación y la participación, que garanticen cierta pertenencia a los procesos como elemento definitorio.
3. COOPERACIÓN Y COORDINACIÓN: La cooperación y coordinación para compartir proyectos y mejorar los
intercambios profesionales, con el fin de maximizar los recursos y conocimientos especializados a nivel regional y
mundial.
4. LA PAZ Y LA CONSTRUCCION DE COMUNIDADES: Promover el sentido de pertenencia y la identidad de los
diversos pueblos a través de la apreciación de sus múltiples herencias -naturales y culturales, tangibles e intangibles,
muebles e inmuebles- y el fomento de una visión común inspirada en el espíritu de la reconciliación a través del diálogo
intercultural e inter generacional.
5. LA INNOVACIÓN Y LA INSPIRACIÓN: Fomento de la creatividad y el desarrollo de desafíos para estimular la
conciencia inclusiva del diverso patrimonio cultural y lingüístico en el contexto de los museos.
6. CREACIÓN DE CAPACIDADES: Dirigir y mantener los esfuerzos para aumentar la capacidad operativa de los museos
con el objetivo de responder con vigor y perspicacia a las transformaciones y cambios en sociedades diversas desde un
punto de vista cultural y lingüístico.
7. DIVERSIDAD PRODUCTIVA: Maximización de las formas para fomentar la diversificación de los recursos que permitan
abordar y conciliar las demandas de la diversidad cultural y la biodiversidad con los imperativos económicos.
8. AJUSTE ESTANDAR: Discutir y debatir los instrumentos internacionales de derecho del patrimonio de las Naciones
Unidas y la UNESCO, tanto las Recomendaciones, soft law, Cartas y Declaraciones, como las Convenciones y tratados,
hard law, proporcionando el liderazgo profesional estratégico, especialmente con relación a los instrumentos jurídicos
internacionales para la cultura.
9. LA SOSTENABILIDAD Y EL CAMBIO CLIMÁTICO: Hacer de la cultura uno de los cuatro pilares, junto con la
sostenibilidad económica, social y medioambiental y desarrollar la dimensión cultural y creativa del cambio climático.
10.DOMINIO DIGITAL: Comprensión de las diferencias entre la digitalización, acceso digital y patrimonio digital, así como
facilitar el acceso digital a todas las actividades, y darse cuenta de que el acceso digital no es un sustituto para el retorno,
la restitución y repatriación.
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The Inclusive Museum Conference Highlights
Presidential Inauguration at the Auditorium of the Rashtrapati Bhavan Cultural Centre,
New Delhi
Thursday, 6 August, 18:00 (6:00pm)
It is a great honour to the world of museums that the President of India, Shri Pranab Mukherjee, will inaugurate the Eight
International Conference on the Inclusive Museum in the Presidential Palace at 6.00pm on Thursday, 6th August 2015. In
order to ensure timely security arrangements and protocols, all participants and their spouses are required to gather and
register at the National Science Centre by 4.00pm. Buses will then transport them to the Presidential Palace, or Rashtrapati
Bhavan. The ceremony will be followed by High Tea hosted by the President of India. Dress Code is formal or national attire.
The inauguration and visit to the Rashtrapati Bhavan are rare opportunities that are free for registered delegates.
Shri Mukherjee–President of India
Shri Pranab Mukherjee assumed office as the 13th President of India on July 25, 2012, crowning a political
career of over five decades of exemplary service to the nation in Government as well as Parliament. He is a
man of unparalleled experience in governance with the rare distinction of having served at different times as
Foreign, Defence, Commerce, and Finance Minister. He was elected to the Upper House of the Parliament
(Rajya Sabha) five times from 1969 and twice to the Lower House of the Parliament (Lok Sabha) from 2004. A powerful
orator and scholar, his intellectual and political prowess as well as remarkable knowledge of international relations, financial
affairs, and parliamentary process are widely admired. He has been acclaimed for his role as a consensus builder on difficult
national issues through his ability to forge unity amongst the diverse political parties that form part of India’s vibrant multiparty democracy. A man of humble origins, he was born in the small village of Mirati in Birbhum District of West Bengal as
son of freedom fighters, Shri Kamada Kinkar Mukherjee and Rajlakshmi on December 11, 1935. His father was a Congress
leader who endured great hardship including being sent to jail several times for his role in India’s struggle for independence.
He acquired a Master’s degree in History and Political Science as well as a degree in Law from the University of Kolkata. He
then embarked on his professional life as a college teacher and journalist. Inspired by his father’s contribution to the national
movement, he in 1969 plunged into full time public life following his election to the Upper House of the Parliament (Rajya
Sabha).
Kailash Satyarthi­–Nobel Laureate
Kailash Satyarthi, born Kailash Sharma, is an Indian social reformer who campaigned against child labour in
India and internationally. Much of the world’s population, especially in poor countries, is made up of children
and young people. To achieve a peaceful world, it is crucial that the rights of children and young people be
respected. Following the tradition of Mahatma Gandhi, he has waged a peaceful struggle to stop children
being exploited as labor instead of attending school. In 1980 he founded the non-profit organization Bachpan Bachao
Andolan (BBA - “Save the Childhood Movement”). He was the catalyst for the 1998 Global March Against Child Labor, a
series of demonstrations and marches across some 100 countries in which more than seven million people participated. The
movement resulted in the passage of the Convention Concerning the Prohibition and Immediate Action for the Elimination
of the Worst Forms of Child Labour by the International Labour Organization (ILO) in 1999. In the same year, he was among
the cofounders of the Global Campaign for Education, which championed education as a universal human right. In 2001 he
became a founding member of the UNESCO High-Level Group on Education for All. Bal Mitra Gram (BMG) was launched in
2011. It is a program for “child friendly” villages in which child labour was banned and all children were enrolled in school.
There are over 350 villages in this program. He and Pakistan’s Malala Yousafzai were awarded the Nobel Peace Prize on
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The Inclusive Museum Conference Highlights
December 10, 2014 for their pioneering work on promoting child rights. In keeping with the tradition of a unique kind of
autograph given by the laureates he wrote under a chair at the Nobel Museum in Stockholm “For me this chair is still empty
and waiting and inviting millions of left out children”. The Nobel chairs are not only museum artefacts but also a guest book
of sorts, cataloguing the signatures of all the Nobel laureates who paid a visit to the museum. He presented his Nobel Peace
Prize Medal to President Pranab Mukherjee at the Rashtrapati Bhavan, dedicating the honour bestowed upon him to the
nation. It is kept on display at the Rashtrapati Bhavan Museum. He will speak at the Presidential inauguration of the Eighth
International Conference on the Inclusive Museum, with the theme Museums as Civic Spaces, in the Rashtrapati Bhavan/
Presidential Palace.
Nobel Lecture: http://www.nobelprize.org/nobel_prizes/peace/laureates/2014/satyarthi-facts.html
About The Rashtrapati Bhavan
“The Rashtrapati Bhavan is at the centre of a multifarious heritage. It represents one of the greatest architectural projects of
the modern period; a unique synthesis of eastern and western influences in architecture and landscape; a historical setting
in the establishment of modern South Asian nations; a meeting ground for heads of states and luminaries; the venue par
excellence for stately functions and ceremonies; the headquarters of the oldest regiment of the Indian army, the President’s
Body Guard (PBG); a housing estate; a historical monument; a cultural centre; a museum—amongst others. Significantly, the
Rashtrapati Bhavan has a dual association with India as a British colony and an independent democracy and it serves a dual
purpose as a private home and a public monument.”
Conference Keynote Speaker—Romila Thapar
Friday, 7 August, 10:00–10:30 (10:00am–10:30am)
About Professor Romila Thapar
Romila Thapar was the foundation Professor of Ancient Indian History in the Centre for Historical Studies
at the Jawaharlal Nehru University, New Delhi, where she is now Emeritus Professor in History. In 1983
she was elected General President of the Indian History Congress and in 1999 a Corresponding Fellow of the
British Academy. In 2004 the US Library of Congress appointed her as the first holder of the Kluge Chair in
Countries and Cultures of the South. She is co-winner of the prestigious Kluge Prize for the Study of Humanity for 2008.
Among her publications are Ashoka and the Decline of the Mauryas; Ancient Indian Social History: Some Interpretations;
From Lineage to State, History and Beyond; Sakuntala: Texts, Readings, Histories; Cultural Pasts: Essays on Indian
History; and the children’s book Indian Tales. In her latest book The Past As Present—Forging Contemporary Identities
Through History, (2014) she argues that ‘it is of critical importance for the past to be carefully and rigorously explained, if the
legitimacy of our present, wherever it derives from the past, is to be portrayed as accurately as possible.’ ‘A museum should
educate people,’ she said as she delivered in 2014 the prestigious Nathaniel Wallich Memorial Lecture at the bicentenary
celebrations of the Indian Museum, Calcutta. While she narrated the genesis of museums worldwide, she also raised
questions about race having been a scale for classification of antique art and objects, while also stressing on the importance of
today’s museums to be seen as institutions. In a subsequent interview she said that ‘If you are trying to understand a complex
society, it has to be seen from multiple perspectives, each based on evidence and analysis. What the historian has to do is to
test the reliability of the evidence used as well as the validity and logic of the statements that follow, and then see how best
the understanding of the past emerges.’
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The Inclusive Museum Conference Highlights
Conference Dinner
Friday, 7 August, 19:05–20:35 (7:05pm–8:35pm)
Dinner after the conference day; followed by bus transport to the conference hotel.
Museum Day Conference Dinner
Saturday, 8 August, 18:30 (6:30pm) (Weather Permitting)
Held at Sanskriti Pratisthan with a visit to their artists’ studios and National Terracotta Museum.
Farewell Reception Hosted by the Australian High Commission
Sunday, 9 August 2015, 18:00 (6:00pm) (Weather Permitting)
The Australian High Commission is graciously sponsoring a farewell reception for delegates of the Inclusive Museum
Conference. Join us to celebrate a successful conference and to converse with your fellow delegates.
The Taj Mahal and Agra Expereince
Monday, 10 August, 6:30–22:00 (6:30am–10:00pm), $30USD **Concessional Registration Not Eligible**
Noted litterateur and Nobel Laureate for Literature, Rabindranath Tagore called the Taj Mahal “a teardrop on the cheek of
time”. And that is what it is. Located at a distance of 180 Kilometers from the Indian National Capital of Delhi, in the town
of Agra in Uttar Pradesh on the banks of the river Yamuna, it stands as an edifice to the immense love a bygone Emperor
nurtured for his Empress. Shah Jahan, one of the most refined of the Mughal Emperors, built many structures, but this
perhaps is the most delicate and ethereal of them all. His wife Mumtaz Mahal in whose memory it was built was his wife for
less than two decades, but the beauty of the Taj stands testimony to the eternal love he had for her. Stories about the Royal
Couple abound and so do myths surrounding the mausoleum. But a view of what is one of the Seven Wonders of the World,
and a UNESCO World Heritage Site is a must see for all connoisseurs of sheer love and beauty. Not much can be written
about the monument. It has to be experienced personally. Information regarding the Taj Mahal can be found at http://www.
tajmahal.gov.in. After visiting the Taj Mahal, delegates will proceed for a tour of the majestic Agra Fort that was a fortified
citadel of the great Mughals. The fort stands in its full glory even to this day. A guided tour through the fort will take up to two
hours. More information on the fort is available at http://agrafort.gov.in. Included in the tour fee is transportation from the
conference hotel, guide and volunteer officers from the NSCD, entry fee, a light breakfast, lunch, and a light snack.
