Full Program Here

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Full Program Here

2013 Inclusive Museum Conference
SIXTH INTERNATIONAL CONFERENCE ON THE
INCLUSIVE MUSEUM
STATENS MUSEUM FOR KUNST, NATIONAL GALLERY OF DENMARK
COPENHAGEN, DENMARK
22-24 APRIL 2013
http://onmuseums.com
The Inclusive Museum Knowledge Community would like
to acknowledge and extend a special thank you to the
Danish Cultural Agency for sponsoring the conference,
the National Gallery of Denmark for hosting, cosponsoring and coordinating the conference and the
International Institute for the Inclusive Museum for
coordination and leadership.
TABLE OF CONTENTS
INTERNATIONAL CONFERENCE ON THE INCLUSIVE MUSEUM ....................................................... 4
LETTER FROM NATIONAL GALLERY OF DENMARK CONFERENCE HOST ................................................ 5
LETTER FROM COMMON GROUND CONFERENCE HOST ........................................................................... 6
LETTER FROM THE INSTITUTE FOR THE INCLUSIVE MUSEUM CONFERENCE HOST .............................10
ABOUT COMMON GROUND ........................................................................................................................... 8
MUSEUM CONFERENCE KNOWLEDGE COMMUNITY .................................................................................. 8
ABOUT THE CONFERENCE ............................................................................................................................ 9
SCOPE AND CONCERNS ............................................................................................................................ 9
THEMES......................................................................................................................................................10
SESSION DESCRIPTIONS ..............................................................................................................................11
SESSION GUIDELINES ...............................................................................................................................11
CONFERENCE PROGRAM................................................................................................................... 13
DAILY SCHEDULE ..........................................................................................................................................14
CONFERENCE HIGHLIGHTS..........................................................................................................................17
EVENTS AND ACTIVITIES ..........................................................................................................................17
CONFERENCE PLENARY SPEAKERS ..........................................................................................................18
PROGRAM ......................................................................................................................................................22
MONDAY, 22 APRIL ....................................................................................................................................22
TUESDAY, 23 APRIL ...................................................................................................................................30
WEDNESAY, 24 APRIL................................................................................................................................36
GRADUATE SCHOLARS ................................................................................................................................44
INTERNATIONAL ADVISORY BOARD ...........................................................................................................46
LIST OF PARTICIPANTS ................................................................................................................................47
THE INTERNATIONAL JOURNAL OF THE INCLUSIVE MUSEUM ..................................................... 52
ABOUT THE JOURNAL ..................................................................................................................................53
SUBSCRIPTION INFORMATION .....................................................................................................................53
SUBMISSION INFORMATION .........................................................................................................................54
OTHER JOURNALS PUBLISHED BY COMMON GROUND .........................................................................55
INCLUSIVE MUSEUM: BOOK SERIES................................................................................................. 57
SUBMIT YOUR BOOK PROPOSAL ................................................................................................................58
TYPE OF BOOKS ............................................................................................................................................58
PROPOSAL GUIDELINES ...............................................................................................................................58
INCLUSIVE MUSEUM BOOKS PUBLISHTED BY COMMON GROUND ......................................................59
RECENT BOOKS PUBLISHED BY COMMON GROUND .............................................................................60
CONFERENCE EVALUATION FORM..................................................................................................................61
INTERNATIONAL CONFERENCE ON THE
INCLUSIVE MUSEUM
LETTER FROM NATIONAL GALLERY CONFERENCE HOST
Dear Delegates,
It gives me great pleasure to welcome so many of you from both Denmark and
countries far and wide. The Sixth International Conference on the Inclusive Museum is
indeed a milestone event for us bringing together diverse museum and heritage
professionals, policy makers and researchers as well as graduate students into an
inter-disciplinary forum and series of exchanges.
As your host it is my honour to create the space for intercultural dialogue and
international exchanges. I am also delighted that we are going to have an opportunity
to facilitate the Museum Day Seminar on the Park Museums which is an initiative
launched by us on 18 March this year. If the museum is considered a civic space, how
does one bring the neighbourhood approach to museum clusters so that the
stakeholder communities and the custodians of collections can promote active
citizenship?
When Professor Amareswar Galla approached me last year to host the Conference, I
readily accepted his invitation and put in place support through the staff at the National
Gallery of Denmark. Berit Anne Larsen and Julie Maria Johnsen and several other staff
and museums partners have worked tirelessly to make the Conference an outstanding
opportunity for addressing inclusion and active citizenship in the world of museums.
The final program far exceeds our expectations.
The Danish Agency for Culture has been generous in sponsoring and supporting us in
this venture. The future of museums is about partnerships and we are proud to have
such a productive partnership with Common Ground Publishing and the International
Institute for the Inclusive Museum.
I wish you all the best for your presentations and discussions.
Yours Sincerely,
Karsten Ohrt
Director, SMK / National Gallery of Denmark
LETTER FROM COMMON GROUND CONFERENCE HOST
Dear Delegate,
Welcome to the Sixth 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 the launch of 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 of the International Institute for the Inclusive Museum, Julie
Maria Johnsen of the Statens Museum for Kunst and Berit Anne Larsen of the Statens Museum for Kunst. I would like to thank
them for the essential work they have done for this conference.
I would also like to extend a special thank you to the Danish Cultural Agency for sponsoring the conference, the National
Gallery of Denmark for hosting the conference and the International Institute for the Inclusive Museum for all the coordination.
And on a more personal note, many thanks to thank our Common Ground colleagues who have put so much work into this
conference: Tamsyn Gilbert, Phillip Kalantzis-Cope and Izabel Szary.
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 Seventh International Conference on
the Inclusive Museum, to be held 4-6 August 2014 at the Autry National Center, Los Angeles, USA.
Yours Sincerely,
Bill Cope
Director, Common Ground Publishing
Research Professor, Education Policy, Organization, and Leadership
University of Illinois, Urbana-Champaign, USA
LETTER FROM THE INSTITUTE FOR THE INCLUSIVE MUSEUM CONFERENCE HOST
Dear Esteemed Colleagues and Delegates,
The Director General of UNESCO, Irina Bokova, emphasised that ‘Heritage stands at the crossroads of climate change, social
transformations and processes of reconciliation between peoples. Heritage carries high stakes – for the identity and belonging of
peoples, for the sustainable economic and social development of communities.’ She argued that ‘heritage does not represent luxury; it
is a capital investment in the future. It is the sound foundation without which nothing lasting can be built. Disregarding heritage,
severing our root, will inevitably clip our wings.’ She has consistently advocated for a paradigm shift to further sustainable develop ment,
‘a new approach to research that is interdisciplinary, solutions oriented and policy relevant, with a stronger social scienc e component.’
It is within this context that the 6th International Conference on the Inclusive Museum has been developed with significant D anish
inputs. The excellent learning day in Arken on 31 October 2012 informed the gestation of the programing for this conference. The
participants included over 30 curators, educators, conservators and other specialists from various museums in Denmark. Forums from
elsewhere across the country including sessions in Aaborg, Aarhus, Herrning and Sorø provided important contributions. Some of the
questions posed in these meetings are summarised below.
It has been pointed out that interventions by artists are often made from outside the museum or art museum. While these are important,
what is the sustainability and long term impact of such projects within the institution itself? How do curators and artists work from within
the museum and in partnerships adding educational value to the project and bringing about corporate cultural transformations within the
museum as an agency for active citizenship?
What kind of capacity building and compliance as well as persuasive advocacy strategies are needed to bring about transformat ions
which ensure relevance to the culturally and linguistically diverse stakeholders in the second decade of the 21st Century? How do
museums become reflexive spaces for rethinking their meanings, missions and civic location?
How do we address difficult and sometimes awkward legacies of our own multiple pasts informed by hegemonic discourses and
resulting in ‘silences’ in our institutions? I recall several eminent museologists and museographers, Stephen Weil, Elaine Heumann
Gurian and Rick West Jr. to name a few, who have argued that ‘Museums are safe places for unsafe Ideas’. If so, are we prepar ed to
take the risk? What are the consequences?
There is considerable time lag between the first President of the United States who acknowledged African Americans and Native
Americans to the current President who recently acknowledged Hispanic people, Sexuality and most importantly Women in the making
of the American fabric. It is pertinent that gender and gender mainstreaming came up as significant issues informing the making of this
conference in Denmark.
Another point is the importance of cooperation and coordination in the transformation of museums as ‘place making’ and ‘cultural
animateurs for neighbourhoods’ or museum districts to promote civic engagement and heritage tourism. A key concern is that gi ven the
rapid pace of urbanisation across the world and given that the emergent populations are cultural and linguistically diverse, how does
one deal with the new challenges of collecting, conserving, managing and interpreting the ‘things’ in our institutions.
The above challenges and several others informed the making of the program that is presented here. If there are four salient directions
for promoting the Inclusive Museum from valuable Danish inputs, these are as follows:
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Processes of inclusion through active participation and engagement at a global level.
Synergies in collaboration collective action through strategic and relevant partnerships.
Spaces for mediation enabling ‘reflective, revealing and confronting’ intercultural dialogue promoting mutual respect and
reconciliation of differences.
Convergence of communications and the digital domain to maximise on knowledge generation and affordable accessibility.
Through case study analysis, presentations and facilitated dialogue I request you to explore 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 to cultural and linguistic diversity and should they be re-envisioned? What practices and strategies do we
employ to be inclusive? What are the challenges and benefits? How can museums measure their relevance and impact using the ICOM
Cultural Diversity Charter? http://onmuseums.com/_uploads/ICOM_Cultural_Diversity_Charter.pdf
As always, a good event is the outcome of team work and many players have been involved in making this Conference possible. The
Danish Cultural Agency and its Director General Anne Mette Rahbæk Warburg and the Director of the National Gallery of Denmark,
Karsten Ohrt created the space for this important intercultural dialogue. The Museum of Copenhagen, all the institutions in the newly
established Museum Park, Kvinfo – The Danish Centre for Research and Information on Gender and Equality, The National Museum of
Denmark and the Danish Institute for Human Rights have generously given their time and resources. Berit Anne Larsen and Julie Maria
Johnsen and several other staff of the National Gallery of Denmark worked tirelessly to make this event possible.
Finally I would like to thank the Director of Common Ground Publishing Professor Bill Cope for his inspirational leadership and his
colleagues, in particular Tamsyn Gilbert, Phillip Kalantzis-Cope and Izabel Szary, who worked hard to make this conference a reality.
The Secretary General of the United Nations, Ban Ki-moon said at the UN Summit on Sustainable Development or Rio+20 in June
2012, ‘More of the Same Will Not Do’. I invite you all to the three days of productive discussions to vision and re-envision the way
forward for promoting the Inclusive Museum.
Yours sincerely,
Prof. Amareswar Galla, PhD
Executive Director
International Institute for the Inclusive Museum
POBox, Copenhagen ø 2100, Denmark
Email: [email protected]
Web: www.inclusiviemuseum.org
ABOUT COMMON GROUND
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.
PHILOSOPHY: Common Ground is committed to building dynamic knowledge communities that meet regularly in face-to-face
interaction, connect in a virtual community of web spaces, blogs and newsfeeds, and publish in fully refereed academic
journals. In this way, we are bringing to the fore our commitment to explore new ways of making and disseminating academic
knowledge. We believe that the Internet promises a revolution in the means of production and distribution of knowledge, a
promise, as of yet, only partially realized. This is why we are working to expand social and technical frontiers in the production
of text, so that academic publishing gains the immediacy, speed and accessibility of the web whilst nevertheless maintaining—
and we would hope enhancing—the intellectual standards of legacy peer refereed journals. To support these kinds of emerging
knowledge communities, Common Ground continues to have an ambitious research and development agenda, creating cutting
edge ‘social web’ technologies and exploring new relationships of knowledge validation.
CONNECTING THE GLOBAL WITH THE LOCAL: Common Ground conferences connect with different host universities and
local communities each year, seeking fresh perspectives on questions of global concern. In recent years, we have worked with
a wide range of educational institutions including (to list just a few): Beijing Normal University; The Australian National
University; The University of London; The Institute for Pedagogical Sciences, Cuba; University of California, Los Angeles; The
University of Cambridge, UK; The University of Carthage, Tunisia; Columbia University, New York; Singapore Management
University; McGill University, Montreal; The University of Edinburgh, Scotland; and New York University in New York City. At
conference sites, we bring the global to the local—academics, researchers and practitioners from around the world gather to
discuss conference topics. At the same time, we also bring the local to the global, as local academics and community leaders
speak from the perspective of local knowledge and experience. For links to each our twenty-four knowledge communities, visit
www.commongroundpublishing.com.
MUSEUM CONFERENCE KNOWLEDGE COMMUNITY
At a time when knowledge communities are being redefined and disciplinary boundaries challenged, Common Ground aims to
develop innovative spaces for knowledge creation and sharing. Through our conferences, journals and online presence we
attempt to mix traditional face-to-face interaction with new ‘social web’ technologies. This is a part of our attempt to develop new
modes of deliberation and new media for the dissemination of ideas. Common Ground is founded upon and driven by an
ambitious research and knowledge design agenda, aiming to contest and disrupt closed and top-down systems of knowledge
formation. We seek to merge physical and online communities in a way that brings out the strengths in both worlds. Common
Ground and our partners endeavour to engage in the tensions and possibilities of this transformative moment. We provide three
core ways in which we aim to foster this community:
Present: You have already made the first step and are in attendance. We hope this conference provides a valuable source of
feedback for your current work and the possible seeds for future individual and collaborative projects. We hope your session is
the start of a conversation that continues on past the last day of the conference.
Publish: We also encourage you to publish your paper in The International Journal of the Inclusive Museum. In this way, you
may share the finished outcome of your presentation with other participants and members of the Museum Conference. You also
have access to the complete works of The International Journal of the Inclusive Museum in which the published work of
participants from the conference who submitted papers may be found.
Engage with the Community Online: Each conference presenter is provided a personal CGPublisher website with public and
private spaces where you are able to post your photo, biography, and CV; make links to other sites of personal interest; and
create a space where collaborators may be invited to access and comment on your works-in-progress. In addition, you can
contribute to the online community via our blog, email newsletter and social networking sites.
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The Blog and links to other social networking sites can be found at http://onmuseums.com/ideas/.
Email Newsletters: Please send suggested links for news items with a subject line ‘Email Newsletter Suggestion’ to
[email protected]. The email newsletter will be sent to all conference participants.
Facebook: Find us on Facebook at: http://www.facebook.com/OnMuseums.CG
Twitter: You can now follow the Technology Conference Community on Twitter: @onmuseums
YouTube Channel: View online presentations at http://techandsoc.com/wp-content/plugins/youtubeuploader/action.php?action=list. Create your own YouTube presentation with a link to your session description on the
conference website, and (if your paper is accepted to the journal), a link to the abstract of your paper on the journal website.
See instructions at http://onmuseums.com/conference-2012/online-presentations/.
ABOUT THE CONFERENCE
SCOPE AND CONCERNS
At 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, The International Journal of the Inclusive
Museum and the On Museums Book Imprint and News Weblog are places where museum practioners, researchers, thinkers
and teachers can engage in discussion on the historic character and future shape of the museum. The key question addressed
by the community: How can the institution of the museum become more inclusive?
Several dynamics emerge in our contemporary context, each of which may portent a more inclusive museum:
VISITORS
No longer the universal individual citizen of our recent modern aspirations, visitors of today are recognisably 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, at times, dangerous
oversimplifications. The paradox of today’s public is that, in an era of globalisation, actual 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 part of the answer, a paradoxically two sided answer. One side is to recognise particularity. Who and what
should be in the museum? What is it to be comprehensive? What is canonical and 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 putting them in separate categories and 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. It demands that we 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 turn readers, viewers and audiences into users, players and characters. Workers are supposed to personify the
enterprise and citizens to take responsibility for themselves. And customers are always right—and for their differences, products
and services have to be customised—and the quirks of patrons always patronised.
The change represents an evening up of balance of agency and a blurring of roles, between producers and consumers of
knowledge, between creators and readers of culture, and between the person in command and the person consenting.
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…
MODALITIES OF REPRESENTATION
The emerging communications environment—in which image, sound and word are all made of the same stuff, and
communicated using the same, digital technologies—provides 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, the practicalities of relating to visitors who are more diverse
than ever, and exploring the communicative affordances of the ‘mutliteracies’ 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.
THEMES
THEME 1: VISITORS
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Visitor diversity in the inclusive museum
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Defining museum stakeholders and measuring participation
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The politics of heritage: national, regional, ethnic, diasporic and first nation identities
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Multilingualism: accessibility for small languages and cultures
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Gender and sexual orientation in the museum
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Disability access in the museum
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Competing cultures: high, folk, popular, techno-scientific
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Public trust: re-establishing the bases of ‘authority’
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Defining the ‘education’ and ‘communications’ roles of museums
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Pedagogy as presentation or dialogue: how the museum relates to its visitors
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The ubiquitous museum: towards the anywhere anytime learning resource
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Competing pleasures: museums against or with ‘entertainment’ and ‘edutainment’
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Cross connections: with schools, with universities
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Sponsorship and philanthropy: logics and logistics
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The economics of admissions
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Memberships: changing roles and demographics
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Voluntarism and professionalism: calibrating the mix
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Government stakeholders (local, state, national, transnational): museums in politics and navigating government
funding and policies
THEME 2: COLLECTIONS
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The changing work of the curator
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Exhibition didactics: the dynamics of visitor learning
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The idea of ‘heritage’: changing conceptions of what counts
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Authenticity, decontextualization and recontextualization of objects-on-show
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Custodianship and community assets: meanings and purposes for the museum
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Representing social and cultural intangible heritage
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The ‘ethnographic’ and the ‘anthropological’: framing first peoples and other ‘traditions’
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Technologies in the museum
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Arts in the museum
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Environment in the museum
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The process of acquisition: competing demands and limited resources
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Conservation, preservation: negotiating changing priorities
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Artifacts: what are the objects of the museum?
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Places for amateurism: barefoot repositories and the self-made museum
THEME 3: REPRESENTATIONS
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Museums as knowledge makers
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Museums as cultural creators
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Architectonics: designing buildings and information architectures
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Research and investigation in the museum
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Measuring knowledge ‘outputs’
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Intellectual property: commons versus commercialism?
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Knowledge management paradigms and practices
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‘Neutrality’, ‘balance’ and ‘objectivity’; or ‘narrative’ and ‘politics’? The knowledge rhetorics of the museum
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Knowledge frames: modern and postmodern museums
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Cross connections: with libraries, with galleries, with educational institutions, with arts centers
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The digitization of everything: from collection objects to media representations
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The virtual museum
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Online discoverability and public access
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Museums in and for the knowledge society: preserving heritage ‘born digital’
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New literacies: changing the balance of creative agency in the era of the Internet and new media
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Addressing the digital divide
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Digital disability access
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Cataloguing, metadata, discovery and access
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Internet standards, semantic publishing and the semantic web
SESSION DESCRIPTIONS
SESSION GUIDELINES
CHAIRING OF PARALLEL SESSIONS
Common Ground usually provides graduate students to chair all of the parallel sessions. If you wish, you are welcome to chair
your own session, or provide your own chair or facilitator for your session. The chair's role is to introduce the presenter and
keep the presentation within the time limit.
PROGRAM CHANGES
Please see the notice board near the conference registration desk for any changes to the printed program (e.g., session
additions, deletions, time changes, etc.). If a presenter has not arrived at a session within 5 minutes of the scheduled start time,
we recommend that participants join another session. Please inform the registration desk of ‘no-shows’ whenever possible.
SESSION TYPES
PLENARY
Plenary sessions, by some of the world’s leading thinkers, are 30 minutes in length. As a general rule, there are no questions or
discussion during these sessions.
PAPER PRESENTATIONS IN THEMED SESSIONS
Paper presentations are grouped by general themes or topics into Themed Sessions. Each presenter in the session makes a
formal fifteen-minute presentation of their work; Q&A and group discussion follow after all have presented. Each presenter's
formal, written paper will be available to participants if accepted 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.
COLLOQUIM
Colloquium sessions consist of five or more short presentations with audience interaction. A single article or multiple articles
may be submitted to the journal based on the content of a colloquium session.
ROUNDTABLES
Individual authors have an assigned table during a session to review and discuss the ideas, frameworks, and perspectives
underlying their work with interested delegates who gather at the table.
VIRTUAL PRESENTATION
Virtual presentations are papers submitted without the participant attending the conference in person, but are eligible to be
refereed and published (if accepted) in the journal. A virtual presentation allows participants to join the conference community in
the following ways:
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The conference proposal will be listed in the Session Descriptions of the conference.
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Acceptance of a conference proposal for a virtual participant is based on the same criteria as that for an attending
participant.
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The full paper may be submitted to the journal.
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The journal paper submission will be refereed against the same criteria as attending participants. If accepted, the
paper will be published in the same volume as conference participants from the same year.
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Online access to all papers published in the journal from the time of registration until one year after the conference end
date.
TALKING CIRCLES
Talking circles are meetings of minds, often around points of difference or difficulty. They are common in indigenous cultures.
The inherent tension of these meetings is balanced by protocols of listening and respect for varied viewpoints. From this, rather
than criticism and confrontation, productive possibilities may emerge.
The Purpose of Talking Circles in this Conference
The purpose of the Talking Circles is to give shape to a conference that is wide-ranging in its scope and broad-minded in its
interests. They also give people an opportunity to interact around the key ideas of the conference away from the formalities of
the plenary, paper, workshop and colloquium sessions. They are places for the cross-fertilisation of ideas, where cycles of
conversation are begun, and relationships and networks formed.
Talking Circles are not designed to force consensus or even to strive towards commonality. Their intention is, in the first
instance, to find a common ground of shared meanings and experiences in which differences are recognised and respected.
Their outcome is not closure in the form of answers, but an openness that points in the direction of pertinent questions. The
group finally identifies axes of uncertainty that then feed into the themes for the conference of the following year.
How Do They Work?
The Talking Circles meet for two sessions during the conference, and the outcomes of each Talking Circle are reported back to
the whole conference in the closing plenary session. They are grouped around each of the conference streams and focus on
the specific areas of interest represented by each stream. Following is the Talking Circles outline that is currently in use, but we
welcome feedback and suggestions for improvement from participants.
Talking Circle 1: Who Are We? What is our common ground?
Talking Circle 2: What is to be done?
Closing Plenary: Talking Circles report back.
It is important to note that each Talking Circle may be organised in any way that members of the group agree is appropriate.
They may be informal and discursive, or structured and task-oriented. Each Talking Circle group has a facilitator.
The Role of the Facilitator
The facilitator must be comfortable with the process of thinking 'out of the square' and also embracing multiple and diverse
scenarios. The process is one of creating a kind of collective intelligence around the stream. The facilitator should shape a
conversation that is open to possibilities and new lines of inquiry or action; they should embody a spirit of openness to new
knowledge rather than the closure of advocacy. The facilitator is required to keep a record of the main discussion points. These
points need to be summarised for the closing plenary session at the conference.
Possible Session Contents - Suggestions to Assist Facilitators
Talking Circle 1: Who are we?
Orientation: members of the group briefly introduce themselves.
What could be the narrative flow of the Talking Circle sessions?
What could be the outcomes of the work of this group and its contribution to the closing plenary session, the Journal and the
Conference as a whole (including the themes for next year's conference)?
Assessing the landscape, mapping the territory: What is the scope of our stream? Do we want to rename it?
What are the burning issues, the key questions for this stream?
What are the forces or drivers that will affect us as professionals, thinkers, citizens, and aware and concerned people whose
focus is this particular stream?
Where could we be, say, ten years hence? Scenario 1: optimism of the will; Scenario 2: pessimism of the intellect.
Talking Circle 2: What is to be done?
What are our differences?
The setting: present and imminent shocks, crises, problems, dilemmas - what are they and what is the range of responses?
What are the cleavages, the points of dissonance and conflict?
What are the dimensions of our differences (1)? Politics, society, economics, culture, technology, environment.
What are the dimensions of our differences (2)? Persons, organisations, communities, nations, the global order.
What is our common ground?
Where are the moments of productive diversity?
What are the bases for collaboration (1)? Politics, society, economics, culture, technology, environment.
What are the bases for collaboration (2)? Persons, organisations, communities, nations, the global order.
Alternative futures: outline several alternative scenarios.
What are the forces that drive in the direction of, or mitigate against, each scenario?
What is to be done?
What's been coming up in the parallel sessions in this stream since the last Talking Circle?
What is the emerging view of the future?
Can we foresee, let alone predict alternative futures?
Looking back a decade hence, what might be decisive or seminal in the present?
Scenarios: can we create images of possibility and agendas for robust alternative futures?
Directions: conventional and unconventional wisdoms?
Strategies: resilience in the face of the inevitable or creative adaptation?
What could be done: review the scenarios developed in Talking Circle 1.
Axes of uncertainty: working towards the right questions even when there's no certainty about the answers.
Closing Session: Conference Host reports to the Closing Session based on summaries provided by each Talking Circle.
CONFERENCE PROGRAM
DAILY SCHEDULE
MONDAY 22 APRIL
8:00-9:00
Registration Desk Open
9:00-9:45
Opening Session
9:45-12:40
Plenary Session
11:50-12:40
Lunch (Located in the Museum Café)
12:40-14:00
Parallel Session 1 (80 Minute Themed Sessions & 60 Minute Roundtable in Room 4)
(Coffee and tea served in the Session Rooms)
Plenary Room: Inclusive Strategies
Room 1: Learning Designs
Room 2: Museum Ideologies: 1
Room 3: Rethinking Material Culture
Room 4: Roundtable Session: Exhibitions (Runs 12:40-13:40)
Room 5: Opportunities for Integration
14:00-14:15
Break
14:15-15:15
Parallel Session 2 (60 Minute Themed Session in Plenary Room & 60 Minute Workshops)
Plenary Room: Representations
Room 1: Contemporary Art Can Change the World (Workshop)
Room 2: Enacting Inclusive Praxis (Workshop)
Room 3: "Create Ability" (Workshop)
Room 4: Access to Arts (Workshop)
Room 5: Creating Meaningful Art Museum Experiences for Young Children (Workshop)
15:15-15:30
Break (Coffee, tea and refreshments served in the Plenary Room)
15:30-17:10
Parallel Session 3 (100 Minute Themed Sessions & 90 Minute Colloquium in Plenary Room)
Plenary Room: Museum and Cultural Institutions as Spaces for Cultural Citizenship (Runs 15:30-17:10)
Room 1: Reflections on Museum Practices
Room 2: Practices & Methodologies of Community Engagement
Room 3: Challenges of Inclusion: Political & Cultural Struggles
Room 4: The Digital Museum
Room 5: Museum Learning: Policies & Practices: 1
17:10-18:00
European Art from 1300-1800 Collection Viewing (at the National Gallery)
18:00-21:00
Reception & Conference Dinner Located in the Museum Café (Hosted by Karsten Ohrt, Director,
National Gallery of Denmark)
TUESDAY 23 APRIL
Please see the Conference Program for more detailed information on the Museum Day and each option.
The Museum Day at the International Conference on the Inclusive Museum is convened by the International Institute for the
Inclusive Museum. The Museum Day is more than a site visit. Participants are actively engaged in workshop sessions prepared
by the host institutions addressing the ICOM Cultural Diversity Charter and interrogating active citizenship and inclusion as
policy priorities for the transformation of museums in the 21st Century. The sessions are free and open to only the registered
participants of the 6th International Conference on the Inclusive Museum. All the venues are within walking distance of the main
Conference site: The National Gallery of Denmark, Copenhagen.
Please access the detailed schedules of Options for the day on the Conference web page: http://onmuseums.com/theconference/program/museum-day
Option 1 - KVINFO
(Maximum 40 places for registered Conference delegates and 40 delegates registered with Kvinfo for the day only)
Inclusion and Gender Mainstreaming in Cultural Institutions. International Seminar convened by KVINFO, the Danish Centre for
Information on Gender, Equality and Diversity and the Danish Institute for Human Rights. The main purpose of the Seminar is to
scope, assess and understand the extent to which cultural institutions including museums are addressing gender
mainstreaming and to come up with a set of strategic directions for presentation to the final session of the 6th International
Conference on the Inclusive Museum.
Option 2 - Museum of Copenhagen and the National Museum of Denmark
(Maximum 50 places for registered Conference delegates)
a. (9:00-12:30) Rethinking Urban Museology - The Museum of Copenhagen will host four interactive sessions entitled: Urban
Archaeology as a Site for Active Citizenship; Objects of Love, Works of Love – participatory contemporary collecting; The
exhibition Becoming a Copenhagener; and The WALL – co-creating a common cityscape.
b. (14:00 – 17:00) Study Visit to the National Museum of Denmark. It contains a range of exhibits about the country’s history
and culture. There are eight main themes within the museum from prehistory to present day. Going through the museum,
visitors can learn about everything from the Vikings and other early Danish inhabitants to viewing Renaissance artwork and
seeing how the modern state of Denmark developed. The National Museum of Denmark also contains artefacts and items from
around the world.
Option 3 – Parkmuseerne
(Maximum 50 places for registered Conference delegates)
Museums and Place Making - Parkmuseerne - Park Museums comprises of six museums and three parks, all joined up to form
a vast recreational district in the heart of Copenhagen. The main purpose of the daylong workshop is to provide an opportunity
for the delegates to visit the above museums and parks to scope the common ground for stakeholder community engagement;
share ideas on place making; discuss as to how best museums and their local stakeholder communities work together; and
draft core policy principles for the development of a dynamic and creative civic space.
-------------------------Reception at Copenhagen City Hall (18:00-19:00) to the Mayor Pia Allerslev, Culture and Leisure Administration.
(http://www.piaallerslev.kk.dk/). Short summaries of the Museum Day sessions will be presented during.
WEDNESDAY 24 APRIL
8:30-9:00
Registration Desk Open
9:00-10:30
Plenary Sessions
10:30-10:50
10:50-11:45
Talking Circles
Talking Circle: Visitors in Rooms 1& 2
Talking Circle: Collections in Rooms 3 & 4
Talking Circle: Representations in Room 5
11:45-12:40
Lunch (Located in the Museum Café)
12:40-14:00
Parallel Session 4 (80 Minute Themed Sessions & 60 Minute Roundtable Session in Room 4)
Plenary Room: Museum Learning: Policies & Practices: 1
Room 1: Museum Collections
Room 2: The Virtual Museum: 2
Room 3: Community Collaborations
Room 4: Roundtable Session: Visitors (Runs 12:40-13:40)
Room 5: Social Inclusion: Gender & Diversity
14:00-14:25
Break
14:25-16:05
Parallel Session 5 (100 Minute Themed Sessions & Colloquium in Plenary Room)
Plenary Room: Supported Interpretation (Runs 14:25 – 15:55)
Room 1: Collaborations & Inclusivity
Room 2: Museum Ideologies: 2
Room 3: Exploring Museum Experiences
Room 4: Museums, Health & Well Being
Room 5: Museums Constructing Culture & Identity
16:05-16:15
16:15-17:45
Conference Closing Plenary Session
17:45-18:00
Recognition of Graduate Scholars and Closure
18:15-22:00
Conference Dinner & Study Tour at Louisiana Museum of Modern Art / the Boathouse (Hosted by
Poul Erik Tøjner, Director, Louisiana) Buses depart from the National Gallery of Denmark at 18:15
CONFERENCE HIGHLIGHTS
EVENTS AND ACTIVITIES
EUROPEAN ART FROM 1300-1800 COLLECTION VIEWING
22 April 2013, 17:00-18.00
Prior to the start of the reception and conference dinner hosted by Karsten Ohrt, Director, National Gallery of Denmark,
delegates are invited to view a special after hours viewing of the European Art 1300-1800 Gallery. With the exhibition European
Art 1300-1800 the Gallery opens up a treasure trove featuring works by some of the greatest figures from art history, including
Mantegna, Cranach, Titian, Rubens, Rembrandt and many more.
CONFERENCE RECEPTION & CONFERENCE DINNER
22 April 2013, 18:00-21:00 National Gallery of Denmark
Hosted by Karsten Ohrt, Director, National Gallery of Denmark.
Please join other conference delegates for a reception and dinner at the National Gallery of Denmark. The evening will feature
an artistic performance by Lilibeth Cuenca Rasmussen (http://www.lilibethcuenca.com/About). Pre-registration is required.
MUSEUM DAY
23 April, All Day
The Museum Day at the International Conference on the Inclusive Museum is convened by the International Institute for the
Inclusive Museum. The Museum Day is more than a site visit. Participants are actively engaged in workshop sessions prepared
by the host institutions addressing the ICOM Cultural Diversity Charter and interrogating active citizenship and inclusion as
policy priorities for the transformation of museums in the 21st Century. The sessions are free and open to only the registered
participants of the 6th International Conference on the Inclusive Museum. All the venues are within walking distance of the main
Conference site: The National Gallery of Denmark, Copenhagen. Pre-registration is required.
Please see the Conference Program for more detailed information on the Museum Day and each option
CONFERENCE DINNER & STUDY TOUR
24 April 2013, 18:00 – 22:00 Louisiana Museum of Modern Art
Hosted by Poul Erik Tøjner, Director, the Louisiana Museum of Modern Art. Join other delegates for a dinner and study tour of
the Louisiana Museum of Modern Art. Pre-registration is required
Buses depart from the National Gallery at 18.15.
CONFERENCE PLENARY SPEAKERS
Finn Anderson
Secretary General of The Danish Cultural Institute, Denmark
Finn Andersen has been secretary general of The Danish Cultural Institute (DCI) , HQ in Copenhagen, since 1997. Before that
he was country director of the DCI in Britain and Ireland based in Edinburgh from 1985 -1997. He has been an external
examiner at Danish universities and business schools since 2002, and in 2005 he was appointed adjunct professor in
international studies at Aalborg University. He is a member of the Danish Government’s International Cultural Strategy Panel
and a number of boards and committees. Finn Andersen holds an M.A. in English Philology and Literature, and Cultural
Studies, Aarhus University ; and an M.Sc. in Cultural Management and Cultural Policy, Heriot-Watt University; Edinburgh. In
2000 he was awarded an honorary Doctor of Letters degree from Edinburgh Napier University.