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The Inclusive Museum Conference Highlights
Museum Day
Saturday, 8 August 2015, 9:00–18:30; Followed by Dinner at 18:30
Participants are encouraged to bring with them an umbrella as a precautionary measure. It is the rainy season in Delhi.
The Museum Day at the Eighth International Conference on the Inclusive Museum is convened and hosted by several
prestigious Indian Institutions including, the National Gallery of the Modern Art, India National Trust for Art and Cultural
Heritage which is the UNESCO 2003 Convention Nodal Point for Safeguarding Intangible Heritage in India and the Aga
Khan Trust for Culture in India. The day is coordinated by the International Institute for the Inclusive Museum with the
respective host institutions facilitating the workshops and seminars.
The Museum Day is more than a site visit. Participants are actively engaged in seminars and workshops prepared by the
host institutions addressing the ICOM Cultural Diversity Charter. Some of the cross cutting themes are interrogating active
citizenship, gender mainstreaming, culture in development and poverty alleviation, appropriate collecting, digitisation, and
inclusion and intersectionality as a policy priority for the transformation of all kinds of museums in the 21st Century.
The final plenary session at the end of the Museum Day will be at the National Science Museum. This session will be a report
back to the Joint Secretary, Museum and International Relations, Ministry of Culture. Government of India International
Rapporteurs from each of the options will present the summary of their findings on how museums could become more
inclusive and dynamic in a rapidly changing 21st Century. This will be followed by dinner at 6.30PM.
Museum Day Options Include:
• Option 1: World Heritage, Urban Renewal and Sustainable Development
• Option 2: Museums as Sites for Safeguarding Intangible Heritage
• Option 3: Inclusive Art and Aesthetics
All the venues are close to the conference hotel and transportation is being generously provided by the National Council of
Science Museums. Internationally renowned museum and heritage experts will be the resource people for each of the options
listed below. While the Conveners are the local hosts, all the Rapporteurs are international delegates. August is a pleasant
month in New Delhi; however, delegates are encouraged to bring rain coats or umbrellas.
Participants may select one of three options. Seats are limited and once selected changing may not be an option. Schedules
are subject to minor changes. The maximum number of participants per option is 30. Slots are filled are on first-come-firstserve basis and registration must be completed to secure a slot. Please see the registration desk to sign-up.
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The Inclusive Museum Conference Highlights
Option 1: Urban Renewal Initiatives for Safeguarding Outstanding Universal Values in
World Heritage Sites
Seminar Schedule: 9.30 AM-4.30PM
Venue: Hazrat Nizamuddin Basti, AKTC, New Delhi
Museum Day Plenary & Feedback: 5.30-6.30PM followed by dinner
Venue: Sanskriti Pratishthan
Convener: Ratish Nanda, Director, AKTC India
As the cultural agency of the Aga Khan Development Network (AKDN), the Aga Khan Trust for Culture (AKTC) plays a vital
role in AKDN’s integrated approach of building the broad spectrum of human development–economic, social, and cultural–
into a comprehensive strategy. It is dedicated to revitalizing culture and improving the overall quality of life in societies
wherever AKDN agencies operate. AKTC projects in Historic Cities across Asia and Africa promote the conservation and reuse of buildings and public spaces. The restoration and rehabilitation of historic structures and public spaces is undertaken
in ways that can spur social, economic, and cultural development. In keeping with this philosophy, the Nizamuddin Urban
Renewal Initiative, a People Public Private Partnership project with Archaeological Survey of India, South Delhi Municipal
Corporation, and Central Public Works Department, integrates conservation, socio economic, and urban development
objectives in consultation with local communities and relevant stakeholders. AKTC has also recently commenced a major
conservation and landscape restoration project in partnership with the Government of Telangana at the Qutb Shahi Heritage
Park, Hyderabad.
Schedule
09:30 Arrival at Hazrat Nizamuddin Basti.
Guided walk through Nizamuddin to visit education, health, sanitation, vocational training programme.
09:45 Followed by visit to important monuments in Dargah Complex, Baoli, and Chaunsath Khambha. Walk
led by community youth group and supported by AKTC programme team.
11.30 Visit Sundar Nursery - Batashewala complex.
12.15 Visit Humayun's Tomb World Heritage Site.
13:00 Depart to India International Centre Annexe for lunch.
14:30 Presentation/review of material on Nizamuddin renewal initiative and discussion.
Bus departs for report back session at Sanskriti Pratishthan. Followed by visits to the Pratishthan’s
Museum of Everyday Art of India and Museum of Traditions of Indian Terracotta Arts. Dinner will be in
the Jain cultural tradition. As an example, the study tour will examine as to how for over 700 years the
Hazrat Nizamuddin Area has boasted of a superior living culture that not only led to the construction
of grand mausoleums, mosques, step-wells, garden’s in this area, but also creation of cultural traditions
16:30 of music, poetry, food, and rituals that have defined both Hindustani culture and Sufi traditions. Today,
recognized as the densest ensemble of medieval Islamic buildings in the country the area is home to a
large population with a significant number of families tracing their descent to the revered Sufi saint,
Hazrat Nizamuddin Auliya, whose Dargah remains at the heart of the settlement. Humayun’s Tomb and
several other grand garden-tombs were built in the vicinity as it is considered auspicious to be buried
near a saint’s Dargah.
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The Inclusive Museum Conference Highlights
Option 2: Museums as Sites for Safeguarding Intangible Heritage
Seminar Schedule: 9.30 AM-4.30PM
Venue: INTACH, 71 Lodhi Estate, New Delhi
Museum Day Plenary & Feedback: 5.30-6.30PM followed by dinner
Venue: Sanskriti Pratishthan
Convener: Nerupama Y. Modwel, Director, Intangible Cultural Heritage, INTACH
Museums, irrespective of their pedigree or context, can become ideal sites for safeguarding intangible heritage. The aim of
this seminar is to interrogate the role of museums as sites for safeguarding intangible heritage and come up with a set of six
relevant recommendations for the future role of museums focusing on the following aspects:
• Intangible heritage can be critical in reanimating or bringing to life recent and sometime historical collections to
facilitate experiential learning. This enhances the didactics of the display and adds value to the respective museum
through dynamism in exhibition planning, design, and final outcomes.
• In educational programming contextual valorisation of collections creates a space for meaningful intergenerational
dialogue and transmission. The direct participation of carriers and transmitters makes the learning more engaging for
young audiences who are often seduced by the offerings of global cultural experiences often homogenising and becoming
a major threat to safeguarding intangible heritage.
• Inventorisation is a major challenge for safeguarding intangible heritage. Conventional collections management systems
and site survey and mapping methodologies are inadequate for dealing with living heritage elements. Documentation
can easily induce freezing the element as the transliteration process captures it in time and space. Museums have
considerable experience in creating and managing databases. This knowledge could inform new and innovative methods
for inventorisation of intangible heritage.
• Conservation is only a part of safeguarding process. Yet conservation of tangible items associated with intangible
heritage could be informed by the knowledge of the bearers and carriers. This would inform the safeguarding process
through direct community engagement.
• Museums are increasingly becoming more media savvy. Performances of intangible heritage elements are more likely to
attract quality multimedia profiles than simulated tourist promotions which often compromise the values embedded in
both the collections and intangible elements.
• The 2003 UNESCO Convention for the Safeguarding of Intangible Cultural Heritage and ICOM encourage civil society
agencies to take up the task of revitalization and safeguarding process.
ICOM Museum Definition
The definition of a museum has evolved, in line with developments in society. Since its creation in 1946, ICOM updates this
definition in accordance with the realities of the global museum community. According to the ICOM Statutes, adopted during
the 21st General Conference in Vienna, Austria, in 2007:
A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which
acquires, conserves, researches, communicates, and exhibits the tangible and intangible heritage of humanity and its
environment for the purposes of education, study, and enjoyment.
57
The Inclusive Museum Conference Highlights
UNESCO and Intangible Heritage
Article 2 of the 2003 UNESCO Convention in Safeguarding Intangible Cultural Heritage defines for the purposes of the
Convention: The “intangible cultural heritage” means the practices, representations, expressions, knowledge, skills–as well
as the instruments, objects, artefacts, and cultural spaces associated therewith–that communities, groups and, in some
cases, individuals recognize as part of their cultural heritage. This intangible cultural heritage, transmitted from generation
to generation, is constantly recreated by communities and groups in response to their environment, their interaction with
nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural
diversity and human creativity. For the purposes of this Convention, consideration will be given solely to such intangible
cultural heritage as is compatible with existing international human rights instruments, as well as with the requirements
of mutual respect among communities, groups and individuals, and of sustainable development. It further delineates that
intangible heritage is manifested inter alia in the following domains: (a) oral traditions and expressions, including language
as a vehicle of the intangible cultural heritage; (b) performing arts; (c) social practices, rituals and festive events; (d)
knowledge and practices concerning nature and the universe; (e) traditional craftsmanship.
Schedule
09:30 Arrival at INTACH.
09:30–12:00 Presentations by Indian and international speakers.
12:00–13:00 Lunch
13:00–16:30 Facilitated workshop.
Bus departs for report back session at Sanskriti Pratishthan. Followed by visits to the Pratishthan’s
16:30 Museum of Everyday Art of India and Museum of Traditions of Indian Terracotta Arts. Dinner will be in
the Jain cultural tradition.
58
The Inclusive Museum Conference Highlights
Option 3: Inclusive Art and Aesthetics
Seminar Schedule: 9.30 AM–4.30PM
Venue: National Gallery of Modern Art, New Delhi
Museum Day Plenary & Feedback: 5.30–6.30PM followed by dinner
Venue: Sanskriti Pratishthan
Convener: Prof. Rajeev Lochan, Director, National Gallery of Modern Art, New Delhi, India
Hegemonic notions of aesthetics from colonial or dominant elite perspectives are increasingly being interrogated in recent
decades. Several museum networks, contemporary art biennales and triennials are exploring the diversity of aesthetic
traditions and their contemporary manifestations. How do art museums and galleries address the inclusive conceptualisation
of aesthetics from within both the host cultural context and the global engagement?
The National Gallery of Modern Art provides the ideal setting for this seminar and workshop. Its principal aim and objectives
are to: acquire and preserve works of modern art from 1850s onwards; organize, maintain and develop galleries for
permanent display; organize special exhibitions not only in its own premises but in other parts of the country and abroad;
develop an education and documentation centre in order to acquire, maintain and preserve documents relating to works of
modern art; and develop a specialized library of books.
Lunch: Lunch and hospitality are generously provided by the National Gallery of Modern Art, New Delhi.
Schedule
09:00–09.30 Arrival at National Gallery of Modern Art, New Delhi
09:30–12:00 Presentations by Director, invitees, and international speakers
12:00–13:00 Lunch
13:00–16:30 Facilitated workshop
Bus departs for report back session at Sanskriti Pratishthan. Followed by visits to the Pratishthan’s
16:30 Museum of Everyday Art of India and Museum of Traditions of Indian Terracotta Arts. Dinner will be in
the Jain cultural tradition.