Richard Benjamin
Head of The International Slavery Museum, UK
Dr. Richard Benjamin heads the International Slavery Museum at National Museums, Liverpool, UK. He is responsible for the
strategic development of the Museum, including its forthcoming state-of-the-art education and resource centre, partnership work
and research. Richard supervises the day-to-day running of the world class display galleries including the acquisition of
museum objects and collections. Richard gained a BA (Hons) degree in Community and Race Relations at Edge Hill College
and then went on to complete an MA and PhD in Archaeology at the University of Liverpool. In 2002 he was a Visiting Research
scholar at the W.E.B.DuBois Institute of African and African American Research, Harvard University and was appointed as the
Head of the International Slavery Museum in 2006. This year he was awarded an Honorary Doctorate by Edge Hill University.
Jasleen Dhamija
Curator and Educator, President, International Festival of Sacred Arts, India
Jasleen is internationally renowned in the field of Living Cultural Traditions, Intangible Heritage, Rural Non-Farm Development
and History of Textiles and Costumes. She has worked in development of Handicrafts and Handlooms in India at the
pioneering stage in the 50s and 60s, and continuing to work for the United Nations in Iran, Central Asia, in 21 African countries,
the Balkans, South Asia and South East Asia. She was also consultant to World Bank and International NGOs. She was
awarded Hill Professor at the University of Minnesota. She was faculty member at the National Fashion Technology, New
Delhi, Visiting Faculty at the National Institute of Design and Resident at 3 Universities in Australia. She has authored several
books on Textiles and Folk Arts, on women’s employment, income generation. organised seminars, curated exhibitions in India,
and abroad. She curated a major exhibitions at the National Museum, Manila, Philippines; Woven Magic in Indonesia and on
"Power Cloths of the Commonwealth" for Commonwealth Games at Melbourne in 2006 and in 2010 in Delhi. In 2000 she
carried out an evaluation of UNESCO’s work in Crafts in the last decade and directions for the future. She was appointed
President of Jury for UNESCO's Award for Creativity in Textiles, over the past few years. Editor of Volume IV of the World
Encyclopedia of Dress and Fashion on South Asia & Southeast Asia; President of International Festival of Sacred Arts, Delhi
and more recently speaker at International Conference on Cultural Heritage & Development at Edinburgh Arts Festival.
Amareswar Galla
Executive Director, International Institute for the Inclusive Museum, Denmark & India
Amar has been for three decades a champion of cultural democracy, UN Millennium Development Goals and safeguarding all
forms of heritage. An alumnus of the Jawaharlal Nehru University, New Delhi, and Professor of World Heritage and Sustainable
Development, Split University, he is the founding Executive Director of the International Institute for the Inclusive Museum,
Denmark & India (www.inclusivemuseum.org). His extensive publication record focusing on inclusion and active citizenship
ranges from World Heritage: Benefits Beyond Borders, Cambridge University Press & UNESCO Publishing, 2012; to Heritage
Curricula and Cultural Diversity, Prime Minster & Cabinet, Australian Government Publishing House, 1993. He was the 2nd and
3rd Editor-in-Chief of the International Journal of Intangible Heritage and Editor of the International Journal on the Inclusive
Museum. Prior to migrating to Denmark, he was Professor of Museum Studies, University of Queensland, Brisbane and
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 worked on the implementation of Museums and Cultural Diversity
Promotion at the National Museum of Ethnology, Leiden, The 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 honored internationally on several
occasions including Outstanding Conservationist of the Year Award, Vietnamese government (2002) and the European Best in
Heritage Award (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.
Kigge Hvid
CEO of INDEX: Design to Improve Life®, Denmark
Kigge has led the development and growth of INDEX: Design to Improve Life® since her appointment as founding CEO eleven
years ago in 2002. New concepts – developing them, testing them and implementing them – are the hallmarks of her acclaimed
work in leadership roles both in business and organizational settings. In leading the Danish government's mandate to advance
the humanist tenets of Danish design, she has been a frequent panelist and theme-setter at the World Economic Forum's
annual meeting in Davos and served as member of the Forum's Global Agenda Council on Design. The recipient of an honorary
doctorate in 2006 by the Art Center College of Design in Pasadena, California, she brings to her direction of INDEX: Design to
Improve Life® a fluency in the related languages of designers, global challenges, new business understanding and social
entrepreneurship. This is reflected in her frequent international appearances as the main proponents today of Design to Improve
Life. In 2009, she was presented with the Design Leadership Award, which is organized by the Commerce and Economic
Development Bureau of the Hong Kong SAR Government along with the Hong Kong Design Centre. One year later in 2010, she
joined the board of Danish shipping foundation Lauritzen Fonden as well as the international advisory board of the Hong Kong
Design Centre. She also sits on the board of Sport Event Denmark, an organization, which aim to attract major sports events to
Denmark. In 2012, she was named chairlady of Jockey Club Design Institute for Social Innovation (J.C.DISI) facilitating design
and designers' response towards increasingly complex social challenges by imagining, visualizing, debating and constructing
scenarios, strategies and systems for Hong Kong and beyond. For 2013, she will drive her Copenhagen-based team towards
the non-profit organization's fifth consecutive successful award cycle for INDEX: award, the biggest - and most important design award in the world.
Elisabeth Møller Jensen
Managing Director of KVINFO, Denmark
Ever since she was appointed Managing Director of KVINFO in 1990 she has never stopped advocating for ignored women’s
issues – from debating on public panels and writing editorial comments in the media, to organizing and publishing five entire
volumes recording the History of Nordic Women’s Literature when most existing work had predominantly told the story of men’s
contribution to literature. Elisabeth is also a widely respected commentator on women and migration. She is the driven force
behind KVINFO’s Mentor Network for immigrant and refugee women, a programme that helps women with a minority
background to become part of the Danish Labour Market. Thousands of women participate voluntarily in the Mentor Network
every year, making it the largest of its kind in the world. By her own admission, she also has a passion for knowledge exchange
and international cooperation. Under her leadership, KVINFO has started active partnership for progress and reform with
countries in the Middle East and North Africa. More than 30 million DKK in grants from the Danish Ministry of Foreign Affairs
have gone into implementing initiatives in the area. Elisabeth has both a Master of Danish from Copenhagen University, and a
Master of Arts, Nordic language and literature, Aarhus University.
Elsebeth Krogh
Director of the Danish Centre for Culture and Development, Denmark
Elsebeth is the Director of the Danish Centre for Culture and Development. She has worked with international development for
nearly 30 years. She has extensive experience as a consultant with assignments related to good governance and
democratization in fragile states. For 12 years she was the International Director of Dan Church Aid and has solid knowledge of
development policies, strategies and practices. She has thorough know how of evaluating development impact and outcomes of
cultural programs in a range of countries around the world.
Per Kristian Madsen
Director General of the National Museum of Denmark
Per is a medieval archaeologist and art historian and Director General of the National Museum of Denmark since 2008. Prior to
this he was the Museum's Head of Research and Exhibition from 2003-08. His first position with the National Museum was from
1999 to 2003 as the Head of the Collections of Medieval and Later Antiquities. Before that he was the Director of the Museum of
Vejle and started his career as a Curator in 1982 at the town museum in Ribe, Denmark. Per also has extensive experience
working with the development of World Heritage sites with particular emphasis on site based collections and museums.
Hans-Martin Hinz
President of ICOM, France
A Doctor of Natural Sciences, Hans-Martin Hinz began his museum career as Advisor for the establishment of new museums
for the Ministry of Cultural Affairs in West Berlin, Germany. From 1991 to 2012, he was a member of the management team
(Geschäftsleitung) at the German Historical Museum, where he curated several international exhibitions, organised 90 national
and international symposia and authored more than 150 articles. He also helped establish several new museums. His
department was charged with marketing, public relations, event management and national and international representation of
the museum. From 2000 to 2001, he was Deputy Minister of Culture (Staatssekretär) for Berlin. During his career, he also
occupied several positions in national and international museum institutions, including his membership in the German Art
Council (1999-2004), his positions of Deputy Chair of the International Association of History Museums (IAMH,1998-2005),
Chair of the Advisory Council of Berlin’s City Museum (2004-2008), Chair of the Association of German Historical Research
Institutions in Munich (2003-2012), Board member of the Curt Engelhorn Foundation in Mannheim (since 2004), and Deputy
Chair of the Research Foundation for European Overseas History (since 2004). Since 2007 he has been chair of the Advisory
Council for the Sudentendeutsches Museum in Munich and since 2009, member of the Advisory Board of the Haus der
Geschichte Baden-Württemberg (House of History of Baden-Württemberg) in Stuttgart. He has taught museum studies at the
University of Bayreuth since 2007. He has occupied the following positions within the International Council of Museums: 19982004 President of ICOM Germany; 2002-2005 President of ICOM Europe; 2004-2010 Member of ICOM's Executive Council;
and Since 2010 President of ICOM.
Gerald McMaster
Fredrik S. Eaton Curator, Canadian Art at the Art Gallery of Ontario, Canada
In 2012 Gerald McMaster was co-Artistic Director of the 18th Biennale of Sydney. Since 2005, he has been the Fredrik S. Eaton
Curator, Canadian Art at the Art Gallery of Ontario (Toronto). From 2000-2004, he worked at the Smithsonian’s National
Museum of the American Indian. Up until 2000 he was a long-time Curator and later Curator-in-Charge, First Peoples Hall at the
Canadian Museum of Civilization. He has curated many leading-edge exhibitions, including: In the Shadow of the Sun,
Indigena, Edward Poitras Canada XLVI Biennale di Venezia, Reservation X, First American Art, New Tribe: New York, and
Remix. His most recent exhibition was Inuit Modern; and he is currently completing Before and After the Horizon: Anishnaabe
artists of the Great Lakes to open in 2013. His awards and recognitions include the 2005 National Aboriginal Achievement
Award; the 2001 ICOM-Canada Prize; and his country’s highest honour, Officer of the Order of Canada. Many museums and art
museums have used outside artists to bring about changes in the workplace and exhibition. He is one of the very few artists and
experienced curators who have brought about changes from within institutions making them more inclusive. His address at the
Inclusive Museum Conference in Copenhagen is timely given that there is a conversation in Europe about the role of
interventions by artists from outside the agency and the sustainability of their work and impacts after the designated exhibition
within the art gallery or museums.
Karsten Ohrt
Director, The National Gallery of Denmark
Karsten is the Director of Statens Museum for Kunst/National Gallery of Denmark since 2007. He was the former Curator at
Nordjyllands Kunstmuseum in Ålborg 1979-88, and Director of Kunsthallen Brandts (Brandts Exhibition Complex) in Odense,
1988-2007. He has played a significant leadership role on several boards and councils dealing with governance of museums
and art museums. He was awarded the N.L. Høyen Medal in 1998, foreign decorations: Lu.F.O.4, Officier de l’Ordre du Mérite,
Luxembourg 2003. His publications include several edited and authored exhibition catalogues, books and articles on art. He
recently launched the Parksmuseerne/Museum Park initiative in Copenhagen as the collaboration that brings together six major
museums known for their outstanding collections of art and natural history. This significant initiative promises to become the
flagship for the aspiration of Copenhagen to become the cultural capital in the world. She is the host of the 6th International
Conference on the Inclusive Museum in Copenhagen.
Anne Mette Rahbæk
Director General, The Danish Agency of Culture, Denmark
From January 1st 2012 Ms. Anne Mette Rahbæk is DG of the Danish Agency of Culture. The Agency is a body under the
Danish Ministry of Culture and has the regulatory responsibility for libraries, media, theatre, music, literature, sites and
monuments, listed buildings and state-subsidized museums. Additionally, the Agency acts as secretariat for the Danish Arts
Foundation and the Danish Arts Council and manages international cultural exchange activities within the visual arts, literature,
music and the performing arts as well as the presentation of Denmark as a cultural nation. As Deputy Director of Heritage
Agency of Denmark, she has earlier had the responsibility for the Danish work with World Heritage, and she has had the
responsibility for a number of extensive projects that communicates the values of cultural heritage to stakeholders and the
public. An example is the web site “1001 stories about Denmark”/”European stories” www.1001stories.dk, which is also
available as app for Iphone and Android. She is member of the board of the Royal Danish Geographical Society and member of
the board of the Foundation Ilulissat World Heritage and Icefiord Station, Greenland. She is member of the Government’s
International Culture Panel, President for the board of the Danish Archaeological Society, Jysk Arkæologisk Selskab, member
of the committee of representatives of the Experimentarium, and member of the committee of representatives of the maritime
museum the Frigate Peder Skram. She is also a member of the advisory board for Center for Crosscultural and Regional
Studies, University of Copenhagen.
Jette Sandahl
Director, Museum of Copenhagen, Denmark
Jette is Director of the Museum of Copenhagen, Denmark. She came to the cultural sector after a decade of university study,
teaching and research in psychology. Spanning her academic work and her museum career is a commitment to individual and
community empowerment, and to creating public institutions as platform for democratic dialogue and as agents for social
change. Jette was a founding director for the pioneering new Museum of World Cultures in Sweden, which opened in 2005, and
founding member and director for the Women's Museum of Denmark. She has served as Director of Exhibitions and Public
Programs for the National Museum of Denmark and, most recently, as Director of Experience at Te Papa Tongarewa National
Museum of New Zealand. She is trained for museum leadership at the J. P. Getty Museum Management Institute. She has
been part of the difficult transition in museums as they struggle to reinterpret and transcend their traditional colonial or
nationalistic world views, and she has been active in shifting basic paradigms as cultural institutions adjust to the new
obligations of complex, culturally diverse societies, and reach for methods that allow and facilitate self-representation, cultural
participation and cultural democracy. Publications include: Living Entities in The Native Universe and Museums in the 21st
Century: The Significance of the National Museum of the American Indian, USA, 2005; The Included Other – the Oxymoron of
Contemporary Ethnographic Museums in Journal of Anthropology and Culture, Russia, 2007 (in Russian, and in English); Ein
fortwährender Prozess der Aussöhnung in Humboldt Forum Berlin. Das Project , Berlin, 2009 (in German and in English);
Disagreement Makes Us Strong in Curator, the Museum Journal, 55/4, 2012.
Elizabeth Silkes
Executive Director of the International Coalition of Sites of Conscience, USA
As Executive Director of the International Coalition of Sites of Conscience, Elizabeth Silkes guides the strategic growth and
direction of a thriving coalition of 300 museums, historic sites and memory initiatives in 50 countries. Through regional and
issue-based networks, the Coalition supports Sites of Conscience across the globe in developing innovative public engagement
and human rights programs through exhibit design and methodological guidance, peer-learning exchanges, project grants, and
joint advocacy initiatives. The International Coalition of Sites of Conscience is the only worldwide network dedicated to
transforming places that preserve the past into dynamic spaces that promote civic action on today's most pressing human rights
and social justice struggles. Prior to joining the Coalition, Liz served as CEO of Cinereach, a foundation supporting film and
media projects focused on social change and as Executive Director of FilmAid International, a humanitarian relief organization
using film and video to address the needs of refugees and other displaced communities. Prior to joining FilmAid, she led the
major gifts program at Amnesty International USA to record growth while advocating for human rights in the US and abroad. Her
extensive experience with community-based media projects gives her a unique perspective on the power of the personal story
to engage broad audiences in moving from past to present and memory to action. As a featured speaker at conferences and
workshops around the world, Liz has addressed issues ranging from psycho-social relief initiatives in refugee communities to
the role of memory in emerging democracies and post-conflict settings. She currently serves on the board of ICOM-US, the U.S.
National Committee of the International Council of Museums, and is a member of the Law Advisory Council for the Fetzer
Institute.
W. Richard West Jr.
President and CEO, The Autry, Los Angeles, California, USA
W. Richard West Jr., a citizen of the Cheyenne and Arapaho Nation of Oklahoma and a Peace Chief of the Southern Cheyenne,
Founding Director and Director Emeritus of the Smithsonian’s National Museum of the American Indian, has devoted his
professional life and much of his personal life to working with American Indians on cultural, educational, legal, and
governmental issues. Before becoming director of the National Museum of the American Indian, West practiced law at the
Indian-owned Albuquerque, New Mexico, law firm of Gover, Stetson, Williams & West, P.C. (1988 – 1990). He also was an
associate attorney and then partner in the Washington, D.C., office of Fried, Frank, Harris, Shriver & Jacobson (1973 – 1988).