59
The Inclusive Museum Plenary Speakers
Mikkel Bogh
Mikkel Bogh is 50 years old and provides the next generation leadership for directors of major museums
and art galleries in Europe. He held the position as the Rector of the Royal Danish Academy of Fine Arts
School of Visual Arts from 2005. His tenure included the process of merging the Schools of Visual Arts and
Kunsthal Charlottenborg in the autumn of 2012. Up until 2005, he held positions at Aarhus University and the
University of Copenhagen, most recently as head of the University of Copenhagen’s Department of Art and Culture and as
head of research for comparative literature and modern culture. He also contributed to the acclaimed Danish newspapers
Dagbladet Information and Weekendavisen. He has extensive experience as a teacher and head of research, and has an
equally extensive record of scholarly publications. On 1st May 2014, he became the Director of the Statens Museum for Kunst
(SMK) / National Art Gallery of Denmark. SMK was the host of the 2013 International Conference on the Inclusive Museum.
On his appointment he said “With its collections spanning more than seven centuries of art, the SMK constitutes a unique
and vibrant archive of the world views, imagery, and dreams of many ages, including our own. I cannot imagine a more
exciting task than being entrusted with leading the SMK, working in concert with the staff to make the museum an open and
welcoming art institution where all visitors will feel included, enlightened, and challenged.” He is not a stranger to the SubContinent having spent several months travelling across India and Nepal. Delhi looks forward to welcoming him back.
H.E. Sudharshan Seneviratne
Professor Seneviratne is the High Commissioner of Sri Lanka to India. He is the first Sri Lankan to complete
Master’s and Doctoral degrees from the Jawaharlal Nehru University, New Delhi. His doctoral thesis, “Social
Base of Early Buddhism in Andhra, Tamil Nadu and Sri Lanka (3rd Cent. BC to 3rd Cent AC),” was supported
by the Indian Council for Historical Research. He was the former Professor and Head of the Department of
Archaeology, University of Peradeniya, Sri Lanka. Since the early 1980’s, he has held the Director’s position in the UNESCO
Sri Lanka Cultural Triangle Projects and in 2007 was appointed Director General of the Central Cultural Fund, the Custodian
organization for UNESCO Declared World Heritage Sites, and he held this position until 2010. Most recently, he delivered
the Gandhi Memorial Lecture and the Tagore Birth Anniversary Lecture. He has also made definitive contributions towards
the promotion of academic and cultural connectivity especially in the SAARC region. He has participated in many academic
and heritage policy making bodies in the SAARC region and in the USA and was Consultant Archaeologist to UNESCO,
Government of South Korea, Republic of Maldives and the American Institute of Archaeology. His publications in English,
translated into Sinhala and Tamil, number over 75 and are found in national and international learned journals and books.
Over the past two decades, he has received several Distinguished International Awards for his Outstanding Contributions
to Archaeology & History. He was most recently the recipient for Best Practice in Conservation & Heritage Management
for 2013 awarded for the first time to an Asian by the American Institute of Archaeology, USA. For over thirty years he
has actively promoted heritage for conflict resolution and peace, sustainable development, and preservation of traditional
knowledge and the empowerment of social and economically disabled groups. He believes in inclusiveness and shared
heritage as a source of people to people connectivity.
60
The Inclusive Museum Plenary Speakers
Rama Lakshmi
Rama Lakshmi, a trained museologist and an oral historian, has worked on museum projects in India and
the United States. She is the curator of the Remember Bhopal Museum, which tells the story of the 30 years
struggle of the survivors of the 1984 Union Carbide gas leak. She has conducted story-telling training programs
for the National Rail Museum and the National Museum; art workshops for pre-teens; and oral histories
of disability rights activists at the Missouri History Museum. A journalist for The Washington Post in India, she won the
American Society of Newspaper Editors award for reporting the 2004 tsunami.
Sabyasachi Mukherjee
Sabyasachi Mukherjee is the Director General of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (formerly
Prince of Wales Museum of Western India), Mumbai, and Head of the Postgraduate (Diploma) Program in
Museology & Conservation conducted by the Museum in affiliation with the University of Mumbai. He has
initiated several innovative projects as well as the Museum Modernization Plan at the CSMVS, Mumbai.
He has been editing and publishing several books and journals on different aspects of Indian Art and Culture. Mukherjee
is a member of multiple committees, such as the Heritage Committee in Mumbai, the Mumbai Metropolitan Regional
Development Authority Heritage Committee, the National Screening Committee for Tagore National Fellowship for Cultural
Research. He is a Trustee on the Board of Indian Museum, Kolkata nominated by the Ministry of Culture, Govt. of India, a
member on Council of National Culture Fund (NCF), the Advisory Committee of National Gallery of Modern Art, Mumbai, a
member of Bizot Group, USA, and the Advisory Committee of K.R. Cama Oriental Institute and also Fellow of Nehru Trust,
Charles Wallace and Salzburg Global Seminar. He is a Member of the Consultant Section Committee for Visualization of the
proposed design for Dr. Ambedkar National Memorial in Delhi and Chairman of the Maritime History Museum, Mumbai.
Emily Pringle
Emily Pringle is trained as a painter and worked for many years as an artist, educator, consultant, and
researcher in a range of museums and cultural settings in the UK and internationally. She has a particular
interest in the role of the artist in education contexts and in developing creative and sustainable research and
evaluation models. Her publications include ‘What’s with the Artist? Researching Practice with Visual Arts
Practitioners’ in Researching Creative Learning Methods and Issues (2011) and ‘The Gallery as a site for Creative Learning’ in
The Routledge International Handbook of Creative Learning (2011). She is currently Head of Learning Practice and Research
at Tate Gallery, London where she is responsible for strategic programme development and overseeing research and
evaluation. She is the editor of the recent publication ‘Transforming Tate Learning’ which is available at http://www.tate.org.
uk/download/file/fid/30243 and the convenor of the Tate Research Centre: Learning (www.tate.org.uk/research/researchcentres/learning-research).
61
The Inclusive Museum Plenary Speakers
Charles Landry
Charles Landry is an international authority on the use of imagination and creativity in urban change. He
invented the concept of the Creative City in the late 1980’s. This became a global movement and changed the
way cities thought about their capabilities and resources. He helps cities identify and make the most of their
potential by triggering their inventiveness and thinking. His aim is to help cities become more resilient, self-
sustaining, and to punch above their weight. Acting as a critical friend he works closely with decision makers and local leaders
in the short and longer term. He stimulates, facilitates, and inspires so cities can transform for the better. He helps find
apt and original solutions to seemingly intractable dilemmas, such as marrying innovation and tradition, balancing wealth
creation and social cohesiveness, or local distinctiveness and a global orientation. His overall aim is to help cities get onto
the global radar screen. He facilitates complex urban change and visioning processes and undertakes tailored research often
creating his own projects. These include the ‘creative city index’ in collaboration with Bilbao, the concept of ‘civic urbanity’
and the ‘creative bureaucracy’ jointly with the South Australian government. ‘The Creative City Index’, developed with
Jonathan Hyams, is a strategic tool that measures, evaluates, and assesses the innovative eco-system of a city and its capacity
to adapt to radical global shifts and adjustments. So far 20 cities have taken part. More information: http://charleslandry.
com/about-charles-landry/biography/
Kavita Singh
Kavita Singh is a Professor at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. She
teaches courses on the history of Indian painting and the history and politics of museums. She has published
essays on issues of colonial history, repatriation, secularism and religiosity, fraught national identities, and
the memorialisation of difficult histories as they relate to museums in South Asia and beyond. She has also
published on Indian painting. Her books include the edited and co-edited volumes New Insights into Sikh Art (Marg,
2003), Influx: Contemporary Art in Asia (Sage, 2013), No Touching, No Spitting, No Praying: The Museum in South Asia
(Routledge, 2014) and Nauras: The Many Arts of the Deccan (National Museum, 2015). She has curated exhibitions at the
San Diego Museum of Art, the Devi Art Foundation, Jawaharlal Nehru University, and the National Museum of India.
Rohit Jigyasu
Rohit Jigyasu is a conservation architect and risk management consultant from India, currently working
as UNESCO Chair Professor at the Research Center for Disaster Mitigation of Urban Cultural Heritage at
Ritsumeikan University, Kyoto, Japan and Senior Advisor to the Indian Institute for Human Settlements
(IIHS). He is the Executive Committee member of ICOMOS International and president of ICOMOS
International Scientific Committee on Risk Preparedness (ICORP) and ICOMOS-India. He has been teaching as the visiting
faculty at several national and international academic institutions in India and abroad. He has also been consultant to several
national and international organizations for conducting research and training on Cultural Heritage Risk Management and
has contributed to several international publications.
62
The Inclusive Museum Plenary Speakers
Bose Krishnamachari
Artist and independent curator, Bose Krishnamachari’s diverse artistic and curatorial practice includes
drawing, painting, sculpture, design, installation and architecture. He has exhibited in several important
solo and group exhibitions including ‘”Bombay Maximum City”, Lille 3000, Lille, curated by Caroline
Naphegyi-2006; “The Shape That Is,” Jendela and Concourse, Esplanade, Singapore-2006; Indian Art at the
Swarovski ‘Crystal World, Innsbruck, Austria-2007; ‘Gateway Bombay’ at the Peabody Essex Museum-2007; India Art Now:
Spazio Oberdan, Milan-2007; ‘Indian Highway’ at the Serpentine Gallery2009; the Astrup Fearnley Museum, Norway-2009;
the Herning Museum of Contemporary Art, Denmark-2010; the Lyon Contemporary Art Museum, the Fondazione MAXXI,
Rome-2011; and the ARTZUID Amsterdam-2011. His curatorial projects include the seminal exhibitions ‘The Bombay Boys’,
New Delhi-2004; ‘Double-Enders,’ A travelling show–Mumbai, New Delhi, Bangalore and Kochi-2005; “AF-FAIR,” 1X1
Contemporary and 1X1 Gallery, Dubai-2008. He was the guest curator at the Indian pavilion of ARCO–Madrid-2009; and the
travelling project, LaVA (Laboratory of Audio Visual Arts)-2007-2011. In 2009, He created Gallery BMB in South Mumbai
with a vision to bring the best national and international art to India. He was Artistic Director and Co-Curator of India’s first
Biennale–The Kochi Muziris Biennale 2012; Director of Kochi-Muziris Biennale 2014; and is President of the Kochi Biennale
Foundation.
Luigi Maria Dicorato–Organizing Committee of ICOM Milano 2016 & ICOM Endowment
Fund
Museologist and museum director, Luigi received his degree in Art History at Siena University (Italy) and an
Executive Master in Business Administration at Polytechnic University of Milan. He worked as an art exhibition
curator both in Italy and abroad, collaborating with cultural institutions such as Frederick R. Weismann
Museum of Art, Malibu; Palazzo Bagatti Valsecchi, Milan; Valle d’Aosta Archaeological Museum (Italy);
Barbican Gallery, London; British Academy, Rome; Convention Centre, Miami; Luigi Pecci Contemporary Art Museum
(Italy); Florentine Superintendence for Archaeological Heritage, Florence; Hafnarborg Institute of Culture and Fine Art
(Iceland); Festival de la Littérature, Aix-en-Provence. Since 2001 he is Museum Management lecturer at the Economics
Department of Cattolica University, Milan. In 2012 he was invited as guest lecturer by Brown University Italian Studies
Department. He’s been director of the Fondazione Europea del Disegno, the Fortress of Bard Museum and Monza Museum
and Cathedral Treasure. Between 2009 and 2014 he held the position of Sienese Museums Foundation general director.