He served as general counsel and special counsel to numerous American Indian tribes, communities, and organizations. In that
capacity, he represented clients before federal, state and tribal courts, various executive departments of the federal
government, and the Congress. West’s affiliations and memberships include: Kaiser Family Foundation (2007-present);
International Coalition of Sites of Conscience (2007-present); Native Arts and Cultures Foundation (2011 – present); Center for
Native American Youth (2011 – present); National Support Committee of the Native American Rights Fund (1990-present); and
American Indian Resources Institute (1973-present). He previously also has served on the boards of trustees of the Ford
Foundation and Stanford University. He served as chair of the board for the American Association of Museums, the nation’s
only national membership organization representing all types of museums and museum professionals, from 1998-2000. From
1992-1995 and 1997-1998, he served as member-at-large of the association’s board of directors and in 1995-1996 as vice chair
of the board of directors. West also was a member-at-large (2004 – 2007) and Vice President (2007 – 2010) of the International
Council of Museums. He served until recently as the Interim Director of The Textile Museum in Washington, D.C before
becoming the President and CEO of The Autry, Los Angeles, California.
PROGRAM
MONDAY, 22 APRIL
8:00-9:00
9:00-9:45
9:45-11:50
11:50-12:40
12:40-14:00
PLENARY ROOM
INCLUSIVE
STRATEGIES
REGISTRATION DESK OPEN
OPENING SESSION: Phillip Kalantzis-Cope, Common Ground Publishing, USA;
Amareswar Galla, Executive Director, International Institute for the Inclusive Museum, Denmark &
India
WELCOME SESSION: Karsten Ohrt, Director, Statens Museum for Kunst/ National Gallery of
Denmark; Hans-Martin Hinz, President, International Council of Museums, Paris;
Conference launch by Anne Mette Rahbæk Warburg, Director General, Danish Cultural Agency
PLENARY SESSIONS: Gerald McMaster, Fredrik S. Eaton Curator, Canadian Art at the Art Gallery
of Ontario, Toronto; Jasleen Dhamija, Curator and Educator, President, International Festival of
Sacred Arts, Delhi
LUNCH (Located in the Museum Café)
PARALLEL SESSION 1
(80 Minute Themed Sessions & 60 Minute Roundtable in Room 4)
Museum-based Multiliteracies and Learning for Twenty-first Century Skills
Stefania Savva, Department of Multimedia and Graphic Arts, Cyprus University of Technology
(CUT), Limassol, Cyprus
Overview: Exploring a theory and practice model of a museum-based multiliteracies approach for
learning for twenty-first century skills.
Exhibition Action--Museums and Communities: A Contemporary Practice
Andreina Fuentes, Art Entrepreneurial LLC, Miami, United States Virgin Islands, Gerardo Zavarce,
Caracas, Venezuela
Overview: Exhibition Action is a meta-methodology proper to museums to ensure they become more
inclusive.
Archètopy in Art Museums and “Sustainable Museology”: Turning Displays from Emphatic
Sites into Critical-oriented Open Stages
Dott.ssa Irene Campolmi, Department of Art, Literature and Cultural Studies, Graduate School of
Arts, Aarhus University, Poggibonsi, Italy
Overview: Sustainable Museology turns displays into spaces of “vulnerability”, distributing knowledge
equally, promising the relinquishing of authority, and fostering trust, exchange or engagement. Is this
enough to visually re-organize contents critically?
Inclusivity and Economic Justice: A Study of Occupy Museums
Alyssa Greenberg, Department of Art History, University of Illinois at Chicago, Chicago, USA
Overview: For Occupy Museums, the institution is elitist and undemocratic yet doesn't have to be. By
engaging the public as museum stakeholders and supporting economic justice, the museum can be
inclusive.
12:40-14:00
ROOM 1
LEARNING
DESIGNS
PARALLEL SESSION 1
Creating an Inclusive Cultural Informatics Doctoral Program: South Carolina’s Responsive
PhD Initiative
Dr. Jennifer Arns, School of Library and Information Science, University of South Carolina,
Columbia, USA
Overview: This presentation discusses a federally funded IMLS and University of South Carolina
initiative that uses the Woodrow Wilson Foundation’s Responsive PhD model to create leaders with
interdisciplinary and inclusive perspectives.
Using Case Studies to Teach Museum Mediation: A Research Process
Prof. Carla Padró, Guidelines for Museum Mediators Professionals in Europe Project Museum
Mediators Life Long Learning Programme Leonardo da Vinci Transfer of Innovation, University of
Barcelona, Barcelona, Spain
Overview: This paper tells the story of a research process, based on the case method and from a
reconstructionist approach, to project a new curriculum on Museum Mediation.
Teaching through the Museum: Students Reinterpret a Collection
Dr. Mysoon Rizk, Associate Professor and Head of Art History, University of Toledo, USA,
Overview: In 2011, University of Toledo students curated "What's Wrong with Me? Art and Disease"
for the Toledo Museum of Art, reinterpreting for the exhibition's duration works otherwise
contextualized by professionals.
ROOM 2
MUSEUM
IDEOLOGIES: 1
Education in Art Museums: Practical Dimensions of the Educational Role of Museums in
Poland
Marcin Szeląg, Adam Mickiewicz University, The National Museum in Poznań, Poznań, Poland
Overview: This paper discusses the results of an examination of museum education in Poland. My
presentation will focus on the profession of an educator in an art museum.
The Museum as a Means of Visual Persuasion
Dr. James Donald Ragsdale, Dr. Frances E. Brandau-Brown, Sam Houston State University,
Huntsville, USA
Overview: This paper proposes that museums have an important visually persuasive function,
which is carried out through the collection of the museum, its display, and the museum's
architecture.
Empower the Audience: How Art Museums Can Become Enriching, Creative Spaces for a
Wider Audience
Karen Gron, Trapholt, Museum of Modern Art and Design, 6000 Kolding, Denmark
Overview: Art museums have great potential to empower their audience. Through methods such as
active participation, investigation, and discovery, art museums can potentially offer richer
experiences and reach wider audiences.
The Inclusiveness of a Museum's Appeal Using Principles of Visual Persuasion: A Case
Study
Dr. Richard Bello, Dr. Terry Mark Thibodeaux, Sam Houston State University, Huntsville, USA
Overview: The appeal to inclusiveness of the Houston (Texas, USA) Museum of Fine Arts is
analyzed with a reliance on Messaris' theory of visual persuasion.
Inclusive Museums in Eastern Europe: Social Networks and Institutional Transformation in
the Field of Art
Szilvia Nagy, Media and Contemporary Culture, Eötvös Lóránt University, Budapest, Hungary
Overview: This presentation focuses on institutional transformations of the art field: growing interest
in inclusive practices, dualities of self-organization and institutionalization instrumentalisation in the
art sphere, and social-web based institutional models.
12:40-14:00
ROOM 3
RETHINKING
MATERIAL
CULTURE
PARALLEL SESSION 1
Western Museums and the Material Culture of First Peoples: Moving from Disembodied
Display to Cultural Engagement
Frank Howarth, Australian Museum, Sydney, Australia
Overview: Museums that display the culture of first peoples must move from passive display and
disembodied museum voice to one of cultural engagement with mutual benefits.
Creating Greater Inclusivity and Relevancy for Ethnographic Museum Collections through
Linkages with the Originators of the Material Culture
Dr. Teena Jennings-Rentenaar, The University of Akron, Granville, USA
Overview: This practice-based research paper examines the role that museums with ethnographic
collections can play while working with indigenous groups as they re-establish meaningful
connections with their past.
The Just Present Past: A Survey of the Heritage House and Future Applications of the Model
Noa Bronstein, Exhibitions Department, The Gladstone, Toronto, Canada
Overview: This paper questions the relevance of the ubiquitous heritage house and calls for a
restructuring of the archetype towards an alternative space that focuses on contemporary
individuals and narratives.
ROOM 4
ROUNDTABLE
SESSION:
EXHIBITIONS
*Runs 12:40-13:40
The Corporate Museum: A New Type of a Museum Created as a Component of Marketing
Company
Dr Ksenia Katarzyna Piatkowska, Gdansk University of Technology, Gdansk, Poland
Overview: The institution of museum is used as a new marketing device in branding process. Can
museums be used in commercial purposes and determine the competitiveness of particular
corporation?
Museum as Language Learning Spaces: Ethnography of English Language Class through
Photography
Julie Dell-Jones, Second Language Acquisition and Instructional Technology Secondary
Education College of Arts & Sciences and College of Education, Largo, Bernice Lopez, Applied
Anthropology College of Arts & Sciences, University of South Florida, Tampa, USA
Overview: A photography museum introduces a photo-based program to teach adults English
language. Ethnographic methods of observation, photo-elicitation interviews with learners, and
museum volunteer interviews serve to document challenges of outreach.
Re-presenting or Connecting "Communities?": Reflecting on Contemporary Attempts and
Envisaging Possible Futures
Dr. Hélène Verreyke, Erasmus School of History, Culture, and Communication, Erasmus
University Rotterdam, Rotterdam, Netherlands, Serena Iervolino, School of Museum Studies,
University of Leicester, Leicester, UK
Overview: This interactive presentation aims to create an opportunity for debate on the strengths
and weaknesses of two widely adopted strategies of representing cultural diversity, particularly
"community exhibitions" and "thematic exhibitions."
"Arooska" Somali Wedding: Co-Curating with a Diasporic Community
Maria Koskijoki, Helinä Rautavaara Museum, Espoo, Finland
Overview: A case-study of a museum co-curating and producing with the diasporic Somali
community in Finland an exhibition about tradition and change; a process of identity-building,
heritage consciousness, and empowerment.
Introducing Interactive Devices to Change the Perception of What Viewers Consider as Art in
the Museum
Prof. Vibhavari Jani, Interior Architecture and Product Design, VJCREATION LLC, Kansas State
University, Manhattan, USA
Overview: The author discusses development of interactive devices for a museum, and how she
worked with her students to change the perception of what is considered art in the museum today.
"Viquimodernisme" or How We Use Wikipedia to Link Museums and Research: New
Galleries, Libraries, Archives, and Museums Wiki Project
Àlex Hinojo, Amical Viquipèdia, Barcelona, Esther Solé i Martí, Departament d'història de l'art i
història social, Universitat de Lleida, Mollerussa, Spain
Overview: A ground-breaking collaboration between museums, researchers, and Wikipedia editors
to improve Catalan Wikipedia’s contents about modernism.
12:40-14:00
ROOM 5
OPPORTUNITIES
FOR INTEGRATION
PARALLEL SESSION 1
Disability and Access Issues in Turkish Museums
Berat Meryem Örnek, Department of Archaeology and History of Art Faculty of Social Sciences
and Humanities, Istanbul, Prof. Lucienne Thys-Şenocak, Archaeology and History of Art, Koç
University, Turkey
Overview: This research analyzes the current museological practices in Turkey from the
perspective of disabled visitors and aims to question how Turkish museums promote participation
and disability rights through their programs.
Inclusive Museum in Health: When the Museum Goes Public
Marily Cintra, Health and Arts Research Centre, Inc, Tharwa, Australia
Overview: Integrating heritage within healthcare offers an opportunity to create connections
between the diversity of users of the place. The museum becomes part of the daily life of the
hospital.
Dynamics of an Autonomous Visiting Experience: Educational Interventions at Inhotim
Institute
María Eugenia Salcedo Repolês, Management and Coordination of Transversal Education Art
and Cultural Program, Instituto Inhotim, Lara Ceres Carvalho Lopes, Insituto Inhotim, Lilia
Dantas, Art and Cultural Program, Instituto Inhotim, Brumadinho, Brazil
Overview: Inhotim Institute has nourished the notion of a dialogical, unique experience that is
simultaneously a botanical garden and a museum of contemporary art based on site-specific
commissions.
14:00-14:15
14:15-15:15
PLENARY ROOM
REPRESENTATIONS
Inside/Outside: The Art of Caring
Geraldine Craig, Department of Art, Kansas State University, Manhattan, USA
Overview: This paper examines the success and challenge of having embedded zookeepers with
live animals in an art exhibit, turning exhibition conventions inside
BREAK
PARALLEL SESSION 2
(60 Minute Themed Session in Plenary Room & 60 Minute Workshops)
Performing Caci (Whip Duel) on Flores: Official Government Site Versus the Grass-Root
Open Air Museum in Todo, West Manggarai Regency
Tular Sudarmadi, The Department of History, Vrije University, Amsterdam, Netherlands
Overview: This paper offers new insight in the dynamics of grass-root movements in Indonesia
which serve as a counterpoint to the nation’s cultural heritage management in the service of
national identity.
Selected Works: Between Art History and Fiction
Natália Teixeira de Oliveira Quinderé, Escola de Belas Artes/UFRJ, Rio de Janeiro, Brazil
Overview:This paper investigates the triad: exhibition, art history, and fiction with the purpose of
examining the relationship between traditional aspects of art history and the value of a collection.
ROOM 1
WORKSHOP
French Hospital Museology: From Escheat to Anamorphosis
Dr. Jean-François Moreau, Université Paris Descartes, Amélie Tchadirdjian, Paris, Prof.
Monique Martinez-Thomas, Laboratoire Creatis, Toulouse, France
Overview: Hospital museology: a new academic discipline created at Paris Sorbonne 3 and
Toulouse for a new cultural, sanitary and social project generating a new museologic economy
functioning with innovative jobs.
Contemporary Art Can Change the World: A Proposition
Amanda Phillips, Leeds Art Gallery, Leeds, Isle of Man
Overview: Proposal that characteristics of contemporary art in gallery exhibitions and their effects
on audiences can offer greater institutional inclusivity and, potentially, new ways of engaging with
the world.
14:15-15:15
ROOM 3
WORKSHOP
ROOM 4
WORKSHOP
ROOM 5
WORKSHOP
15:15-15:30
15:30-17:10
PLENARY ROOM
*Colloquium, Runs
15:30-17:10
ROOM 1
REFELCTIONS ON
MUSEUM
PRACTICES
PARALLEL SESSION 2
(60 Minute Themed Session in Plenary Room & 60 Minute Workshops)
"Create Ability": A Case Study of a Family Program for Children and Adults with
Developmental and Learning Disabilities
Kirsten Schroeder, The Museum of Modern Art (MoMA), New York, USA
Overview: A case study of The Museum of Modern Art's "Create Ability" program and an opportunity
to discuss how to start a program like this at your own institution.
Access to Arts: Different Ways of Looking
Abigail Hirsch Royal Academy of Arts, London, UK / Tel Aviv, Israel
Overview: Explore different ways of looking using multi-sensory props in this hands-on creative
workshop.
Creating Meaningful Art Museum Experiences for Young Children: Discussions with Future
Art Teachers
Ilona Szekely, Art Education, Eastern Kentucky University, Lexington, USA
Overview: This presentation addresses separate-alternative-interactive museum education spaces,
concentrating on the connection to the larger museum experience upstairs, and how students can
experience the collection in imaginative ways within the space.
BREAK (Coffee, tea and refreshments served in the Plenary Room)
PARALLEL SESSION 3
(100 Minute Themed Sessions & Colloquium in Plenary Room)
Museum and Cultural Institutions as Spaces for Cultural Citizenship
Lise Sattrup, Nana Bernhardt, The National Gallery of Denmark, Hilde Østergaard, Education
Outreach, Nikolaj, Copenhagen Contemporary Art Center, Vivi Lena Andersen, Copenhagen
Museum, Anne Lisbeth Lund, J.F. Willumsens Museum, Copenhagen, Denmark
Overview: Five perspectives on how museums and cultural institutions work to develop spaces for
cultural citizenship.
The Crystal Bridges Museum of American Art Silences Snobbish Critics
Dr. Raouf Halaby, Department of Visual Arts, Ouachita Baptist University, Arkadelphia, USA
Overview: This paper explains the important role the Crystal Bridges Museum of American Art plays
in providing museum goers the opportunity to view a rich concentration of American art.
A Heritage Institution Exploring Its Own Ancestry: Glasgow’s Kelvingrove Art Gallery &
Museum
Rosie Spooner, The History of Art Department, The University of Glasgow, Glasgow, UK
Overview: This paper critically examines how Glasgow’s Kelvingrove Art Gallery & Museum
revisited its Victorian ancestry while engaging with contemporary theories of display, interpretation
and audience development, during its recent renovation.
A Hall of Mirrors: Reflections on the Natural World in a Natural History Museum
Sarah Edwards, Royal Melbourne Institute of Technology (RMIT) University, Melbourne, Australia
Overview: A visual exploration into the behind-the-scenes work of natural history museums as
reflections on the natural world.
Sustainability as a Cultural Learning and Change Project: Innovative Programming in
Australian Art and Design Museums
Tania Leimbach, Institute of Sustainable Futures, University of Technology, Sydney, Australia
Overview: Inspiring sustainability. This paper presents research exploring how select Australian art
and design museums approach real-world sustainability issues through responsive programming
and innovative curatorial thinking.
15:30-17:10
ROOM 2
PRACTICES &
METHODOLOGIES
OF COMMUNITY
ENGAGEMENT
PARALLEL SESSION 3
It Is Time to Talk about Immigrants: Design Challenges and Participatory Practices in Italian
Museums
Anna Chiara Cimoli, Mela Politecnico of Milan-DPA, Milan, Italy
Overview: The paper analyses some examples of Italian migration museums, describing the
participation practices they adopted. The role of art museums is considered pioneering in providing
a framework for these practices.