In July 2014 he was appointed Brescia Museums Foundation director. He actively collaborates with ICOM as a member of
ICOM Italy Directive Committee, of FIREC, of the Endowment Fund, and as part of the Organizing Committee of ICOM
Milano 2016.
63
The Inclusive Museum Plenary Speakers
Amareswar Galla
Amareswar Galla is Chairperson of the Sustainability Knowledge Community and Editor of the On
Sustainability Journal Collection. A champion of cultural democracy, UN Millennium Development Goals,
and safeguarding of all forms of heritage, he is an alumnus of the Jawaharlal Nehru University, New Delhi.
He is the founding Executive Director of the International Institute for the Inclusive Museum, India, Australia
& Denmark; Senior Adviser, UN post 2015 Development Agenda and World Culture Forum, ‘The Power of Culture in
Sustainable Development’, Bali initiative hosted by the President of Indonesia. His recent volume World Heritage: Benefits
Beyond Borders, Cambridge University Press & UNESCO Publishing, 2012, is the flagship project of the 40th Anniversary
of the 1972 UNESCO World Heritage Convention. He was Australia’s first Professor of Museum Studies at the University
of Queensland, Brisbane and prior to that Professor & Director of Sustainable Heritage Development Programs, Australian
National University, Canberra. During 1994-99 he was the International Technical Adviser for the transformation of Arts
Councils, National Museums and the National Parks Board (now SAN Parks) in post- apartheid South Africa. He was an
expert adviser to the UN World Commission for Culture and Development. He worked on the implementation of Museums
and Cultural Diversity Promotion at the National Museum of Ethnology, Leiden, Netherlands. His work, listed as best
practice in the 2009 World Culture Report by UNESCO, includes the establishment of World Heritage Areas as culture
in poverty alleviation projects-Ha Long Bay and Hoi An, Vietnam and Darjeeling Himalayan Railway, India. He has been
honoured internationally on several occasions including Outstanding Conservationist of the Year Award by the Vietnamese
government in 2002 and the European Best in Heritage Award in 2008. ICOM Australia conferred the 2012 Individual
achievement award for excellence for Amar’s extensive and on-going commitment to museums, sustainable development,
and poverty alleviation through culture: http://icom.org.au/site/activitiesiaair2012.php. Amar spends half his time building
community grounded museums with his graduate students in low economic indicator countries. His enduring commitment
to inclusive heritage development informs his community engagement, professional achievements, and keynote addresses
worldwide. As the co-founder and the 2nd and 3rd Editor-in-Chief of the International Journal of Intangible Heritage he
provided seminal leadership for firmly establishing the journal as a quality assured scholarly journal that is inclusive and
representative with emphasis on cultural and linguistic diversity of the world. Email: [email protected]; Web:
www.inclusivemuseum.org
64
The Inclusive Museum Graduate Scholar Awardees
Anwesha Chakraborty
Anwesha Chakraborty is a second year PhD student at the Department of Philosophy and Communication,
University of Bologna, Italy. She is currently working on the role of science museums in the construction of
national narratives of scientific heritage. Her research interests are critical heritage studies, social studies of
science, science communication, heritage management, and history of scientific institutions. During the course
of her ongoing research, she has already presented papers at conferences in Milan, Lisbon, and Canberra and has been a
visiting research student at the Science and Technology Museum, Milan. Before beginning her research, she took degrees
from University of Calcutta and University of Hyderabad in English literature and language and then moved to Italy on an
Italian Government Scholarship to study heritage management in Bologna. During the course of these studies, she worked on
two dissertations: one on food writing and the other on the issues of communicating history to young users in museums. Her
varied research interests are reflected strongly in the work she has done so far and in the choice of multidisciplinary fields she
is delving into at present. She has also worked as an editor and freelance writer of school textbooks and has an active interest
in learning foreign languages.
Lisa Edgren
Lisa Edgren is a paintings conservator, BSc (2010) and MSc (2015) in Conservator of Cultural Heritage Objects
from the Department of Conservation, University of Gothenburg. She also has a background in fine arts with
a specialization in paintings. Her main research interest includes sustainable development, material and
immaterial preservation, as well as conservation from an inclusive and interdisciplinary perspective.
Nilmini Neththasinghe
Nilmini Neththasinghe is the head of the conservation division as well as conservation Officer at the
Department of National Museum, Sri Lanka. She has over 15 years of experience in this position and a broad
knowledge about conservation methods for all objects, chemicals, and instruments. She provides guidance to
staff to carry on their responsibilities and duties methodically, scientifically, and effectively. With her museology
knowledge, she organizes, plans exhibitions, and coordinates museum staff. She teaches lectures to undergraduates, people
who are in the government sector, as well as the private sector. She holds a Master’s degree in Museology from the Reinward
Academy in the Netherlands.
Kanika Singh
Kanika Singh is a doctoral student in History at Ambedkar University Delhi. Her thesis is on “Representation
of Heritage in Museums of Sikh History: A Case Study of Museum at Sisganj Gurdwara, Delhi.” Her interests
include representation of heritage in museums and monuments in India and Delhi’s history. She completed MA
in medieval Indian history from Jawaharlal Nehru University; Delhi. She co-founded the group ‘Delhi Heritage
Walks’ which leads heritage walks to lesser known sites in the city.
65
FRIDA
RIDAY
Y, 07 AUGUST
FRIDA
RIDAY
Y, 07 AUGUST
8:00-9:00 REGISTRA
REGISTRATION
TION DESK OPEN
9:00-9:15 AUDIENCE SEA
SEATED
TED
9:15-9:30 LIGHTING THE LAMP CEREMONY
9:30-9:45 CONFERENCE WELCOME: GANGA RAUTELA, DIRECTOR GENERAL, NA
ATIONAL
TIONAL COUNCIL OF SCIENCE MUSEUMS, DELHI/KOLKA
OLKAT
TA
CONFERENCE OVER
OVERVIEW
VIEW:: PROFESSOR BILL COPE, PRESIDENT, COMMON GROUND PUBLISHING, USA; AND PROFESSOR
9:45-10:00 AMARESW
MARESWAR
AR GALLA, CHAIRPERSON, INCLUSIVE MUSEUM KNOWLEDGE COMMUNITY AND EXECUTIVE DIRECTOR, INTERNA
NTERNATIONAL
TIONAL
INSTITUTE FOR THE INCLUSIVE MUSEUM, AUSTRALIA/DENMARK
10:00-10:30
OPENING KEYNOTE ADDRESS: PROFESSOR ROMILA THAP
HAPAR
AR, PROFESSOR EMIRA
MIRATI
TI, JA
AW
WAHARLAL NEHRU UNIVERSITY, NEW
DELHI, INDIA
10:30-10:35
VOTE OF THANKS: LUIGI MARIA DICORA
ICORATO
TO, CA
ATHOLIC
THOLIC UNIVERSITY, MILAN AND FOUNDA
OUNDATION
TION DIRECTOR, BRESCIA MUSEUMS REPRESENTING THE PRESIDENT OF ICOM, PROFESSOR HANS-MAR
ARTIN
TIN HINZ
10:35-10:45 CONFERENCE WELCOME: SUJA
UJAT
TA SEN, DIRECTOR, BRITISH COUNCIL, EAST INDIA
10:45-11:05
PLENAR
PLENARY
Y SESSION: PROFESSOR MIKKEL BOGH, DIRECTOR, NAATIONAL
TIONAL GALLER
ALLERY
Y OF DENMARK/ ST
TA
ATENS MUSEUM FOR KUNST,
DENMARK
11:05-11:25
PLENAR
PLENARY
Y SESSION: MR. SABY
ABYASACHI
ASACHI MUKHERJEE, DIRECTOR GENERAL, CHHA
HHATRAP
TRAPA
ATI SHIV
HIVAJI
AJI MAHARAJ VASTU SANGRAHALA
ANGRAHALAY
YA,
INDIA
11:25-11:45 PLENAR
PLENARY
Y SESSION: DR. EMIL
MILY
Y PRINGLE, HEAD OF LEARNING AND RESEARCH PRACTICE A
AT
T TATE BRIT
RITAIN
AIN AND TATE MODERN, UK
11:45-12:00 TRANSITION BREAK
12:00-12:45 TALKING CIRCLE
Room 1 TALKING CIRCLE: V
Visitors
isitors
Room 2 TALKING CIRCLE: Collections and Repr
Representations
esentations
Theater TALKING CIRCLE: 2015 Special Focus: Museums as Civic Spaces
12:45-13:35 LUNCH AND GARDEN SESSION
13:35-15:15 PARALLEL SESSIONS
Room 1 Visitor Engagement
Visitor Engagement in the Meaning Making of Museum Artifacts: An Appraisal of the Indian Scenario
Anwesha Chakraborty, Department of Philosophy and Communication, International Centre for the History of Universities and Science, University of
Bologna, Bologna, Italy
Overview: This paper addresses the key concern of the museum as a civic space by suggesting ways of improving visitor engagement and
participation methods in the Indian context.
Theme: 2015 Special Focus: Museums as Civic Spaces
When Stories Become History: Open Narrative and Personal T
Testimonies
estimonies in Historical Exhibitions
Arnaud Dechelle, Design for Exhibition and Museums, School of Architecture and Design, University of Lincoln, London, UK
Overview: Cultural globalization and democracy are leading museums to use multiple voices to broaden their audience. This paper explores case
studies highlighting the use of personal testimonies in historical exhibitions.
Theme: Visitors
Performance and Theatrical Games: Therapeutic and Inclusive Methods for Y
Youth
outh in Museums
Georgia Sivri, Museum and Gallery Practice, UCL Qatar, Doha, Qatar
Overview: I recommend a museum educational strategy for youth that combines performance as a therapeutic method, theatrical games as an
engaging technique, and drama in education as an educational tool.
Theme: Visitors
Moder
Modern
n Art in the Gulf Ar
Area:
ea: Do People in Doha Respond to Contemporary Art Exhibitions?
Theofanis Karafotias, Museum and Gallery Practice, UCL Qatar, Doha, Qatar
Overview: Mathaf, the Arab Museum of Modern Art in Doha, and its practices seem to fail engaging local communities. This paper questions how
people respond to the museum's practices.
Theme: Visitors
Room 2 Rethinking Museum Repr
Representations
esentations and Acquisitions
Museum as a Hub: An Iconic Structur
Structuree
Yamuna (Priya) Kadolkar Jakkannavar, Third Space Studio Architects, Gogte Institute of Technology, Belgaum, India
Overview: This paper suggests rethinking the museum in an artistic way to celebrate the facts of the past, focusing on Modernist Louis Sullivan's
“Form Follows Function.”
Theme: Representations
The Museum-Cooperation Tharangambadi: Thr
Three
ee Hundr
Hundred
ed Y
Years
ears of Indo-German Cultural Exchange
Jasmin Eppert, Exhibition Board, Museum-Cooperation Tharangambadi, Halle, Germany
Overview: This Museum-Cooperation is a transnational project based on the history of the Protestant Danish-Halle Tranquebar Mission in
Tharangambadi, Tamil Nadu that was established by Bartholomew Ziegenbalg 300 years ago.