Reforming Local Activities into One Community by Ecomuseum: A Case Study of the
Ecomuseum Network in the Miura Peninsula
Prof. Kazuoki Ohara, Yokohama National University, Yokohama, Japan
Overview: This study seeks to make it clear how the ecomuseum concept becomes important
methodology for making a common local identity among peoples engaging local activities.
Authority and the Museum: A Framework of Questions
Laura Barry, Kent State University, Alexandria, USA
Overview: Expanded sharing of authority demands purposeful, ongoing conversations between
museums and their communities. This paper organizes balancing expertise into a three-part
framework of authority of knowledge, access, and space.
Art Museum Practices at the University of Toledo: An Institutional Partnership
Thor J. Mednick, Department of Art, University of Toledo, Toledo, USA
Overview: This paper examines the Art Museum Practices program at the University of Toledo as
an example of cooperation between unaffiliated academic and museological institutions.
ROOM 3
CHALLENGES OF
INCLUSION:
POLITICAL &
CULTURAL
STRUGGLES
Participative Collecting: Differences and Similarities between Rio de Janeiro, Amsterdam,
and Rotterdam
Dineke Stam, Imagine IC, Amsterdam, Netherlands
Overview: What can we learn from each other: similar institutions working in very different superdiverse urban communities. What experiences do the participants have to share? Bring your
examples and insights.
Is Working Class Culture Represented in Australian Social History Museums? The Case
Study of the Exhibition “Inside - Life in Children’s Homes and Institutions”
Dr. Adele Chynoweth The Australian National University, Canberra, Australia
Overview: The lack of take-up by Australian museums in hosting the "Inside" exhibition about
Forgotten Australians raises questions concerning the ability of the Australian museum sector to
support socially inclusive practices.
Using Objects as a Means to Facilitate Refugees' Integration: Case Study from the Sainsbury
Centre for Visual Arts, University of East Anglia
Domenico Sergi, University of East Anglia, Norwich, UK
Overview: This paper assesses the potential of museums’ engagement with refugees, drawing on
debates around integration taking place in refugee studies and museology and discussing a case
study from the UK.
The Luddite Link Partnership
Dr Janette Martin, Humanities and Media, University of Huddersfield, Huddersfield, UK
Overview: Exploring the contested academic debates surrounding Luddism and the heritage events
created by the Luddite Link partnership during the bicentenary year of the Luddite uprisings.
The Issue of Visitors to Museum Exhibitions: Increase the Number of Visitors and / or Extend
the Inclusion? The Case of Costantino 313 d. C., at Palazzo Reale, Milan, Italy
Dr. Rita Capurro, Department INDACO, Politecnico di Milano, Milan, Italy
Overview: This paper analyzes an important exhibition for the 1700th anniversary of the Edict of
Toleration, designed by the Museo Diocesano of Milan and set up in the central
Inclusion and Social Agency: Tyree Guyton's "Heidelberg Project" and Its Detroit
Communities
Dr. Bradley Taylor, Museum Studies Program, University of Michigan, Ann Arbor, USA
Overview: Explores the work of Tyree Guyton, artist/curator, whose 25-year-old urban art
installation serves as "medicine for the soul" and effectively champions the larger social needs of
multiple "communities."
15:30-17:10
ROOM 4
THE DIGITAL
MUSEUM: 1
PARALLEL SESSION 3
Material Girls in a Digital World: Curating in the 21st Century
Shannon Perich, Photographic History Collection, Smithsonian, National Museum of American
History, Washington, Sheila Hoffman, Muséologie, médiation, patrimoine, Université du Québec à
Montréal, Plattsburgh, USA
Overview: The two presenters will offer practical and theoretical perspectives on the definitions,
roles and practices of material culture curators in a web-based culture.
A Space of Heterotopias: The Real and the Virtual Space of the Mattress Factory Art Museum
Ju-Chun Cheng, Art Education Program in the School of Visual Arts and Arts & Architecture, The
Pennsylvania State University, State College, USA
Overview: I compare the actual Mattress Factory Art Museum to a train, which links one place to
another to reach different visitors by the extension of the tracks (or through technology).
Museum of Innocence: Orhan Pamuk and His Fictive City Museum
Elif Cigdem Artan, Istanbul, Turkey
Overview: First time in the history of museology, a literary work has been developed from a
museum collection in the Nobel prized Turkish writer Orhan Pamuk's intertwined book and museum
projects.
Migrant Heritage and Social Media
Assoc. Prof. Randi Marselis, Institute for the Study of Culture, University of Southern Denmark,
Odense, Laura Maria Schütze, Department of Cross-cultural and Regional Studies, University of
Copenhagen, Copenhagen, Denmark
Overview: This paper examines possibilities and ethical implications of using social media to
connect to and collaborate with source communities from the perspective of a major ethnographic
museum (Tropenmuseum, Amsterdam).
The Missing Link - Volunteers, Museums & Researchers in the Digital Age: A Case Study at
Melbourne Museum, Australia
Joe Coleman, Online Collections, Alan Nankervis, Biodiversity Heritage Library Project, Museum
Victoria, Melbourne, Australia
Overview: This presentation describes an innovative digitisation project at Museum Victoria to
contribute literature to the Biodiversity Heritage Library. Supervised by one staff member, the
process was conducted entirely by volunteers.
15:30-17:10
ROOM 5
MUSEUM
LEARNING:
POLICIES &
PRACTICES: 1
PARALLEL SESSION 3
Body Language: Examining the Role of Art Museum Education in Creating Awareness
around Eating Disorders
Dr. Laura Evans, The Department of Art Education and Art History, The University of North
Texas, Denton, USA
Overview: Through the exhibit "THIN," I examine how museum educators can further awareness
around eating disorders and challenge visitors to think about oppression, power dynamics, and
privilege through exhibition and education.
Timetrekking in the "Decadathon": Theatre and Education for Mutual Understanding in
Northern Irish Museums
Dr. Brenda Winter-Palmer, Drama Departmen, Queen’s University Belfast, Belfast, UK
Overview: Can theatre-in-museum and live interpretation be used to negotiate representations of
contested histories in the Decade of Centenaries commemorations at the Ulster Museum Belfast
between 2012 and 2022?
Co-workers as Public: Exploring Art and Environment Collections at the Inhotim Institute
Juliana Pinto, Art and Education, Art and Cultural Program Directory, Inhotim Institute, Belo
Horizonte, Brazil
Overview: This paper presents an educational project developed in the contemporary art museum
and botanical garden, Inhotim, directed at its employees who have little to no contact with other
cultural devices.
The Visibility of Personal Values in Collaborative Decision Making
Morag Macpherson, Learning and Communities, Tyne & Wear Archives & Museums, Newcastle,
UK
Overview: In managing processes of collaborative decision making between museums and
community participants, how can personal values be shared in a way which is constructive?
17:10-18:00
18:00-21:00
How Can Artists and Designers Working with Museums and Collections Contribute to the
Notion of Active Citizenship?
Jason Cleverly, Department of Design University College Falmouth, University College Falmouth,
Tremough Campus, Falmouth, UK
Overview: By examining a series of participatory interventions the paper aims to reveal evidence of
positive mediation of interpretation from curator to artist/designer to visitor, allowing meaningful
creative engagement and learning.
EUROPEAN ART FROM 1300-1800 COLLECTION VIEWING: Prior to the start of the reception
and conference dinner hosted by Karsten Ohrt, Director, National Gallery of Denmark, delegates
are invited to view a special after hours viewing of the European Art 1300-1800 Gallery. With the
exhibition European Art 1300-1800 the Gallery opens up a treasure trove featuring works by some
of the greatest figures from art history, including Mantegna, Cranach, Titian, Rubens, Rembrandt
and many more
RECEPTION & CONFERENCE DINNER: Located in the Museum Café: Hosted by Karsten Ohrt,
Director, National Gallery of Denmark.
Artistic Performance Lilibeth Cuenca Rasmussen (http://www.lilibethcuenca.com/About)
TUESDAY, 23 APRIL
MUSEUM DAY
Tuesday 23 April 2013
6th International Conference on the Inclusive Museum, Copenhagen
The Museum Day at the International Conference on the Inclusive Museum is convened by the International Institute for
the Inclusive Museum and the respective host institutions facilitating the workshops and seminars. The Museum Day is
more than a site visit. Participants are actively engaged in workshop sessions prepared by the host institutions addressing
the ICOM Cultural Diversity Charter (http://onmuseums.com/_uploads/ICOM_Cultural_Diversity_Charter.pdf) and
st
interrogating active citizenship and inclusion as policy priorities for the transformation of museums in the 21 Century.
All the venues are within walking distance of the main Conference site: The National Gallery of Denmark, Copenhagen.
However, delegates are responsible for reaching each venue of their selected option by themselves. The sessions
in all the 3 Options will start promptly as indicated in the schedules below. Please note that given the short distances
between the venues and the arrangement of buses for the final Wednesday night dinner, the organisers will not be
providing clip cards for public transport. April is a pleasant month for walking in Copenhagen. However, delegates are
encouraged to bring warm clothing and umbrellas.
Participants have already been invited to select one of the three following Options and pre-register with the Conference
Secretariat by 9 April for the Museum Day -Tuesday 23 April 2013. Places are limited and once selected the delegate
cannot change the Option. The schedules for the 3 Options are subject to minor changes.
Internationally renowned artists and museum experts will be resource people for each of the options listed below.
-------------------------Short summaries of the Museum Day sessions will be presented during a reception at Copenhagen City Hall (18:00-19:00)
to the Mayor Pia Allerslev, Culture and Leisure Administration. (http://www.piaallerslev.kk.dk/)
Option 1
International Seminar
Inclusion and Gender Mainstreaming in Cultural Institutions
www.kvinfo.dk; www.womendialogue.org
9:00 to 17:00 Tuesday 23 April 2013
Venue: Karen Blixen Room, The Black Diamond (http://www.kb.dk/en/dia/lokaler/blixen.html)
Hosts: Elisabeth Møller Jensen, Director, Kvinfo, Copenhagen; Amareswar Galla, Executive Director, International Institute
for the Inclusive Museum; and Susanne Nour Magnusson, Director of Equality. The Danish Institute for Human Rights.
Coordinator: Beatriz Hernández de Fuhr, International Public Affairs Liaison, Kvinfo
Registration: Maximum number for the whole Seminar: 80 participants. No cost for registration.
Maximum number of Inclusive Museum Conference participants: 40
Maximum number of participants at large for the Kvinfo Seminar: 40
Priority on a first cum first serve basis after registration for the Sixth International Conference on the Inclusive Museum
(http://onmuseums.com/the-conference).
Non-Conference delegates contact the Kvinfo coordinator.
Refreshments, lunch and study tour are generously sponsored by the Danish Institute for Human Rights
-------------------------------------------------------------Purpose
How do cultural institutions address gender mainstreaming? Gender mainstreaming has emerged as a new global equity
strategy by 1995 and was carried at the Fourth UN World Conference in the Beijing Platform of Action. At the EU level the
notion was endorsed in the late 1990s and implemented in the Amsterdam Treaty (1997). In 2013, the question as to how
the gender dimension is defined and negotiated in a range of cultural institutions - and in relation to key cultural issues has become very significant. KVINFO, the International Institute for the Inclusive Museum and the Danish Institute for
Human Rights are convening this one day seminar on Tuesday, 23 April, where we can scope, assess and understand the
extent to which cultural institutions are addressing gender mainstreaming and perhaps come up with a set of strategic
directions to be presented to the final Plenary Session of the 6 th International Conference on the Inclusive Museum on
Wednesday, 24 April.
Option 1
International Seminar
Inclusion and Gender Mainstreaming in Cultural Institutions
www.kvinfo.dk; www.womendialogue.org
9:00 to 17:00 Tuesday 23 April 2013
Schedule
8:30 -9:30: Arrivals, informal introductions and registrations.
There will be about 40 international & national registered delegates from the Inclusive Museum Conference. Kvinfo has
invited another 40 delegates from its stakeholder groups and networks. Early start for the day enables interaction over
refreshments between local and international delegates.
9:00 -10:30: Gender Mainstreaming: Aspirations, Compliance and Challenges
Co-Chairs: Elisabeth Møller Jensen, Director, Kvinfo, Copenhagen & Hans Martin-Hinz, President, ICOM, Paris.
Panel: Merete Ipsen, Director, Kvindermuseet, Aarhus; Niels Righolt, CEO, Danish Centre for Arts and Interculture,
Denmark; Elisabeth Silkes, Executive Director, International Coalition for Sites of Conscience, New York; Lilibeth Cuenca
Rasmussen, artist (http://www.lilibethcuenca.com/About); Jasleen Dhamija, Curator and International Textile expert, New
Delhi; and Yasmin Khan, Independent Curator, UK. (Each panellist presents three critical concerns for a maximum of 8
minutes followed by facilitated discussion)
Refreshments 10:30-11:00
11:00 -12:30: A National Round Table of Ideas and Achievements
Chairperson: Susanne Nour Magnusson, Director of Equality. The Danish Institute for Human Rights.
Panel: Andrew Cranfield, Manager of the Library, KVINFO; Elisabeth Delin Hansen, Director of Nikolaj Kunsthal, organizer
of the exhibition Lost and Found- Querying the Archive.
http://www.kunsthallennikolaj.dk/index_subpage.asp?subpageIDX=497&mainpageIDX=96; Bonnie Fortuna, Member of the
group of artists and activists who produce Let Us Speak Now, an archive on feminism, activism and art production.
Museum of Contemporary Art. Roskilde. http://www.letusspeaknow.net/ and http://www.det4kontor.net/2012/04/10/let-usspeak-now-revision/;
Sheena Laursen. Leder od the International Centre of Experimentarium and project manager for TWIST- Towards Women
in Science and Technology. http://www.experimentarium.dk/forsiden/udstillinger/hovedudstillingen/twist/; Uzma Andresen.
Curator. SEVEN, photographs by Tina Enghoff. National Museum of
Photography.http://www.kvinfo.dk/side/674/article/110/; and Hassan Preisler (tbc). Director of the Theatre Group.
DANSK.http://hassanpreisler.dk/danskdansk/
(Each project is briefly presented with 3 slides for a maximum of 8 minutes followed by facilitated discussion)
12:30-13:30: Lunch
13:30-15:00: Case Study Tour - Reflections on gender mainstreaming from architecture to heritage collections and
exhibitions
Black Diamond or the Royal Library in Copenhagen, Denmark (http://www.kb.dk/en )
It is the National Library of Denmark, the University Library of the University of Copenhagen, the National Museum of
Photography and the Documentary Heritage focal point of Denmark for the UNESCO Memory of the World List. It is the
largest library in the Nordic countries dealing with inclusion in all its manifestations.
15:00-15:30: Refreshments
15:30-17:00: Preferred Futures and Strategic Directions
Participants will be facilitated in a workshop format in small groups for identifying issues and strategies to promote gender
mainstreaming. Facilitators – Elizabeth Møller Jensen, Merete Ibsen, Susanne Nour Magnusson, Hans-Martin Hinz,
Amareswar Galla, Lilibeth Cuenca Rasmussen, Yasmin Khan and Anita Frank Goth.
17:00-17:30: Closing Plenary
Co-Chairs: by Elizabeth Møller Jensen and Hans-Martin Hinz
18.00-19.00: Reception City Hall
Public presentation of a five minute summary and outcomes of the Seminar by Yasmin Khan at the reception to the Mayor
Pia Allerslev, Culture and Leisure Administration, Copenhagen City Hall. (http://www.piaallerslev.kk.dk/)
Option 2
The Museum of Copenhagen
http://www.copenhagen.dk/en/
Tuesday 23 April 2013.
9:00 – 12:00
Venue: The Museum Of Copenhagen
Host: Jette Sandahl, Director, Museum of Copenhagen.
Registration: Maximum number of participants: 50
Priority on a first cum first serve basis after registration for the Sixth International Conference on the Inclusive Museum
(http://onmuseums.com/the-conference)
No additional cost to the Conference registration.
Light lunch in the Museum Garden Room.
Session Starts sharp at 9:00 & finishes at 12:00
-------------------------------------------------------------Urban Archaeology as a Site for Active Citizenship
Søren Bak-Jensen, Head of the Antiquarian Section, Museum of Copenhagen
The Museum of Copenhagen is currently involved in large-scale archaeological excavations in connection with the
construction of a new metro line in Copenhagen. These excavations disturb and disrupt the flow of city life on a daily basis,
and the uncovering of the city’s past takes place behind a fence. Through an open archaeological excavation, through
guided tours, through a new exhibition, the Museum of Copenhagen has explored ways to allow a more democratic and
participatory approach to the documentation of the past below us.
At the workshop, experiences from this and other similar projects will be discussed.