Theme: Representations
Vanishing Folk Artists of Andhra Pradesh, India: Need for Repr
Representation
esentation of Their Intangible Heritage
Dr. Venkata Ramana Rayaprolu, Department of Museology, Faculty of Fine Arts, The Maharaja Sayajirao University of Baroda, Vadodara, India
Overview: There is need for preservation, documentation, and promotion of some fast declining traditional performing arts of Andhra Pradesh, a
State in India; as they contain intangible heritage of social cohesion.
Theme: Representations
66
FRIDA
RIDAY
Y, 07 AUGUST
13:35-15:15 PARALLEL SESSIONS
Theater Museums as Civic Spaces
Material Cultur
Culturee in the Satoyama of Ifugao: An UNESCO Inscribed Heritage Site and Globally Important Agricultural Heritage Site
Dr. Vicky Madangeng, Rice Techno-Complex Museum, Ifugao State University, Lamut, Philippines
Overview: This paper addresses the satoyama in Ifugao and the material culture linked directly to the indigenous Ifugao's land use and
management, modes of inheritance, social, economic, political, and religious life.
Theme: 2015 Special Focus: Museums as Civic Spaces
Holocaust Museums as Civic Spaces: Y
Yad
ad V
Vashem
ashem and Alter
Alternative
native Museums in Israel
Dr. Stephanie Rotem, Diploma Program for Curatorial and Museum Studies, Tel Aviv University, Tel Aviv, Israel
Overview: This paper discusses the establishment of Yad Vashem and its role in assimilating a collective identity, and the emergence of alternative
museums in Israel suggesting contesting and subversive narratives.
Theme: Representations
The Museum as Space for Civic Engagement: T
Towar
owards
ds a Museum for Citizens Rather Than about Them
Johan Kjærulff Rasmussen, Aesthetics and Culture, Aarhus University, Museum of Copenhagen, Copenhagen, Denmark
Overview: The Museum of Copenhagen is a local historic museum. But can the museum become more than a display of artifacts? Can the
museum become a museum that initiates civic engagement?
Theme: 2015 Special Focus: Museums as Civic Spaces
Public-private Partnerships for India’
India’ss Civic Spaces: The Example of Hampi Ar
Archaeological
chaeological Museum, Kamalapur and Place Hampi
Museum, V
Vidyanagar
idyanagar
Dr. Karen Exell, Museum Studies, UCL Qatar, Doha, Qatar
Amit Kumar Jain, Delhi, India
Overview: Using Hampi Archaeological Museum and the Place Hampi Museum in Vidyanagar, this paper argues that public-private partnerships are
an effective model for the sustainability of Indian museums as civic spaces.
Theme: 2015 Special Focus: Museums as Civic Spaces
15:15-15:30 BREAK
15:30-17:10 PARALLEL SESSIONS
Room 1 Politics of Heritage and Repr
Representation
esentation
Contested Authenticities and the Imagined Past: Museums, Ar
Archives,
chives, and Ancestral T
Tourists
ourists in Scotland
Dr. Derek Bryce, Marketing, University of Strathclyde, Glasgow, UK
Dr. Samantha Murdy, Marketing, University of Strathclyde, Glasgow, UK
Dr. Matthew Alexander, Marketing, University of Strathclyde, Glasgow, UK
Overview: Qualitative research was undertaken amongst curators and archivists working with "ancestral tourists" in Scotland. Debates surrounding
the notion of "authenticity" and multiple identities are taken forward conceptually by this research.
Theme: Visitors
Challenging the Museum Framework in the United Kingdom: The Chester Unlocked Pr
Project
oject
Dr. James Pardoe, Department of History and Archaeology, University of Chester, Chester, UK
Dean Paton, Department of History and Archaeology, University of Chester, Chester, UK
Overview: Using contrasting case studies from two historic English towns, this exploratory paper examines the ways in which museum narratives
are constructed in heritage destinations in an era of inclusive connections.
Theme: Visitors
Museums on Sikh History in Contemporary India
Kanika Singh, School of Liberal Studies, Ambedkar University Delhi, New Delhi, India
Overview: This paper explores museums on Sikh history in contemporary India. It discusses the nature of display and the notion of Sikh heritage as
represented in the museum.
Theme: Collections
Montage Memory
Marina George, English Literature, The Manipal Centre for Philosophy and Humanities, Mumbai, India
Overview: This paper ponders the creation of archival order and memory, employing theories that examine the space of the archives to understand
how we locate, construct, and remember the past.
Theme: Representations
67
FRIDA
RIDAY
Y, 07 AUGUST
15:30-17:10 PARALLEL SESSIONS
Room 2 Civic Engagement
Engaged Scholarship and a Community-based Museographic Pr
Process
ocess
Surajit Sarkar, Centre for Community Knowledge, Ambedkar University Delhi, Delhi, India
Overview: Engaged scholarship and civic engagement leads to public encounters with cultural heritage. Community-centered design strategies are
used to collect, describe, and exhibit artifacts and intangible heritage.
Theme: 2015 Special Focus: Museums as Civic Spaces
Museum and Its Sour
Source
ce Community: A Case Study of the Saharia T
Tribe
ribe
Shruti Das, Department of Museology, Faculty of Fine Arts, Maharaja Sayajirao University of Baroda, Vadodara, India
Overview: This paper illustrates the relationship between a museum and its source community through a sensitization program promoting the arts
and crafts of the Saharia tribal community of Rajasthan.
Theme: Collections
Exploring Synergies in Museums thr
through
ough Public-private Partnership
Dr. Sheeba Khan, Department of Museology, Aligarh Muslim University, New Delhi, India
Dr. Abdu Raheem K., Department of Museology, Aligarh Muslim University, Aligarh, India
Overview: This paper explores the idea of public-private partnership to transform museums into epicenters of cultural and scientific development.
Theme: 2015 Special Focus: Museums as Civic Spaces
Museums as People’
People’ss Places: Knowing Our V
Visitors
isitors and Making V
Visitors
isitors T
Take
ake Ownership
Jacob Thorek Jensen, International Institute for the Inclusive Museum, Aga Khan Trust for Culture, New Delhi, India
Overview: The National User Survey (Denmark) provides tools to develop an inclusive museum practice focusing on representation, democracy,
transformation, learning, and knowledge sharing, i.e. sustainable solutions for present and future museums.
Theme: 2015 Special Focus: Museums as Civic Spaces
Theater Cr
Cross
oss Connections: Community and Museum
Pr
Prospective
ospective and Educational Significance of a Practical Educational Pr
Program
ogram Involving Exhibitions Utilizing Cultural Resour
Resources
ces Owned
by the University
Ai Matsuda, Faculty of Art and Design, University of Toyama, Takaoka, Japan
Prof. Toshiyuki Ohkuma, Faculty of Art and Design, University of Toyama, Takaoka, Japan
Overview: This study highlights the prospect and educational significance of a practical educational program involving exhibitions that utilizes the
district’s cultural resources.
Theme: Representations
STEAM Power: Integrating Art and T
Technology
echnology thr
through
ough Cultural Heritage Museum Partnerships
June Bianchi, School of Education, Bath Spa University, Bath, UK
Overview: STEAM Power integrates technology with art through cultural partnerships, linking educational and museum-based contexts.
Interdisciplinary multimedia projects explore heritage and culture with diverse participants through creative media and techniques.
Theme: 2015 Special Focus: Museums as Civic Spaces
Fr
From
om “Y
“Yojo-Han”
ojo-Han” Art Center to “Untitled College of Art”: The Possibility of a Local Art Education Network Developing fr
from
om a Bedr
Bedroomoomsized Art Center
Ko Yamada, Department of Art and Design, Faculty of Contemporary Arts, Nagoya Zokei University, Nagoya, Japan
Takuji Okagawa, Department of Information Design, Faculty of Information Design and Sociology, Hiroshima Kokusai Gakuin University, Hiroshima,
Japan
Overview: This paper introduces the “Yojo-Han,” a bedroom-sized art center, and its concept and explores it as an effective component of a
sustainable, local network for public art education systems.
Theme: Visitors
Empower
Empowered
ed Civic Spaces: T
Towar
owards
ds Participatory Planning of Community Museums
Tanishka Kachru, Faculty of Communication Design, National Institute of Design, Ahmedabad, India
Overview: This paper analyses planning processes of two community museums based on the concept of the "ecomuseum." It imagines alternatives
for citizen participation and how these can be practiced and framed.
Theme: 2015 Special Focus: Museums as Civic Spaces
17:10-17:25 BREAK
68
FRIDA
RIDAY
Y, 07 AUGUST
17:25-19:05 PARALLEL SESSIONS
Room 1 The V
Virtual
irtual Museum
Interactive Onsite Application of Museums’ Art Collections and Image Connectivity
Takuya Inagaki, School of Media and Design, Department of Visual Media, Nagoya University, Nissin, Japan
Prof. Kiyofumi Motoyama, Graduate School of Information Science, Nagoya University, Nagoya, Japan
Overview: In order to open museum collections to a larger public attendance and provide an opportunity for alternative appreciation, we develop a
system which allows audiences to view art works virtually.
Theme: Collections
A Model for Collaboration: Developing the Lowcountry Digital History Initiative in Charleston, South Car
Carolina
olina
Dr. Mary Battle, Avery Research Center for African American History and Culture, College of Charleston, Charleston, USA
Overview: The author describes the recent launch of a collaborative online exhibitions platform that features underrepresented historic narratives in
the South Carolina Lowcountry and the historically interconnected Atlantic World.
Theme: Representations
A Framework for Mobile Engagement in Museums
Megan McNames, Department of Journalism, Ball State University, Muncie, USA
Overview: This paper provides a framework for analyzing tasks employed in mobile museum technologies that are likely to support visitor
engagement with museum collections.
Theme: Visitors
Digital Initiatives in a Post-quake Art Museum
Tim Jones, Collections Team, Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch, New Zealand
Overview: Earthquakes forced the Christchurch Art Gallery to close in 2011. The Gallery's online services became the Gallery's only voice. We
consider how a museum can function without real exhibition space.
Theme: Representations
Room 2 Collection Dynamics and Challenges
Treating the Invisibles: An Inclusive Buddhist Appr
Approach
oach to Conservation at the Thangka Conservation Center
Center,, Bhutan
Yuriko Iwata, Tokyo National Museum, Tokyo, Japan
Overview: This paper examines conservation approaches to intangible aspects of Buddhist art, observed from a case in Bhutan.
Theme: Collections
The Involvement of Indigenous People in the Development of Museums
Dr. Tilak Bagchi, Zonal Anthropological Museum, GOL Museum-Shilpgram, Anthropological Survey of India, Udaipur, India
Overview: This paper discusses the prospects and relevance of indigenous people, especially the tribal population, in the development of
anthropological museums.
Theme: Collections
The Last of the T
Tattooed
attooed Headhunters: The Konyaks
H Phejin Konyak, Development of Indigenous Cultures, Don Bosco Centre for Indigenous Cultures, Shillong, India
Overview: This paper researches the vanishing tattoo culture/tradition of the Konyak tribe in Nagaland, India by interviewing the few remaining old
tattooed people and documenting the tattoo variations and designs.
Theme: Collections
The Artifacts of Science Galleries: What Ar
Aree the Objects of the Museum?