Objects of Love, Works of Love – participatory contemporary collecting
Jette Sandahl, Director, Museum of Copenhagen
In 2013 the Museum of Copenhagen will experiment with revitalizing and testing the relevance of one of its most traditional
collections, the very personal and highly symbolic objects left after philosopher Søren Kierkegaard – including, of course,
the ring from the famously broken relationship. In a new exhibition, in events and new collecting, structured through the
diverse, fraught, often tortured but never banal, concepts of love in Kierkegaard’s writings, the museum will open a public
conversation on the complex ideas, practices and contradictions of love in the urban 21 st century, and involve the public in
developing the collecting practices of the museum. A series of themed, facilitated meetings invites the public to bring an
object from their own ‘emotional museums’. In an open dialogue among the participants these personal objects are
narrated, documented and registered, and the ‘best’, ‘most symbolic’ objects are chosen to be instantly included in the
exhibition, on the web, and in the museum’s collection.
Participants in this workshop will be asked to also bring an object of their own that for them signifies an aspect of love friendship, erotic love, parental love, joy, exhilaration, subjugation, loss of love etc.
The exhibition Becoming a Copenhagener
Jakob Parby, Curator, Museum of Copenhagen
This exhibition opened in November 2010 and deals with migration and identity in Copenhagen throughout its history. Our
goal with the exhibition was to shift the discourse on migration in Denmark and Copenhagen by creating an exhibition that
problematized and denaturalized dominating notions of national identity and migration. In the urban context, we argued,
significant migration was not a modern phenomenon, but a natural state of affairs. Without migration the city could not
have grown demographically and culturally. And the continuous waves of internal and external migrants have in many
ways defined what it means to be and to become a Copenhagener. Using a thematic approach and combining objects,
multimedia and contemporary art the exhibition has been quite popular and apparently has struck a strong note of
recognition and reflexion among visitors. However, the initial intention to involve communities in the creation of the
exhibition was not equally successful.
The workshop/session takes a closer look on the apparent paradox between the paradigmatic success of the exhibition
and the lack of cultural participation.
The WALL – co-creating a common cityscape
Sarah Giersing, Curator, Museum of Copenhagen
The workshop will take place at the WALL which is currently situated at the central Dronning Louise’s Bro. The WALL is a
mobile digital platform, which suggests new ways to let audiences explore and discuss their city’s history as well as shape
and document digital future heritage. It grants street-level access to interact with an open-ended database gradually
amassing both museum and usergenerated material into a multi-layered and poly-vocal narrative of Copenhagen that
maps emotions and everyday life as well as topography and historical events.
This workshop probes the democratization of curating and collecting practices through participatory museum activities like
the WALL.
Option 2 (continued)
The Museum of Copenhagen
http://www.copenhagen.dk/en/
Tuesday 23 April 2013.
Starting sharp at 14.00 & finishing at 17.30pm
Venue: National Museum of Denmark
Host: Per Kristian Madsen, Director General, National Museum of Denmark
Registration: The same delegates from the morning session.
No additional cost to the Conference registration.
Short Introduction: the National Museum of Denmark contains a range of exhibits about the country’s history and culture.
There are eight main themes within the museum from prehistory to present day. Going through the museum, visitors can
learn about everything from the Vikings and other early Danish inhabitants to viewing Renaissance artwork and seeing
how the modern state of Denmark developed.
The National Museum of Denmark also contains artefacts and items from around the world. Delegates are strongly
encouraged to visit the web page prior to the study visit.
Schedule:
14:00 – 14:30: All the guests are greeted by the Director General Per Kristian Madsen followed by an introduction to the
museum
14:30 - 16.00: Guided tour by the Curator and senior researcher Mikkel Venborg and Curator and, Ph.D. Mette Boritz.
16.00 – 17:00: Questions, and possibilities to see other exhibition such as Danish Prehistory, Ethnographic
Collection, Collection of Antiquities or Middle Ages and Renaissance
17:00 -17.30: Refreshment in the Museum foyer
18.00-19.00: Reception City Hall
Public presentation of a short reflection on the day by Gerald McMaster at the reception to the Mayor Pia Allerslev, Culture
and Leisure Administration, Copenhagen City Hall.
Option 3
International Workshop
Place Making - Parkmuseerne (Park Museums)
Bringing Museums & Their Local Communities Together
www.parkmuseerne.dk
9:00 AM to 17:00 PM Tuesday 23 April 2013
Venue: Parkmuseerne. See below for details
Host: Karsten Ohrt, Director, National Gallery of Denmark, Chairperson, Parkmuseerne
Coordinator: Peter Kirkhoff Eriksen, Project Manager, Parkmuseerne
Resource persons: Smithsonian Mall experience - W. Richard West Jr. Founding Director and Director Emeritus of the
Smithsonian’s National Museum of the American Indian; Amareswar Galla, Concept Design of the Reconciliation Place in
the Parliamentary Triangle, Canberra, New Town Cultural Precinct, Johannesburg and Museum Park, Pretoria; and Marily
Cintra, Brazilian artist renowned for public art and place making experience in Australia.
Parkmuseerne Park Museums
Parkmuseerne comprises six museums and three parks, all joined up to form a vast recreational district in the heart of
Copenhagen. Here you can experience the best that art and nature has to offer. Experiential choices can be found both
indoors as well as outdoors. The Park Museum district is easy to access, and everything can be reached on foot.
The Hirschsprung Collection(www.hirschsprung.dk)
The Filmhouse (www.filmhuset.dk)
The David Collection (www.davidmus.dk)
The Natural History Museum of Denmark (http://snm.ku.dk/english/)
Botanical Garden and Museum (http://botanik.snm.ku.dk/english)
Rosenborg Castle (www.rosenborgcastle.dk)
SMK National Gallery of Denmark (www.smk.dk)
Purpose of the Museum Day Workshop
The main purpose of the daylong workshop is to provide an opportunity for the delegates to the 6th International
Conference on the Inclusive Museum to visit the above museums and parks and:

scope the common ground for stakeholder community engagement;

share ideas on place making;

discuss as to how best museums and their local stakeholder communities work together; and

draft core policy principles for the development of a dynamic and creative civic space.
Schedule
8:30 – 9:00: Meet at the SMK
Introductions and informal gathering for international delegates and host museum staff to meet over refreshments.
9:00 – 9:15: Introduction to the Project Parkmuseerne or Park Museums, Peter Kirkhoff Eriksen, Project Manager
Parkmuseerne
9:15 – 12:30: Study visit to The Hirschsprung Collection, The Natural History Museum of Denmark and Botanical Garden
and Museum, Rosenborg Castle, The David Collection and the Filmhouse.
12:30 -13:30: Lunch at SMK
13.30-15:00: Inclusion and art in public spaces
In a workshop inspired by the SOS! (Save Outdoor Sculpture) project we examine how to engage local communities in the
preservation of outdoor sculpture in Copenhagen and we examine how to use these treasures as an educational and
inclusive resource.
In an attempt to scope the common ground for stakeholder community engagement the workshop will revolve around a
discussion on the different ways in which the public can be invited to reflect on professional conservation practices and
even participate in hands-on processes all the while broadening their sense of responsibility for cultural heritage as well as
voicing their own views on the aesthetics of art in public spaces. We will discuss similar projects in other countries to
examine the (dis)advantages in relation to different types of cultural heritage.
Option 3
International Workshop
Place Making - Parkmuseerne (Park Museums)
Bringing Museums & Their Local Communities Together
www.parkmuseerne.dk
9:00 AM to 17:00 PM Tuesday 23 April 2013
The workshop may touch upon the following points:
-
What type of local groups could we engage?
Where do we draw the line between professionalism and public involvement when it comes to hands-on work?
How do we prompt a desire in the general public to help safeguard art in public spaces?
Can we shift public perception to see the sculptures we pass by every day anew?
How can we find a way to work together across different institutions and budgets with this?
Can we balance our professional aesthetics with those of the community (for instance, regarding patina)?
The workshop is facilitated by: Prof. dr. Jørgen Wadum (Keeper of Conservation, National Gallery of Denmark), Louise
Cone (MSc Conservation, contemporary art and objects, National Gallery of Denmark); Anders Ekstrøm Løkkegaard
(cand.scient.cons, The National Museum of Denmark) and Susanne Trudsø (Conservator, The National Museum of
Denmark).
15:00-17:00: Roundtable at the SMK
Roundtable at the SMK National Gallery of Denmark to draft six core principles that can be used to benchmark the
development of museum parks in general.
Morten Meldgaard, Director of The Natural History Museum, Karsten Ohrt, Director of SMK, National Gallery of Denmark
and Facilitator: Richard West Jr. Founding Director and Director Emeritus of the Smithsonian’s National Museum of the
American Indian; and Marily Cintra, Brazilian artist renowned for public art and place making experience.
18:00-19:00: Reception Copenhagen City Hall
Public presentation of a short summary and outcomes of the Seminar by Rick West Jr. at the reception to the Mayor Pia
Allerslev, Culture and Leisure Administration, Copenhagen City Hall.
WEDNESAY, 24 APRIL
8:30-9:00
9:00-10:30
10:30-10:50
10:50-11:45
Room 1
Room 2
Room 3
Room 4
Room 5
11:45-12:40
12:40-14:00
PLENARY ROOM
MUSEUM
LEARNING:
POLICIES &
PRACTICES: 2
REGISTRATION DESK OPEN
PLENARY SESSIONS: Richard Benjamin, Head of the International Slavery Museum, National
Museums Liverpool, UK; Elizabeth Silkes, Executive Director, International Coalition of Sites of
Conscience, New York, USA; Kigge Hvid, CEO, INDEX: Design to Improve Life, Copenhagen,
Denmark
TALKING CIRCLES
Talking Circle: Visitors
Talking Circle: Visitors
Talking Circle: Collections
Talking Circle: Collections
Talking Circle: Representations
LUNCH (Located in the Museum Café)
PARALLEL SESSION 4
(80 Minute Themed Sessions & 60 Minute Roundtable Session in Room 4)
The Museum as Civic Forum for Lifelong Learning
Yen-Ju Lin, The Pennsylvania State University, State College, USA
Overview: This paper aims to understand in what way can museum educators create museums as
democratic sites for lifelong learning that resist the neo-liberal discourses in the global era.
Destructive Dialogue: Responding to Iconoclasm in Museums through Public Access and
Education Initiatives
Dr. Helen Scott, UK
Overview: When artworks on display are damaged by visitors, museums normally respond with
security enhancement. However certain types of iconoclastic attack could be better prevented
through public access and education initiatives.
The Museum Experience: Education and Meaning Making in the Italian Museum
Valeria Pica, Educational Department Vatican Museums, University of Malta, Rome, Italy
Overview: The paper aims to define the museum experience in its main components (aesthetics and
education) focusing on appropriate languages and workshops able to relate the collection
meanings.
Language at the Museum: Fostering Active Citizenship and Intercultural Exchange through
Adult Second Language Learning at the Museum
Jesse-Lee Costa Dollerup, Educational Department, The Museum of Contemporary Art (Museet
for Samtidskunst)/Sorø Kunstmuseum, Roskilde, Denmark
Overview: Contemporary art and a sensory-based pedagogy were used to facilitate adult secondlanguage learning and promote intercultural exchange during an interdisciplinary educational project
at The Museum of Contemporary Art in Roskilde.
12:40-14:00
ROOM 1
MUSEUM
COLLECTIONS
PARALLEL SESSION 4
Objects of Natural History or Ethnographic Objects? The Case of Hermann Karsten’s
Collections at the Ethnological Museum of Berlin
Veronica Montero Fayad, Heritage Studies, Brandenburg University of Technology, Cottbus,
Berlin, Germany
Overview: The paper discusses the understanding of “ethnographic” objects collected in
Colombia by a German botanist in the 1850s and how these were classified in the
Kunstkammer’s Ethnographic Cabinet in Berlin
Informal Religious Shrines: Curating Community Assets in Hong Kong and Singapore
King-chung Siu, School of Design, The Hong Kong Polytechnic University, Hong Kong, China,
Thomas Kong, Department of Architecture, Interior Architecture and Designed Objects, The
School of the Art Institute of Chicago, Chicago, USA
Overview: This paper explicates the typologies and features of selected informal religious shrines
in Hong Kong and Singapore; their custodianship and curatorial implications in relation to the
aged-population will be explored.
Chanoyu as a Repository of Tangible and Intangible Artifacts
Dr. Alexandre A. Avdulov, Department of Modern Languages and Classics, Saint Mary's
University, Halifax, Canada
Overview: Chanoyu, commonly known as the Japanese tea ceremony, can be considered a
repository of tangible and intangible artifacts, an inclusive museum of a special kind.
"Bridging Art and Text" (BAT): Working with Intercultural Inclusion in the Danish Art World
Michelle Eistrup, Bridging Art and Text, Copenhagen, Denmark
Overview: Non-western/diasporic themes are not recognized as valid fields within the Danish art
scene. Eistrup challenges the power structures that exclude professionals with non-western
background from central Danish art institutions.
ROOM 2
THE VIRTUAL
MUSEUM: 2
Is There a Difference? An Analysis of the Presence of Museums in the Network
Katarzyna Maniak, The Jagiellonian University, Cracow, Poland
Overview: I will devote my lecture to the topic of museum presence in virtual reality.
Turkish Primary Schools and Archaeology Museums in the Digital Age: A Case Study of
the Gordion Museum
Erin Minnaugh, Department of Archaeology and History of Art, Koç University, Istanbul, Turkey
Overview: This presentation uses the case study of the Gordion Museum near Ankara, Turkey to
connect the Turkish primary classroom and curriculum with the museum through an interactive
website.
On-Line Museum: Theory and Experience of Representative Museum Website
Implementation
Yulia Anatolievna Petrova, Faculty of Arts, Saint-Petersburg State University, Saint-Petersburg,
Russian Federation
Overview: On-line museums have been in our scope of research for several years. Using our
practical experience we analyze main principles, stages, and specific features of representative
museum website design.
New Technologies versus Cultural Guides: Fight or Cooperation?
Giampaolo Pes, Didactics, Vatican Museums, Rome, Italy
Overview: An evaluation of criteria and standards of three educational devices offered in three
different typologies of relevant museums and archaeological sites of Rome: Colosseum, Crypta
Balbi Museum, and Borghese Gallery.
12:40-14:00
ROOM 3
COMMUNITY
COLLABORATIONS
PARALLEL SESSION 4
Submersive Learning: An Interactive Learning Approach to Enhance Visitor Experience in a
Museum Setting
Linda Masselink, Anne Merkle, University Libraries, Grand Valley State University, USA
Overview: University faculty and students worked with the director of education at a submarine
museum to provide outreach to an economically challenged area through enhanced visitor
experience using interactive educational content.
There Is an Art Museum in My School: A New Model of Museum-school Partnerships
Yiwen Wei, Art Education Department, Florida State University, Tallahassee, USA
Overview: This paper is to suggest a new model of museum-school partnerships for public
elementary schools.
Ethnographic Study of an Art Museum: Deep Examination of a Museum as a Social
Ecosystem Embedded in Community
Dr Yuha Jung, The University of Georgia, USA
Overview: This ethnographic research on an art museum discusses the museum as a living part of
the community and the challenges of reaching out to diverse audiences, thus encouraging shared
authority.
ROOM 4
ROUNDTABLE
SESSION:
VISITORS
*Runs 12:40-13:40
The Local Museum in the Global Village: Engaging with Community through Interviews
Insa Müller, Department of History and Classical Studies, Faculty of Humanities, Norwegian
University of Science and Technology (NTNU), Trondheim, Norway
Overview: The paper discusses how migration and new information and communication
technologies challenge small local history museums. Individual interviews are developed as a
museum method that responds to these challenges.
COFAC Creates: Diversifying the Audience through Partnerships
Jeffrey Morin, College of Fine Arts and Communication, Prof. Caren Heft, Brian Borchardt,
Department of Art and Design, University of Wisconsin-Stevens Point, Stevens Point, USA
Overview: COFAC Creates brings as many stakeholders to the table as possible in order to
increase and diversify the audience. This has increased gallery attendance, diversified participation,
and generated partnerships.
An Inclusionary Approach to Excluded Academic Issues
J. Jackson, Educational Policy, Michigan State University, Lansing, USA
Overview: This research study explores effective engagement strategies in utilizing institutional
content to maximize the educational impact on low income, early learning student populations.
Participatory Strategy: What Can Art Museums Learn from Integrating Youth under 18?
Christina Papsø Weber, Educational Department, ARKEN Museum of Modern Art, Ishoej,
Denmark
Overview: ARKEN Museum of Modern Art strives to become a more diverse and inclusive cultural
meeting place. One of the strategies is to employ local young people under 18.
Visitor Involvement as a Strategy: A Museum Transmitting a Message for Social Outcasts
Anneken Appel Laursen, Historical Department, Den Gamle By, Aarhus, Denmark
Overview: A homeless man set up a shed and showed how he lived, attracting considerable public
interest, which was unusually free of prejudice. Was this inclusion or a stunt?