V S Ramachandran, Regional Science Centre and Planetarium, National Council of Science Museums, Calicut, India
Jayant Gangopadhyay, Regional Science Centre and Planetarium, National Council of Science Museums, Calicut, India
Overview: This paper discuss the evolution in exhibit design, from a multidimensional perspective, including a balance between visitors'
perspectives, objectives of the concept to be displayed, and principles of edutainment.
Theme: Collections
Theater Repr
Representing
esenting Social and Cultural Heritage
Pr
Preserving
eserving Dif
Difficult
ficult History: The 9/11 Museum as a Case Study
Alexandra Drakakis, Collections, National 9/11 Memorial Museum, New York, USA
Amy Weinstein, Collections, National 9/11 Memorial Museum, New York, USA
Overview: This paper explores the challenges that curators face when preserving difficult history.
Theme: Collections
Museum: A Space for Knowledge, Resear
Research,
ch, and Heritage
Prof. Krishna Rao Sadasivuni, Department of History, School of Humanities, College of Humanities and Social Sciences, University of Dodoma,
Dodoma, United Republic of Tanzania
Temu Emanuel Lucas, Department of History, School of Humanities, College of Humanities and Social Sciences, University of Dodoma, Dodoma,
United Republic of Tanzania
Overview: Museums need to be designed to ascertain knowledge, research, and protection of archaeological, historical, and cultural heritage. This
paper focuses on Gogo, a Bantu speaking ethnic community in Central Tanzania.
Theme: Representations
Between the Museum and the Public: Negotiating the “Cir
“Circuit
cuit of Cultur
Culture”
e” as an Analytical T
Tool
ool for Resear
Researching
ching Museums in China
Chui-fun Selina Ho, Asia Institute, University of Melbourne, Hong Kong, China
Overview: This paper is a methodological review of museum research in China, and a proposal of the “Circuit of Culture,” as a new strategy for
examining museums through a socio-cultural lens.
Theme: Representations
A Pr
Presence
esence Denied: Then and Now
Dr. Nalini Moodley, Faculty of the Arts, Tshwane University of Technology, Pretoria, South Africa
Overview: This paper focuses on the silence of Indian representation in South Africa. Particular attention will be paid to the representation of fine art.
Theme: Representations
19:05-20:35
CONFERENCE DINNER: HELD AATT THE NAATIONAL
TIONAL SCIENCE CENTRE, DELHI (FOLLOWED BY TRANSPOR
TRANSPORT
T BACK TO THE CONFERENCE
HOTEL)
69
SAATURDA
TURDAY
Y, 08 AUGUST
SAATURDA
TURDAY
Y, 08 AUGUST
9:30-16:30 MUSEUM DA
DAY
Y WORKSHOPS
16:30-17:30 TRANSPOR
TRANSPORT
T TO SANSKRITI PRA
PRATISTHAN
TISTHAN
17:30-18:30
18:30-20:30
70
MUSEUM DA
DAY
Y PLENAR
PLENARY
Y SESSION: INTERNA
NTERNATIONAL
TIONAL RAPPOR
APPORTEURS
TEURS FROM EACH MUSEUM DA
AY
Y OPTIONS WILL GIVE FEEDBACK
DURING THIS SESSION
CONFERENCE DINNER: HELD AATT SANSKRITI PRA
RATISTHAN
TISTHAN WITH A VISIT TO THEIR AR
ARTISTS
TISTS’ STUDIOS AND NA
ATIONAL
TIONAL TERRACOTT
ERRACOTTA
A
MUSEUM
SUNDA
UNDAY
Y, 09 AUGUST
SUNDA
UNDAY
Y, 09 AUGUST
8:30-9:15 REGISTRA
REGISTRATION
TION DESK OPEN
9:15-9:40 CONFERENCE WELCOME: DIRECTOR GENERAL OF THE NA
ATIONAL
TIONAL MUSEUM OF INDIA
9:40-10:00 PLENAR
PLENARY
Y SESSION: H.E. PROFESSOR SUDHARSHAN SENEVIRA
ENEVIRATNE
TNE, HIGH COMMISSIONER OF SRI LANKA TO INDIA, DELHI
10:00-10:20
PLENAR
PLENARY
Y SESSION: PROFESSOR ROHIT JIGY
IGYASU
ASU, PRESIDENT, ICOMOS, INDIA AND UNESCO CHAIR A
AT
T THE RESEARCH CENTER
ITIGATION
TION OF URBAN CUL
ULTURAL
TURAL HERIT
ERITAGE
AGE A
AT
T RITSUMEIKAN UNIVERSITY, JAP
APAN
AN
FOR DISASTER MITIGA
10:20-10:40
PLENAR
PLENARY
Y SESSION: RAMA LAKSHMI, CURA
URATOR
TOR, REMEMBER BHOP
HOPAL
AL MUSEUM AND JOURNALIST FOR THE WASHINGTON POST,
INDIA
10:40-11:00 PLENAR
PLENARY
Y SESSION: PROFESSOR KAAVIT
VITA
A SINGH, JA
AW
WAHARLAL NEHRU UNIVERSITY, NEW DELHI, INDIA
11:00-11:15 BREAK
11:15-12:30 PARALLEL SESSIONS
Room 1 Museum Education
Medical Humanities and Critical Pedagogy in the Art Museum
Dr. Margaret Lindauer, Department of Art History, Virginia Commonwealth University, Richmond, USA
Overview: This paper recounts the development of the medical humanities course, “The Human Condition: An Arts Perspective,” taught at the
Virginia Museum of Fine Arts for students at Virginia Commonwealth University.
Theme: Visitors
Teaching and Lear
Learning
ning with Objects: Ashmolean Museum of Art and Ar
Archaeology
chaeology and the Faculties at the University of Oxfor
Oxford
d
Dr. Mallica Kumbera Landrus, Ashmolean Museum of Art and Archaeology, University of Oxford, Oxford, UK
Overview: This paper promotes object-based learning as an integral part of the pedagogical environment at Oxford and stresses the value of the
museum’s collections as an academic resource.
Theme: Visitors
Art Museums for Local and Global Citizenship: Empowerment thr
through
ough Language Education Pr
Programs
ograms
Aya Kinoshita, Foreign Language Center, Tokai University, Hiratsuka, Japan
Overview: Art museums can be venues to empower people and provide citizenship in the age of global mobility. Some language programs at art
museums give diverse insights to this idea.
Theme: 2015 Special Focus: Museums as Civic Spaces
Room 2 Forms of Museum Accessibility and Engagement
Popularization of the New Site Museum of Sigiriya: Equal Status to the W
World
orld Heritage Site of Sigiriya
Nilmini Manohari Priyadharshika Neththasinge, Conservation Division, Department of National Museums, Colombo, Sri Lanka
Overview: This study observes and investigates reasons for lower visitation to the museum site than to the heritage site.
Theme: Visitors
Digitization to Pr
Presentation:
esentation: Exploring Museums in the Digital Age
Abantika Parashar, Indira Gandhi National Centre for the Arts, New Delhi, India
Mrinmoy Das, Sanskriti Museums, New Delhi, India
Overview: This paper discusses the role of virtual museums in engaging the technology-prone generation.
Theme: Visitors
Visitor Engagement in Museums and Heritage Sites: A Comparative Analysis of Rashtrapati Bhavan, New Delhi and Heritage
Transport Museum, Guragon
Pankaj Protim Bordoloi, Rashtrapati Bhavan Museum, New Delhi, India
Ragini Bhat, Heritage Transport Museum, New Delhi, India
Overview: This paper highlights the various challenges associated with ways of engaging visitors in heritage sites and museums.
Theme: Visitors
Room 3 Late Additions
The Museum in Hyderabad Sanctioned by Mir Osman Ali Khan VIII: Its History and Futur
Futuree
Dr. Jayaram Gollapudi, A.P. State Archives and Research Institute, Ministry of Culture, Department of Ancient Indian History and Archaeology,
Government of India, Osmania University, Hyderabad, India
Overview: In 1922 Mir Osman Ali Khan VII, the sovereign of Hyderabad State in India sanctioned the construction of a museum. This paper
discusses the museum's construction and history.
Theme: Collections
Theater Dynamics of Museums as Civic Spaces
The Ar
Architectur
chitecturee of Art Museums as Civic Space
Ronnie Self, College of Architecture, University of Houston, Houston, USA
Overview: Many recent art museums have been conceived as important urban monuments and civic spaces. For many architects the museum
must compensate for the decline of true public space.
Theme: Representations
Collaboration, Negotiation, and Concession: A Curatorial Case Study under the T
Transaction-cost
ransaction-cost Theory
Siyu Wang, Archaeology and Museology School, Peking University, Beijing, China
Overview: Diverse voices, which are necessary for a civic museum, may lead to an ineffective cost process and create results removed from the
original purpose.
Theme: 2015 Special Focus: Museums as Civic Spaces
A University Museum: Istanbul Ex-libris Museum
Prof. Hasip Pektas, Faculty of Fine Arts, Isik University, Istanbul, Turkey
Overview: There are thirty-eight university museums in Turkey. One of them is Istanbul Ex-libris Museum in the Işık University. Its small but highly
functional museum has a collection of great value.
Theme: 2015 Special Focus: Museums as Civic Spaces
12:30-13:15 LUNCH AND GARDEN SESSION
71
SUNDA
UNDAY
Y, 09 AUGUST
13:15-14:30 PARALLEL SESSIONS
Room 1 Expanding Museum Influence and Purpose
Repr
Representing
esenting Delhi’
Delhi’ss History thr
through
ough the "Heritage Corridor"
Dr. Noopur Singh, Popularizing Local History Project, Cultural Exchange Program, Foreign Travel Grant Department, Public Relations, Indian
Council of Historical Research, Delhi, India
Overview: This paper highlights the outcome and the challenges faced during the Museum for the Common Man at Metro Stations project, an
initiative to popularize local history.
Theme: Visitors
Interpr
Interpreting
eting Intangible Art Heritage thr
through
ough the T
Tangible
angible Art of Amaravati
Dr. Jyoti Rohilla Rana, Department of History of Art, Banaras Hindu University, Varanasi, India
Overview: The remains of Amaravati stupa housed in different museums represents tangible art which helps us interpret intangible heritage.
Theme: Collections
A Critical Anatomy of the Therapeutic Art Museum
Dr. Antoinette McKane, Faculty of Arts and Humanities, Liverpool Hope University, Liverpool, UK
Overview: This paper introduces Tate Liverpool as a case study of the therapeutic art museum, critically examining the training, outreach, and inhouse programming intended to promote mental health and wellbeing.
Theme: Visitors
Room 2 Workshops
Museum as Community Repr
Representation:
esentation: Engaging Local Community
Ananya Bhattacharya, Banglanatak Dot Com, Kolkata, India
Overview: This workshop will orient participants on ways of engaging local communities for inventorying intangible cultural heritage resources and
heritage education.
Theme: 2015 Special Focus: Museums as Civic Spaces
Room 3 Attracting Nontraditional V
Visitors
isitors
Reaching Out to the Unr
Unreached:
eached: The Mobile Science Exhibition
Dr. Neelima Jerath, Pushpa Gujral Science City, Chandigarh, India
Dr. Rajesh Grover, Pushpa Gujral Science City, Kapurthala, India
Sheeraj Batish, Planning, Marketing, Pushpa Gujral Science City, Chandigarh, India
Overview: This paper discusses a Mobile Science Exhibition, which introduces science to rural populations and impresses upon them the
significance of science and technology, as well as sustainable development.