How to Make Photographs Tell Stories in Museum Exhibitions
Jungwha Kim, Graduate School of Culture Technology, Korea Advanced Institute of Science and
Technology, Daejeon, Eun-soo Choi, Exhibition Division, National Folk Museum of Korea, Seoul,
Sun-Hyuck Kim, Graduate School of Culture Technology, KAIST, Daejoen, South Korea
Overview: This paper describes how stories contained in wedding photographs were retrieved by
Imageteller, story-based image management system that we have developed, in order to represent
personal memories as intangible heritage.
12:40-14:00
ROOM 5
SOCIAL
INCLUSION:
GENDER &
DIVERSITY
PARALLEL SESSION 4
The Lives of the Others: Stories of Migration and Participation in German Museums Today
Dr. Susan Kamel, Department of Art History and Urban Studies, Museum of Islamic Art Berlin;
Kreuzberg Museum Berlin, Christine Gerbich, Institute for Art History and Urban Studies,
Technical University Berlin, Berlin, Germany
Overview: The paper will present three exhibition experiments which aimed at giving access to
museums with islamacate objects to a diverse audience in Berlin today.
In the Pursuit of Women Artists' Invisibility in the National Museums of Art in Mexico
Prof. Silvana Gesualdo, Museology and Cultural Administration Department, Casa Lamm and
University of Comunications, Mexico City, Mexico
Overview: Why are there fewer women artists represented in the temporary exhibitions in the
National Institutions of Art? Could a new perspective be implemented of a museology of parity?
Multi-sensory Communication in Brazilian Cultural Spaces: Strategies of Mediations for Nonusual Audiences
Viviane Panelli Sarraf, Programa de Pós Graduação em Comunicação e Semiótica, Pontifícia
Universidade Católica de São Paulo, São Paulo, Brazil
Overview: This paper analyzes the communication strategies that use touch, hearing, smell, and
taste in Brazilian cultural spaces to benefit non-usual audiences.
Engaging Diverse Publics with Pop-Up Galleries, Political Memes, and Provocative Themes
Dr. Therese Quinn, Anthony Stepter, Leonard Cicero, Gail Gomez, Museum and Exhibition
Studies, University of Illinois at Chicago, Chicago, USA
Overview: A case study of exhibits installed in a storefront pop-up gallery facilitated by a university.
Through political memes and provocative themes, visitors were engaged with exhibits about active
democracy.
14:00-14:25
BREAK
14:25-16:05
PARALELL SESSION 5
PLENARY ROOM
Supported Interpretation: From Theory to Practice through Team-based Exhibition
Development and Evaluation
Colloquium
Ann Rowson Love, Museum Studies, Western Illinois University at Figge Art Museum, Moline, Pat
*Runs 14:25 – 15:55 Villeneuve, Department of Art Education, Florida State University, Tallahassee, Jessica Cruz,
Museum Studies Western Illinois University-Quad Cities, Melissa M. Hueting, Education,
Davenport, Sarah Keim, Museum Studies Western Illinois University-Quad Cities, Figge Art
Museum, Port Byron, USA
Overview: This colloquium presents multiple perspectives on implementation and evaluation
practices from an art museum exhibition that used Villeneuve’s Supported Interpretation model to
encourage community and interpretive interaction.
14:25-16:05
ROOM 1
COLLABORATIONS
& INCLUSIVITY
PARALELL SESSION 5
(100 Minute Themed Sessions & 90 Minute Colloquium in Plenary Room)
Collaborative Art
Frederik Henrik Knap, Department of Education Main Library in Frederiksberg, The National
Gallery of Denmark, Copenhagen, Denmark, Jenni Saunte, Biblioteket Frederiksberg
Overview: This paper explores the co-creative process in developing the digital application TALES,
focusing on voluntarism and professionalism exploring the intersection and collaboration between
young volunteers, librarians, art historians, and web-designers.
The Democratic Future of Museums: Reflections on a Participatory Project Named “gipSMK The Royal Cast Collection Goes to Town”
Henrik Holm, The Royal Cast Collection, National Gallery of Denmark, Copenhagen, Denmark
Overview: This paper examines a dying museum of the past turned into a living museum of the
future, allowing an audience to choose artifacts and creating exhibitions and events with them.
User Involvement in Exhibition Project on Children's Media from 1900 to Today
Leslie Ann Schmidt, Learning and Visitors Department, Brandts, -Museum, Odense, Denmark
Overview: From a theoretical framework on museums as a platform for construction of identities the
paper discusses the practical process on working with user involvement in the exhibition design.
"Light is History": Community Participation Museum Installation of Energy, Light Therapy,
and Contemporary Energy Artifacts in Helsinki Finland
Samir Bhowmik, Systems of Representation Research Group - Media Lab/ Department of Media,
Karthikeya Acharya, Aalto University School of Arts, Design, and Architecture, Helsinki, Finland
Overview: "Light is History" is a museum research installation that investigates community
participation, energy well-being, and new media approaches in the public display of energy artifacts
from contemporary Nordic material culture.
Participation as Audience Study Method and Opportunity to Experiment
Agnes Aljas, University of Tartu / Estonian National Museum, Dr Pille Runnel, Estonian National
Museum, Ehti Jarv, Research department, University of Tartu, Tartu, Estonia
Overview: The presentation examines different audience participation projects at the Estonian
National Museum as the museum researches methods to learn about its communities and
audiences around the museum.
14:25-16:05
ROOM 2
MUSEUM
IDEOLOGIES: 2
PARALELL SESSION 5
Everyone Their Own Curator: Carl Becker’s “Mr. Everyman” and the Inclusive Museum
Dr. Stuart Burch, Clifton Campus, Nottingham Trent University, Nottingham, UK
Overview: Carl Becker’s 1931 speech "Everyman his own historian" is deployed as a means of
considering the role that so-called "ordinary citizens" can and should play in today’s inclusive
museums.
Modes of Knowing: Art, Experience, Education, and the Museum
Pamela Clelland Gray, The University of Melbourne, Melbourne, Australia
Overview: Art historical discourse, disparate educational agendas, and market forces coalesce to
create epistemological tensions at the centre of the art museum, delimiting the potential benefit of
art in human experience.
Curators' Personal Attributes and Modes of Practice: An Historical Comparison
Susan Ostling, Queensland College of Art, Griffith University, Brisbane, Australia
Overview: Many accounts see the contemporary art curator as caught in the flux of global capital.
Using discourse analysis this paper proposes another way to consider the expanding field of
curatorship.
Creativity Applied in Private and Government Museums in Four Tourist Destination Cities in
Indonesia
Dr. Mahirta Mahirta, Gadjah Mada University, Yogyakarta, Indonesia
Overview: The paper discusses the result of research about creativity applied by museum staff
working in private and government museums in Solo, Yogyakarta, Surabaya and Denpasar (Bali),
Indonesia.
ROOM 3
EXPLORING
MUSEUM
EXPERIENCES
Why Visitors Choose to Use or Not to Use Apps in Museum Settings
Ditte Laursen, State Media Archive, State Library of Denmark, Aarhus, Mette Houlberg Rung,
Education Department, National Gallery of Denmark, Copenhagen, Denmark
Overview: This study uncovers visitors’ motivations and barriers in relation to smartphone app use
in the museum environment and discusses which concerns could be addressed and overcome by
the museum.
Bringing Meaning into Making: How Do Visitors Tag an Exhibit as Social?
Dr. Dimitra Christidou, Institute of Archaeology, University College of London, London, UK
Overview: This paper presents and discusses the sociocultural means and practices visitors bring
into their making of meaning upon encountering seven exhibits across three museums in London,
UK.
Children as Teachers: Preschoolers as Museum Guides
Jeanette Grace Clarkin-Phillips, Department of Professional Studies School of Education, Prof.
Margaret Carr, Wilf Malcolm Institute of Education Research, University of Waikato, Hamilton, New
Zealand
Overview: A study of pre-school children acting as museum guides for their families and teachers in
the national museum of New Zealand reveals the complexity of their meaning-making.
Visual Arts-based Research: Art Museums as an Inclusive Elder-friendly Place
Sitthiporn Thongnopnua, Arts Administration, Florida State University, Tallahassee, USA
Overview: Understanding how seniors engage in art, from passive observation to active
participation, helps art museums address inclusion of the elderly––eliminates not only physical, but
also communication and attitudinal barriers.
Evaluation of Guidelines for Exhibition Design in Museums
Omer Kutay Guler, Faculty of Fine Arts, Dumlupinar University, Kutahya, Turkey
Overview: Evaluation of proposed design guidelines for exhibition layout design in the museum
environment, in order to attain improved visitor experience and satisfaction.
14:25-16:05
ROOM 4
MUSEUMS,
HEALTH AND
WELL BEING
PARALELL SESSION 5
Public History, Mental Health and the History of Madness
Dr. Rob Ellis, Huddersfield, UK
Overview: An exploration of the presentation and interpretation of madness/mental illness in the
past and how museums can draw on current academic research to address issues of stigma.
Touching Heritage: Community Health and Wellbeing Promotion through Sustainable and
Inclusive Volunteer Programming in the Museums Sector
Nicholas Vogelpoel, Betsy Lewis-Holmes, Helen Chatterjee, University College London, UK
Overview: A case study of an innovative heritage-in-health programme demonstrating the potential
for museums to collaborate and benefit staff, patients and service-users in healthcare settings
Museums, Art Galleries and Public Health: Evaluating Health and Wellbeing Interventions
Prof. Paul M. Camic, Canterbury Christ Church University, Tunbridge Wells, UK
Overview: This paper explores pragmatic approaches to research and evaluation of health and
wellbeing programmes in museums by balancing requirements of various stakeholders with the
different forms of "collectable" evidence available.
Educational Museum Programs for Children with Visual Disabilities
Harikleia Kanari, Pedagogical Department of Primary Education, Vassilis Argyropoulos, Special
Education Department, University of Thessaly, Volos, Greece
Overview: This study explores educational museum programs for children with visual disabilities. It
refers to activities organized by archaeological museums in Greece and collaborations between
special education teachers and museum services.
The Universal Museum and Global Citizenship: A Case Study of the Dunhuang Collections
Shuchen Wang, School of Arts, Design and Architecture Media Lab, Aalto University, Finland
Overview: Advanced digital technology may contribute to establish a Global Citizenship through
networking the knowledge kept in the material cultures hosted by the Universal Museums.
14:25-16:05
ROOM 5
MUESEUMS
CONSTRUCTING
CULTURE &
HERITAGE
PARALELL SESSION 5
Museum! Camera! Action! Using Film-induced Tourism to Promote Museums and Their
Resources
Sylwia Kucharska, University of Social Sciences and Humanities, Wroclaw, Poland
Overview: This paper examines how museums and the film industry can work together to promote
heritage and attract new audiences to museums through tourism induced by films.
The Museum of Islamic Art: Form, Perception, and Environment
Dr M. Salim Ferwati, Department of Architecture and Urban Planning, Qatar University, Qatar
Overview: The Museum of Islamic Art in Qatar is the focus of the research that reveals the key to
success in its form, perception, and environment.
Creating Engaging Exhibitions: Handling Thing/Object Duality
Oonagh Quigley, Library and Heritage Services, City of Subiaco, Perth, Australia
Overview: In social history museums, displayed objects are often removed from their real-world
context. By examining how people perceive objects, engaging exhibitions can be created, even with
display constraints.
Constructing National Identity: A Museum Visitor’s Perspective
Krista Lepik, Institute of Journalism and Communication in the Faculty of Social Sciences and
Education, University of Tartu, Dr Pille Runnel, Estonian National Museum, Pille PruulmannVengerfeldt, Institute of Journalism and Communication, University of Tartu, Tartu, Estonia
Overview: By focusing on visitor understanding of national identity and its construction, this paper
seeks common grounds that would bring more inclusiveness to a museum.
16:05-16:15
16:15-17:45
17:45-18:00
18:15-22:00
Towards a Smart Heritage as Future Diffused Museums: Design and Communication
Technologies to Innovate the Experience of the Cultural Patrimony in Smart Cities
Asst. Prof. Eleonora Lupo, Dr. Ece Özdil, Department INDACO (Industrial Design, Arts,
Communication and Fashion), Politecnico di Milano, Milano, Italy
Overview: This paper deals with the concept of designing a smart heritage, an approach that goes
beyond the idea of ubiquitous-diffused museum by mixing both in a cultural contents intangibile
geography.
CONFERENCE CLOSING PLENARY: Co-chairs: W. Richard West Jr. President and CEO, The
Autry, Los Angeles, California & Founding Director and Director Emeritus of the Smithsonian’s
National Museum of the American Indian & Amareswar Galla, Executive Director, International
Institute for the Inclusive Museum, Denmark & India. Panel: Sanne Houby-Nielsen, Director
General, National Museums of World Culture, Gothenburg; Ole Winther, Head of Division, Cultural
Institutions and Operations, Danish Agency for Culture; Per Kristian Madsen, Director of the
National Museum of Denmark; Elsebeth Krogh, Director, Danish Centre for Culture and
Development; Finn Andersen, Secretary General, Danish Cultural Institute and Berit Anne
Larsen, Head of Education, National Gallery of Denmark and Board Member of ODM, Danish
Museum's Association
Recognition of Graduate Scholars and Closure: Philip Kalantzis-Cope, Common Ground
Publishing, USA & Amareswar Galla, Executive Director, International Institute for the Inclusive
Museum, Denmark & India
DINNER AND STUDY TOUR: LOUISIANA MUSEUM OF MODERN ART (BOATHOUSE): Buses
depart from the National Gallery of Denmark to Louisiana Museum of Modern Art. Hosted by
Poul Erik Tøjner, Director, Louisiana Museum of Modern Art. Join other delegates for a dinner and
study tour to the Louisiana Museum of Modern Art.
GRADUATE SCHOLARS
Graduate scholars contribute to the flow and overall success of the conference. Their key responsibilities include chairing the
parallel sessions, keeping the conference on schedule, providing audio-visual technical assistance and assisting with the
registration process.
We would like to thank the following Graduate Scholars who participated in the Museum Conference
Irene Campolmi
Irene Campolmi is an Associated Scholar, Max-Planck Research Group “Objects in the Contact Zone: The Cross-Cultural Lives
of Things”. She is also a PhD Candidate at The Art Museum of the 21st Century (in collaboration with Louisiana Museum,
Humblaek),
Department of Aesthetic and Communication, Faculty of Arts, at Aarhus University in Denmark. The provisonal title for her
research thesis is “Sustainability in Contemporary Museology. The Art Museum as Archètopy: turning displays from emphatic
sites into critical-oriented spaces.” She recieved her MA in Art History from the University of Florence and her BA in Art History
and Museolgy from the University of Florence as well. She has worked as a docent for the Acton Art Collection at Vill La Pietra,
New York University in Florence; taught Art History and Art Theory and Criticism at the Florence University of the Arts; and as a
Assistant Curator, Galleria Continua, San Gimignano; Assistant Curator, National Gallery for Modern Art, Rome. Her reserach
interests include Sustainability and Sustainable Development /Museums Cultural Policies /Narratives /Museums Networks /
History of Exhibitions /Sociology and Phenomenology/ Anglo-American Collecting; Female Art Collecting in USA and Europe
between 19th and 20th century.
Dimitra Christidou
Dimitra, following her BA in History and MA in Education and Design of Learning Resources, undertook doctoral research in
Museum Studies at the Institute of Archaeology, University College of London, UK. Funded by the Greek State Scholarships
Foundation (I.K.Y.), Her qualitative research sought to explore visitors’ social interaction and the sociocultural means they used
when experiencing seven exhibits across three museums in London. Her has just started working as a museum educator at the
State’s Museum of Contemporary Art in Thessaloniki, Greece where she currently lives.
Jess Cruz
Jess Cruz will be receiving my Master of Art in Museum Studies in May 2013 from Western Illinois University. In 2007 she
received her Bachelor in Arts from Coker College with a concentration in photography and sculpture. From an early age she has
enjoyed visiting museums, looking at art and artifacts and learning about who made the objects and why. She is passionate
about art, and loves finding ways to open the art world to others. She discovered her way into museum work because it allows
her the ability to use her fine art and art history knowledge to help impart excitement about art to a wider audience. She has
become a huge advocate for participatory museums and am eager to see how museums will engage and collaborate with
audiences in the 21st century. She remains active in education and exhibits because she believes the work of both the educator
and exhibit designer as closely related. They are trying to create the best way for people to relate to the works on display. In her
personal life she has a wide assortment of hobbies that keep me pleasantly busy. She loves to knit, sew, embroider and she is
constantly looking for new ways to make things. She continues to work on her own art, always exploring new techniques and
media.
Alyssa Greenberg
Alyssa Greenberg is a doctoral student in the Department of Art History at the University of Illinois at Chicago and a recipient of
the University Fellowship. She works at the Jane Addams Hull-House Museum as an education assistant, and her research
interests include museum pedagogy and the museum as a site of activism. Her research has been presented at Tufts
University, the University of Sussex, Ben-Gurion University of the Negev, and other venues. She serves on UIC’s Art History
Graduate Student Association and is an active member of the UIC Graduate Employees Organization. She received a BA from
Oberlin College in 2009 and an MA from the Bard Graduate Center in 2011.