Theme: Visitors
Engaging Nontraditional Audiences
Mr. Rama Sarma Dhulipati, National Council of Science Museums, Kolkata, India
Overview: This paper focuses on the efforts made by the National Science Centre to mitigate barriers of several disadvantaged groups and
nontraditional audiences by carefully designing programs and strategies.
Theme: Visitors
Engaging V
Visitors:
isitors: Fostering Innovation
Mr. Rama Sarma Dhulipati, National Science Centre, New Delhi, India
Overview: Innovation and a culture of innovation is the hallmark of progress of any nation. Realizing this need, science centers embarked to create
an ecosystem to support innovation in society.
Theme: Visitors
Theater Exhibition and Collections Didactics: Dynamics of V
Visitor
isitor Lear
Learning
ning
See Change: Sear
Search
ch for a T
Twenty-first
wenty-first Century Diorama
Chitra Chandrashekhar, New Delhi, India
Overview: This paper discusses "See Change," an academic project that explores whether dioramas can go beyond glass cased replicas of
sceneries to an evolved medium of interpretive communication.
Theme: Representations
Anecdotal Recapitulation on Ethnographic Specimen Collection
Dr. Kripasindhu Dey, Directorate of Research, Government of Arunachal Pradesh, District Museum, Bomdila, Bomdila, India
Overview: The challenging nature of experiences on the front of ethnographic specimen collection is revisited to understand the gravity of the
assignment with personal anecdotes.
Theme: Collections
14:30-14:45 BREAK
14:45-16:00 PARALLEL SESSIONS
Room 1 Collections, Conservation, Heritage
Showcasing the Sir Sayyid Ahmad Khan Collection: A Unique Example of India’
India’ss Pluralistic Heritage
Dr. Gulfishan Khan, Department of History, Aligarh Muslim University, Aligarh, India
Overview: This paper describes the significance of some of the rare art pieces and antiquities belonging to the Sayyid Ahmad Khan collection.
Theme: Collections
Contemporary Conservation Theory for Sustainable Development of Cultural Heritage Objects
Lisa Edgren, Department of Conservation, University of Gothenburg, Gothenburg, Sweden
Overview: An object becomes a heritage because of its social meanings among the stakeholders. Investigating those meanings is the key issue for
sustainable conservation.
Theme: Collections
Survey of Disaster Contr
Control
ol Planning for Libraries and Ar
Archives
chives in India: The Need for Institutional Commitment and T
Training
raining
Dr. Jyotsna Arora, Library cum Documentation Centre, Indian Council of Historical Research, Delhi, India
Overview: This paper explores and identifies the needs and lacunae in the progress made towards disaster prevention and planning in the libraries
and archives of the capital city of India
Theme: Collections
72
SUNDA
UNDAY
Y, 09 AUGUST
14:45-16:00 PARALLEL SESSIONS
Room 2 Museum Access
Museum Access: The Need of the Hour
Dr. Venugopal Bhargaviamma, Indian Museum, Ministry of Culture, Kolkata, India
Overview: Most museums in India seldom give importance to the requirements of persons with disabilities. This paper describes the efforts of
NMNH in making museums relevant to persons with disabilities.
Theme: Visitors
Museum Accessibility in Retr
Retrospect:
ospect: A Case Study fr
from
om Kolkata
Dr. Baisakhi Mitra, Department of Museology, Rabindra Bharati University, Kolkata, India
Overview: This paper analyses the outcomes of a seminar-cum-workshop on museum access in Kolkata and tries to suggest a more
comprehensive plan of action for these institutions to be truly accessible.
Theme: Visitors
Physical and Intellectual Access to Museums
Mrinalini Venkateswaran, Eka Archiving Services, Commonwealth Association of Museums, New Delhi, India
Overview: Recognizing the inadequate emphasis on universal access, this paper seeks to understand the issues and potential areas for action,
discussing any available case studies and approaches and identifying training gaps.
Theme: Visitors
Room 3 Late Additions
Chinese Museums as Civic Spaces: Perspectives on “Intangible Heritage” and Literary “W
“World
orld Memory”
Asst. Prof. Vincent Wai-kit Ho, Department of History, University of Macau, Macau, China
Overview: Museums’ major functions include collection, research, exhibition, and education, but they also function as a civic space for presenting a
nations’ past to visitors and tourists.
Theme: Representations
A Bridge, a W
Wormhole,
ormhole, and a Palimpsest: Meditations on the Futur
Futuree of Looking Backwar
Backwards
ds
Prathima Muniyapppa, Abha Narain Lambah Associates, Mumbai, India
Overview: This paper discusses built heritage which is at risk due to the failure of the discipline of conservation to act as a bridging force between
people and their legacy.
Theme: Representations
Museums as an Ef
Effective
fective Arbiter for Social Inclusion: Dynamics and Paradoxes
Sayan Bhattacharya, Indian Museum Kolkata, Ministry of Culture, Government of India, Kolkata, India
Overview: This paper focuses on the problems and prospects of promoting "social inclusion" with a case study of the Indian Museum, Kolkata.
Theme: Visitors
Theater Diversity
Diversity,, Multiculturalism, and Engagement
Micr
Micro-examination
o-examination of Personnel Diversity and Interactions in an Art Museum: Its Impact on Overall Practices and Community
Engagement
Dr. Yuha Jung, Arts Administration, College of Fine Arts, The University of Kentucky, Lexington, USA
Overview: By investigating the work culture of an art museum using ethnography, this paper examines the interconnection between the museum’s
work culture and its overall success as a community civic place.
Theme: 2015 Special Focus: Museums as Civic Spaces
Curating Cr
Creativity
eativity and Gender
Dari Yoo, Art Smart Seoul, Seoul, South Korea
Overview: This paper addresses understanding multiculturalism and its role in promoting social inclusion through creativity and how cultural borders
can be crossed through the arts and crafts in Korean society.
Theme: Collections
Nagoya University Pr
Project
oject Gallery [clas]: An Experimental Space for People of V
Various
arious Backgr
Backgrounds
ounds
Hitomi Mizutani, Graduate School of Information Science, Nagoya University, Nagoya, Japan
Prof. Kiyofumi Motoyama, Graduate School of Information Science, Nagoya University, Nagoya, Japan
Overview: Nagoya University gallery [clas] is an experimental space for people of various backgrounds. We focus on student staffs' activity,
considering their potential role as mediators between knowledge and the public.
Theme: 2015 Special Focus: Museums as Civic Spaces
16:00-17:00
FINAL PLENAR
PLENARY
Y SESSION: CHARLES LANDR
ANDRY
Y, DIRECTOR, COMEDIA AND INVENTOR CREA
REATIVE
TIVE CITY AND CREA
REATIVE
TIVE CITY INDEX,
UK; AND BOSE KRISHNAMACHARI, PRESIDENT, KOCHI-MUZIRIS BIENNALE, INDIA
17:00-17:30
WELCOME TO MILAN: LUIGI MARIA DICORA
ICORATO
TO, ORGANIZING COMMITTEE OF ICOM MILANO 2016 AND ICOM ENDOWMENT FUND
- REPRESENTING THE PRESIDENT OF ICOM, PROFESSOR HANS-MAR
ARTIN
TIN HINZ
17:30-18:00 TRANSPOR
TRANSPORT
T TO F
FAREWELL
AREWELL RECEPTION A
AT
T AUSTRALIAN HIGH COMMISSION, NEW DELHI
18:00-19:30 FAREWELL RECEPTION: HOSTED BY H.E. PATRICK SUCKLING, AUSTRALIAN HIGH COMMISSIONER TO INDIA
73
The Inclusive Museum List of Participants
74
Anil
Ahuja
Heritage Commons
India
Archana Saad
Akhtar
Aga Khan Trust for Culture
India
Jyotsna
Arora
Indian Council of Historical Research
India
Tilak
Bagchi
Anthropological Survey of India
India
Prashant
Banerjee
Aga Khan Trust for Culture
India
ShubhaBanerji
India
Sheeraj
Batish
Pushpa Gujral Science City
India
Mary
Battle
College of Charleston
USA
Venugopal
Bhargaviamma
Ministry of Culture
India
Neeraj
Bhasin
Heritage Commons
India
Ragini
Bhat
Heritage Transport Museum
India
Ananya
Bhattacharya
Banglanatak dot com
India
Sayan
Bhattacharya
Ministry of Culture
India
June
Bianchi
Bath Spa University
UK
Mikkel
Bogh
Statens Museum for Kunst
Denmark
Pankaj Protim
Bordoloi
Rashtrapati Bhavan
India
Derek
Bryce
University of Strathclyde
UK
Anwesha
Chakraborty
University of Bologna
Italy
Chitra
Chandrashekhar
IIT Bombay & Mographies
India
MoushumiChatterji
Museologist
India
Shu-ching
Chen
National Science and Technology Museum
Taiwan
Bill
Cope
University of Illinois Urbana-Champaign
USA
Shiju
Daniel
Heritage Keepers
India
Shruti
Das
The Maharaja Sayajirao University of Baroda
India
N
Dasgupta
Central Research & Training Laboratory, Kolkata
India
Shri Vishwanath
Daulakhandi
British Council
India
Arnaud
Dechelle
University of Lincoln
UK
Reena
Dewan
Museum of Bengal Modern Art
India
Kripasindhu
Dey
Government of Arunachal Pradesh
India
Rama Sarma
Dhulipati
National Science Centre, Delhi
India
Luigi Maria
Dicorato
Fondazione Brescia Musei
Italy
Alexandra
Drakakis
National 9/11 Memorial Museum
USA
ARIJIT
Dutta Choudhury
Science City
India
Lisa
Edgren
University of Gothenburg
Sweden
Jasmin
Eppert
Francke-Foundations Halle
Germany
Karen
Exell
UCL Qatar
Qatar
Amareswar
Galla
Institute of the Inclusive Museum
Australia
Marina
George
The Manipal Centre for Philosophy and Humanities
India
Saroj
Ghose
President’s Senior Adviser
India
Subha Shankar
Ghosh
District Science Centre, Digha
India
Shivani
Goel
National Museum Institute
India
Jayaram
Gollapudi
Ministry of Culture
India
K Madan
Gopal
Visvesvaraya Industrial and Technological Museum
India
The Inclusive Museum List of Participants
Sudha
Gopalakrishnan
India
Neeraja
Gopi
Parliament Museum
India
Rajesh
Grover
Pushpa Gujral Science City
India
Pramod
Grover
Regional Science Centre, Guwahati
India
Samarjit
Guha
British Council
India
Narayani
Gupta
Aga Khan Trust for Culture
India
Niharika
Gupta
Aga Khan Trust for Culture
India
Vincent Wai-kit
Ho
University of Macau
China
Chui-fun Selina
Ho
University of Melbourne
China
Jim
Hollington
British Council
India
Takuya
Inagaki
Nagoya University of arts and sciences
Japan
E.
Islam
British Council
India
Yuriko
Iwata
Tokyo National Museum
Japan
Palaniapillai
Iyamperumal
Tamilnadu Science and Technology Centre
India
N Ramdas
Iyer
Regional Science Centre, Nagpur
India
Amit Kumar
Jain
India
R.C.
Jain
National Museum
India
Ritu
Jain
Parliament Museum
India
Sandeep
Jain
President’s Secretariat
India
Kunal
Jalali
Orient Blackswan Private Limite
India
Jacob Thorek
Jensen
Aga Khan Trust for Culture
India
Neelima
Jerath
Pushpa Gujral Science City
India
Shri Bageshwar
Jha
Sulabh International Museum of Toilets
India
Rohit
Jigyasu
UNESCO Chair Japan
Tim
Jones
Christchurch Art Gallery Te Puna o Waiwhetu
New Zealand
Yuha
Jung
The University of Kentucky
USA
Tanishka
Kachru
National Institute of Design
India
Himanshu
Kadam
Dr. Bhau Daji Lad Mumbai City Museum
India
Yamuna
Kadolkar Jakkannavar
Third Space Studio Architects
India
TeresaKamsuan
India
TheofanisKarafotias
UCLQatar
Qatar
Jyotika
Karve
Dr. Bhau Daji Lad Museum
India
Gulfishan
Khan
Aligarh Muslim University
India
RitikaKhanna
India
N
Khatua
Anthropological Survey of India
India
Aya
Kinoshita
Tokai University
Japan
Johan
Kjærulff Rasmussen
Aarhus University/ Museum of Copenhagen
Denmark
H Phejin
Konyak
Don Bosco Centre for Indigenous Cultures, Shillong
India
Bose
Krishnamachari
Kochi-Muziris Biennale Foundation
India
Vijay
Kumar
Antoropological Survey of India
India
Deepak
Kumar
Government of Uttarakhand
India
Anurag
Kumar
National Science Centre, Delhi
India
Samarendra
Kumar
National Science Centre, Delhi
India
75
The Inclusive Museum List of Participants
Umesh
Kumar
Regional Science City, Lucknow
India
Savita
Kumari
National Museum Institute
India
Mallica
Kumbera Landrus
University of Oxford
UK
Rama
Lakshmi
Remember Bhopal Museum
India
Jyotsna
Lall
Aga Khan Trust for Culture
India
Charles
Landry
Comedia, and Global thinker on Creative Cities
UK
Wioletta
Laskowska--Smoczynska Museum of Japanese Art and Technology
Poland
Jean-Gabriel
Leturcq
Louvre Abu Dhabi - Agence France Museums
United Arab Emirates
Margaret
Lindauer
Virginia Commonwealth University
USA
RajeevLochan
India
Yuancheng
Lu
Peking University
China
Vicky
Madangeng
Ifugao State University
Philippines
Anil
Manekar
National Science Centre, Delhi
India
Vivek
Mansukhani
British Council
India
V.K.
Mathur
National Museum
India
Ai
Matsuda
University of Toyama
Japan
Antoinette
McKane
Liverpool Hope University
UK
Megan
McNames
Ball State University
USA
Ujwala
Menon
Aga Khan Trust for Culture
India
Baisakhi
Mitra
Rabindra Bharati University
India
Hitomi
Mizutani
Nagoya University
Japan
Nerupama Y.
Modwel
India
Nalini
Moodley
South Africa
Tshwane University of Technology
SabyasachiMukherjee
India
Prathima
Muniyapppa
India
K
MuralidharanMahaswami
India
C. B.
Nagpal
Parliament Museum
India
P.K.
Nagta
National Museum
India
Abha Narain Lambah Associates
RatishNanda
India
Shri Subhash
UCOST
India
Department of National Museums
Sri Lanka
Negi
Nilmini Manohari Neththasinge
Priyadharshika
Katarzyna
Nowak
Museum of Japanese art and Technology
Poland
Takuji
Okagawa
Hiroshima Kokusai Gakuin university
Japan
Sandra
O’Malley
Australian High Commission
Australia
PriyaPall
Artsinsights
India
Satish
Pandey
National Museum Institute
India
Abantika
Parashar
Indira Gandhi National Centre for the Arts
India
James
Pardoe
University of Chester
UK
Dean
Paton
Big Heritage
UK
Hasip
Pektas
Işik University
Turkey
Bernard
Philip
Australian High Commission
Australia
Tate
UK
EmilyPringle
76
The Inclusive Museum List of Participants
Shri Joseph
Puthenpurakal
Don Bosco Centre for Indigenous Cultures
India
Manuel
RabatÈ
Louvre Abu Dhabi - Agence France Museums
United Arab Emirates
Abdu
Raheem K.
Aligarh Muslim University
India
V S
Ramachandran
National Council of Science Museums, India
India
Hema
Rance
Australian High Commission
Australia
Shri G. S.
Rautela
National Council of Science Museums
India
Shri Pankaj
Rawat
UCOST
India
Deeti
Ray
Aga Khan Trust for Culture
India
Venkata Ramana
Rayaprolu
The Maharaja Sayajirao University of Baroda
India
Naaz
Rizvi
National Museum of Natural History, New Delhi
India
Jyoti
Rohilla Rana
Banaras Hindu University
India
Stephanie
Rotem
Tel Aviv University
Israel
Krishna Rao
Sadasivuni
University of Dodoma
United Republic of
Tanzania
Surajit
Sarkar
Ambedkar University Delhi
India
R. P.
Savita
National Museum
India
Ronnie
Self
University of Houston
USA
Sujata
Sen
British Council
India
Manvi
Seth
National Museum Institute
India
Nikita
Sharma
Aga Khan Trust for Culture
India
Deepakshi
Sharma
National Museum Institute
India
Siddhartha
Shit
Anthropological Survey of India
India
KavitaSingh
India
Kanika
Singh
Ambedkar University Delhi
India
Noopur
Singh
Indian Council of Historical Research
India
Tej Pal
Singh
National Museum
India
GeorgiaSivri
UCLQatar
Qatar
Shanmugam
Soundararajaperumal
Tamilnadu Science and Technology Centre
India
Ramasamy
Srinivasan
Tamilnadu Science and Technology Centre
India
Patrick
Suckling
Australian High Commission
Australia
Sarita
Sundar
University of Leicester
India
KellySwain
India
Nayana
Tadvalkar
Cotton Association of India
India
Giles
Tillotson
Maharaja Sawai Man Singh II Museum
India
Pooja
Varma
British Council
India
VenuVasudevanIAS
India
K
VenkatasubramaniyanMahaswami
India
Mrinalini
Venkateswaran
Commonwealth Association of Museums
India
Madhura
Wairkar
Dr. Bhau Daji Lad Museum
India
Siyu
Wang
Peking University
China
Amy
Weinstein
National 9/11 Memorial Museum
USA
Ko
Yamada
Nagoya Zokei University
Japan
Dari
Yoo
Art Smart Seoul
South Korea
77
The Inclusive Museum Notes
78
The Inclusive Museum Notes
79
The Inclusive Museum Notes
80
The Inclusive Museum Notes
81
The Inclusive Museum Notes
82
The Inclusive Museum Notes
83
The Inclusive Museum Notes
84
The Inclusive Museum Notes
85
| Conference Calendar 2015-2016
Fifth International Conference on Health, Wellness, and Society
Universidad de Alcalá | Madrid, Spain | 3–4 September 2015
www.healthandsociety.com/the-conference
Fifth International Conference on Food Studies
Virginia Polytechnic Institute and State University | Blacksburg, USA | 18–19 September 2015
www.food–studies.com/the-conference
Seventh International Conference on Science in Society
University Center | Chicago, USA | 1–2 October 2015
www.science–society.com/the-conference
Spaces and Flows: Sixth International Conference on Urban and ExtraUrban Studies
University Center Chicago | Chicago, USA | 15–16 October 2015
www.spacesandflows.com/the-conference
Thirteenth International Conference on Books, Publishing, and Libraries
University of British Columbia at Robson Square | Vancouver, Canada | 19–20 October 2015
www.booksandpublishing.com/the-conference
Sixth International Conference on the Image
University of California at Berkeley | Berkeley, USA | 29–30 October 2015
www.ontheimage.com/the-conference
The Eighth International Conference on e–Learning and Innovative Pedagogies
University of California, Santa Cruz | Santa Cruz, USA | 2–3 November 2015
www.ubi–learn.com/the-conference
Aging and Society: Fifth Interdisciplinary Conference
The Catholic University of America | Washington D.C. USA | 5–6 November 2015
www.agingandsociety.com/the-conference
Twelfth International Conference on Environmental, Cultural, Economic, and Social
Sustainability
Portland State University | Portland, USA | 21–23 January 2016
www.onsustainability.com/the-conference
Twelfth International Conference on Technology, Knowledge, and Society
Universidad de Buenos Aires | Buenos Aires, Argentina | 18–19 February 2016
www.techandsoc.com/the-conference
86
| Conference Calendar 2015-2016
Tenth International Conference on Design Principles and Practices
Pontifical Catholic University of Rio de Janeiro (PUC–Rio) | Rio de Janeiro, Brazil | 25–27 February 2016
www.designprinciplesandpractices.com/the-conference
Sixth International Conference on Religion and Spirituality in Society
The Catholic University of America | Washington D.C., USA | 22–23 March 2016
www.religioninsociety.com/the-conference
Sixth International Conference on the Constructed Environment
The University of Arizona | Tucson, USA | 2–4 April 2016
www.constructedenvironment.com/the-conference
Sixteenth International Conference on Knowledge, Culture, and Change in
Organizations
University of Hawaii at Manoa | Honolulu, USA | 19–20 April 2016
www.ontheorganization.com/the-conference
Eighth International Conference on Climate Change: Impacts and Responses
VNU University of Science (HUS) and Vietnam National University, Hanoi (VNU) | Hanoi, Vietnam | 21-22 April 2016
www.on-climate.com/the-conference
Inaugural International Conference on Tourism and Leisure Studies
University of Hawaii at Manoa | Honolulu, USA | 22-23 April 2016
www.tourismandleisurestudies.com/the-conference
Seventh International Conference on Sport and Society
University of Hawaii at Manoa | Honolulu, USA | 2-3 June 2016
www.sportandsociety.com/the-conference-2016
Fourteenth International Conference on New Directions in the Humanities
University of Illinois at Chicago, Student Center East | Chicago, USA | 8-11 June 2016
www.thehumanities.com/the-conference
Ninth Global Studies Conference
University of California, Los Angeles | Los Angeles, USA | 30 June-1 July 2016
www.onglobalization.com/the-conference-2016
Twenty-third International Conference on Learning
University of British Columbia | Vancouver, British Columbia, Canada |13-15 July 2016
www.thelearner.com/the-conference
87
NCSM NATIONWIDE
TRAINING
,
NCSM Head Quarters, Kolkata, India
NINTH INTERNATIONAL CONFERENCE ON THE
INCLUSIVE MUSEUM
CALL FOR PAPERS
16-19 September 2016
National Underground Railroad
Freedom Center
Cincinnati, USA
Urbanism, Inclusion, and Cultural Freedoms
CALL FOR PAPERS AND CONFERENCE DETAILS
To learn more about the conference, including speakers, session formats, venue, and registration visit the conference
website at www.onmuseums.com/the-conference.
RETURNING MEMBER REGISTRATION RATE
We are pleased to offer a Returning Member Registration Discount to delegates who have attended the Inclusive Museum
Conference in the past. Returning community members will receive a discount off the full conference registration rate.
Please visit the registration page for details at www.onmuseums.com/the-conference/registration.