Sheila K. Hoffman
Sheila K. Hoffman is a 14-year veteran curator and director of fine art museums in Oklahoma, Michigan and New York. She has
studied in France, Québec, and the U.S, earning her Masters in Art History at the University of Oklahoma. She has authored
several books and articles, including an acclaimed examination of indigenous pottery of the Southwestern United States. She is
a doctoral candidate in Museology, Mediation, and Heritage at the University of Québec at Montréal. Sheila K. Hoffman est une
ancienne conservatrice des beaux-arts aux États-Unis dans les états du Michigan, de l’Oklahoma et de New York. Elle est
titulaire d’une maîtrise en histoire de l’art et doctorante en Muséologie, patrimoine et médiation à l’Université du Québec à
Montréal. Elle est auteure de plus d’une trentaine d’expositions et de plusieurs essais sur l’art, l’iconologie, et le symbolisme.
Sarah Keim
Sarah Keim is a graduate student affiliated with the museum studies program at Western Illinois University-Quad Cities in
Moline, Illinois. She holds a Master’s degree in Art History from the University of Illinois at Urbana-Champaign (2010). Pursuing
a curatorial career, she looks to continue her studies by entering a doctoral program in 2014.
Sylwia Kucharska
Sylwia Kucharska is a PhD candidate in University of Social Science and Humanities in Warsaw, Poland. Her thesis focuses on
the role of film-induced tourism in promotion of cultural heritage. Since 2002 she has been working as a freelance location
manager for feature and documentary movies, mostly for foreign runaway productions in Poland.
Krista Lepik
Krista Lepik is a PhD candidate in the Institute of Journalism and Communication, Faculty of Social Sciences and Education,
University of Tartu, and a librarian at the University of Tartu Library. Her thesis focuses on cultural participation issues in
(Estonian) public knowledge institutions – here, the interest in museum communication and information literacy theories and
practice should also be mentioned.
Szilvia Nagy
Szilvia Nagy is a curator and cultural anthropologist. After graduating from Cultural and Visual Anthropology (2003), she has
studied anthropology and photography in London (Birkback University and London College of Communication). In 2008 she has
co-founded the Miskolc Institute of Contemporary Art (M.ICA), where she was working as a curator and project manager for
exhibitions, workshops, public art projects and public programs until 2012. Currently she is a PhD candidate at ELTE
University's Doctoral Program in Film, Media and Contemporary Culture. Her research focuses on the transforming institutional
background of the art field, especially the structural changes and their analysis by the means of network theories.
Stefania Savva
Stefania is a PhD candidate in Museum Studies at the University of Leicester in the UK. Following on from her undergraduate
studies in Primary Education in Greece, she completed an MA in Art, Craft and Design Education in London in 2009. She
worked in several primary schools in Cyprus as a generalist teacher, as an art teacher for two years and has done voluntary
work in museums in Cyprus. She is currently working as a Research Assistant at the Department of Multimedia and Graphic
Arts, Cyprus University of Technology doing research on the use of ipads in undergraduate art and design education,
undertaken and supervised by Dr Nicos Souleles. Her research interests include the interrelationships between multiliteracies
pedagogy and learning in a museum context, digital humanities and ubiquitous learning, culturally responsive teaching and
learning in and through the arts education.
Rosemary Gall Spooner
Rosie Spooner is an emerging researcher, writer and curator originally from Toronto, and currently based in Glasgow,
Scotland. She holds an MA in British colonial history from the University of Bristol and an undergraduate degree in modern
history from the University of Glasgow, where she returned in January 2013 to undertake Ph.D. studies. Funded by the UK Arts
& Humanities Research Council, Rosie’s doctoral project seeks to create a dialogue between the history of the British Empire
and those public exhibitions that showcased the material culture of non-European peoples to British publics. This object-based
approach, which is focused on examining the movement of objects between periphery and metropole, will enable a
reassessment of the history of the relationship between colonial locales. Rosie also has a strong interest in the visual arts and
has worked in contemporary art galleries both in the UK and in Canada.
INTERNATIONAL ADVISORY BOARD
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Professor Corazon S. Alvina, Former Director, National Museum of the Philippines, Manila, Philippines.
Alissandra Cummins, Immediate Past President of ICOM; Director, Barbados Museums and Historical Society, Barbados;
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
Dr. Shahid Vawda, School of Social Sciences, University of Witwatersrand, Johannesburg, South Africa.
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 Laishun An, Deputy Director of the International Friendship Museum of China; and Secretary General of Chinese Society
of Museums, Beijing, China.
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
Professor Henry C. (Jatti) Bredekamp, Former Chief Executive Officer, Iziko Museums of Cape Town, South Africa.
Dr. Lina G. Tahan, Centre for Tourism and Cultural Change, Leeds Metropolitan University, Leeds, UK.
Lcda Lucía Astudillo Loor, Directora, Museo de los Metales, Cuenca, Ecuador.
Professor Pascal Makambila, Conservateur en chef des musées, Brazzaville, Congo
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.
Professor Dr. Ingolf Thuesen, Head of Department, Department of Cross Cultural and Regional Studies, Faculty of Humanities,
University of Copenhagen, Denmark
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
CHAIRPERSON OF THE ADVISORY BOARD
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Professor Dr. Amareswar Galla, Executive Director, International Institute for the Inclusive Museum, Denmark &
India; Former Vice President, ICOM, Paris
ASSISTING THE CHAIRPERSON
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Berit Anne Larsen, Head of Education, National Gallery of Denmark, Copenhagen, Denmark
EX OFFICIO
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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. Knut Wik, Chairperson, ICOM Advisory Committee; Adviser/museum coordinator, Department of Regional
Development, County Authority of Sor-Trondelag, Norway
Julien Anfruns, Director General, International Council of Museums and President of the International Committee of
the Blue Shield (ICBS) which promotes the protection of cultural heritage as defined in The Hague Convention
Ole Winther, Head of Division, Cultural Institutions and Operations, Danish Agency for Culture; Board Member, ICOM
International Committee on Management
LIST OF PARTICIPANTS
Birgitte
Anderberg
National Gallery of Denmark
Denmark
Jennifer
Arns
University of South Carolina
USA
Elif Cigdem
Artan
Freelance Researcher
Turkey
Alexandre A.
Avdulov
Saint Mary's University
Canada
Poul
Bache
Danish Agency for Culture
Denmark
Marianne Grymer
Bargeman
Statens Museum for Kunst
Denmark
Laura
Barry
Kent State University
USA
Herbert Ian Fetaiai
Bartley
Museum of New Zealand Te Papa Tongarewa
New Zealand
Katharina
Bechler
Stadt Hanau - Magistrat
Germany
Richard
Bello
Sam Houston State University
USA
Richard
Benjamin
International Slavery Museum
UK
Nana
Bernhardt
Denmark
Samir
Bhowmik
Aalto University School of Arts, Design & Architecture
Finland
Zack
Boatman
Santa Fe High School
USA
Elisabeth K.
Bodin
Louisiana Museum of Modern Art
Denmark
Brian
Borchardt
University of Wisconsin-Stevens Point
USA
Frances E.
Brandau-Brown
USA
Noa
Bronstein
The Gladstone
Canada
Sophie
Bruun
Denmark
Nanna
Bugge
City of Copenhagen
Denmark
Stuart
Burch
Nottingham Trent University
UK
Greta
Burman
Moderna Museet
Sweden
David
Calcarcel - Ortiz
Ethnographic Park Piramides De Guimar
Spain
Paul M.
Camic
Canterbury Christ Church University
UK
Irene
Campolmi
Kunsthistorisches Institut in Florenz
Italy
Rita
Capurro
Politecnico di Milano
Italy
Margaret
Carr
University of Waikato
New Zealand
Lara Ceres
Carvalho Lopes
Instituto Inhotim
Brazil
Lilia
Cavaciocchi
The International Institute for the Inclusive Museum
UK
Ju-Chun
Cheng
The Pennsylvania State University
USA
Julie L.
Christensen
Thorvaldsens Museum
Denmark
Dimitra
Christidou
University College of London
UK
Adele
Chynoweth
The Australian National University
Australia
Anna Chiara
Cimoli
Politecnico of Milan
Italy
Marily
Cintra
Health and Arts Research Centre, Inc.
Australia
Jeanette Grace
Clarkin-Phillips
University of Waikato
New Zealand
Jason
Cleverly
Falmouth University
UK
Joe
Coleman
Museum Victoria
Australia
Louise
Cone
Denmark
Geraldine
Craig
Kansas State University
USA
Jessica
Cruz
Figge Art Museum
USA
Fillip
Danstrup
Denmark
Lilia
Dantas
Instituto Inhotim
Brazil
Julie
Dell-Jones
University of South Florida
USA
Jasleen
Dhamija
Curator and Expert on Textiles
India
Jesse-Lee Costa
Dollerup
The Museum of Contemporary Art
Denmark
Paula Assuncao
dos Santos
Reinwardt Academy
Netherlands
Sarah
Edwards
Royal Melbourne Institute of Technology
Australia
Michelle
Eistrup
BAT
Denmark
Rob
Ellis
University of Huddersfield
UK
Hoda
El-Sharnouby
Museum of Copenhagen
Denmark
Peter Kirkhoff
Eriksen
Denmark
Nevra
Erturk
Mimar Sinan Fine Arts University
Turkey
Line
Esbjørn
Thorvaldsens Museum
Denmark
Laura
Evans
The University of North Texas
USA
M. Salim
Ferwati
Qatar University
Qatar
Olivia Skjerk
Frankel
Denmark
Kamilla
Freyr
Uppsala University
Sweden
Andreina
Fuentes
Art Entrepreneurial LLC
United States Virgin Islands
Maria
Gadegaard
Denmark
Amareswar
Galla
Institute of the Inclusive Museum
Australia
Silvana
Gesualdo
Casa Lamm & University of Communications
Mexico
Sarah
Giersing
Denmark
Gail
Gomez
University of Illinois at Chicago
USA
Anita Frank
Goth
KVINFO
Denmark
Pamela Clelland
Gray
The University of Melbourne
Australia
Alyssa
Greenberg
USA
Anneke
Groen
Reinwardt Academy
Netherlands
Karen
Gron
Trapholt Museum of Modern Art and Design
Denmark
Lotte
Grunnet
Denmark
Omer Kutay
Guler
Dumlupinar University
Turkey
Raouf
Halaby
Ouachita Baptist University
USA
Mette
Hanghoi
Denmark
Jakob
Hansen
Denmark
Caren
Heft
University of Wisconsin
USA
Cathrine Kyø
Hermansen
Furesø Museer
Denmark
Beatriz
Hernandez de Fuhr
KVINFO
Denmark
Reya
Hildebrand
Museum Studies
Germany
Hans-Martin
Hinz
ICOM
Germany
Abigail
Hirsch
Royal Academy of Arts
UK
Sheila
Hoffman
University of Quebec at Montreal
USA
Henrik
Holm
Denmark
Frank
Howarth
Australian Museum
Australia
Melissa M.
Hueting
Figge Art Museum
USA
Kigge
Hvid
CEO of INDEX: Design to Improve Life®
Denmark
Annette Rosenvold
Hvidt
Denmark
Serena
Iervolino
University of Leicester
UK
Merete
Ipsen
Women's Museum in Denmark & ICOM
Denmark
J.
Jackson
Michigan State University
USA
Vibhavari
Jani
VJCREATION LLC & Kansas State University
USA
Teena
Jennings-Rentenaar
The University of Akron
USA
Susanne Krogh
Jensen
Furesø Museer
Denmark
Anita
Jensen
GAIA Museum
Denmark
Elisabeth Moller
Jensen
KVINFO
Denmark
Kirsten
Jensen
Denmark
Julie Maria
Johnsen
Denmark
Yrr
Jonasdottir
Ystads Konstmuseum
Sweden
Yuha
Jung
The University of Georgia
USA
Susan
Kamel
Technical University Berlin & Museum of Islamic Art Berlin
Germany
Harikleia
Kanari
University of Thessaly
Greece
Sarah
Keim
Figge Art Museum
USA
Yasmin
Khan
British Library
UK
Jungwha
Kim
Kaist
South Korea
Berit Fruelund
Kjærside
Denmark
Frederik Henrik
Knap
Denmark
Lise
Korsgaard
Denmark
Maria
Koskijoki
Helinä Rautavaara Museum
Finland
Elsebeth
Krogh
Centre for Culture and Development
Denmark
Søren
Krogh
Denmark
Sylwia
Kucharska
University of Social Sciences and Humanities
Poland
Hans-Henrik
Landert
Denmark
Berit Anne
Larsen
Denmark
Marie
Laurberg
Louisiana Museum of Modern Art
Denmark
Anneken Appel
Laursen
Den Gamle By
Denmark
Helle
Laustsen
Copenhagen Business School
Denmark
Tania
Leimbach
University of Technology, Sydney
Australia
Ida
Leisner
GL Holtegaard
Denmark
Krista
Lepik
University of Tartu
Estonia
Betsy
Lewis-Holmes
UK
Yen-Ju
Lin
The Pennsylvania State University
USA
Anders Eckstrøm
Løkkegaard
Denmark
Anna
Lönnquist
Ystad Art Museum
Sweden
Ida Brændholt
Lundgaard
Denmark
Eva
Lundqvist
Swedish Exhibition Agency
Sweden
Eleonora
Lupo
Politecnico di Milano
Italy
Emil
Lüth
Denmark
Tiffany
MacLellan
Carleton University
Canada
Morag
Macpherson
Tyne & Wear Archives & Museums
UK
Per Kristian
Madsen
Denmark
Bobo Charlotte Krabbe
Magid
Denmark
Mahirta
Mahirta
Gadjah Mada University, Yogyakarta
Indonesia
Katarzyna
Maniak
The Jagiellonian University
Poland
Randi
Marselis
University of Southern Denmark
Denmark
Janette
Martin
University of Huddersfield
UK
Linda
Masselink
Grand Valley State University
USA
Gerald
McMaster
Art Gallery of Ontario
Canada
Susana N.
Meden
Museo de la Democracia
Argentina
Thor J.
Mednick
University of Toledo
USA
Anne
Merkle
Grand Valley State University
USA
Erin
Minnaugh
Koç University
Turkey
Veronica
Montero Fayad
Brandenburg University of Technology, Cottbus
Germany
Jean-François
Moreau
Université Paris Descartes
France
Jeffrey
Morin
University of Wisconsin-Stevens Point
USA
Insa
Müller
Norwegian University of Science and Technology
Norway
Immaculate
Nabachwa
Action to Positive
Uganda
Szilvia
Nagy
Eötvös Lóránt University
Hungary
Anna Tresa
Nakibwami
Action to Positive
Uganda
Line Kanstrup
Nielsen
Denmark
Trine
Nissen
Denmark
Lars
Nørbach
Nordjyllands Historiske Museum
Denmark
Kazuoki
Ohara
Yokohama National University
Japan
Karsten
Ohrt
Denmark
Louisa Nnenna
Onuoha
National Museum Onikan
Nigeria
Berat Meryem
Örnek
Koç University
Turkey
Hilde
Østergaard
Nikolaj, Copenhagen Contemporary Art Center
Denmark
Franka
Ostertag
Projektträger im DLR e.V.
Germany
Susan
Ostling
Griffith University
Australia
Carla
Padró
University of Barcelona
Spain
Jakob
Parby
Denmark
Shannon
Perich
Smithsonian, National Museum of American History
USA
Giampaolo
Pes
Vatican Museums
Italy
Yulia Anatolievna
Petrova
Saint-Petersburg State University
Russian Federation
Amanda
Phillips
Leeds Art Gallery
UK
Ksenia Katarzyna
Piatkowska
Gdansk University of Technology
Poland
Valeria
Pica
University of Malta
Italy
Juliana
Pinto
Instituto Inhotim
Brazil
Sheetal
Prajapati
The Museum of Modern Art
USA
Oonagh
Quigley
City of Subiaco
Australia
Natália Teixeira de
Oliveira
James Donald
Quinderé
Brazil
Ragsdale
Escola de Belas Artes & Universidade Federal do Rio de
Janeiro
Anne Mette
Rahbæk Warburg
Denmark
Lilibeth Cuenca
Rasmussen
Artist and Performer
Denmark
Johan Kjærulff
Rasmussen
Roskilde Festival, Music & Creation
Denmark
Malene Natascha
Ratcliffe
Den Frie
Denmark
Lone
Ravn
Denmark
Claire
Regnault
Museum of New Zealand Te Papa Tongarewa
New Zealand
Niels
Righolt
Danish Centre for Arts & Interculture
Denmark
Sidsel
Risted Staun
Denmark
Mysoon
Rizk
University of Toledo
USA
Gisela Kruse
Rønnow
Denmark
Mette Houlberg
Rung
Denmark
Pille
Runnel
Estonian National Museum
Estonia
María Eugenia
Salcedo Repolês
Instituto Inhotim
Brazil
Jette
Sandahal
Denmark
Samo
Sankovic
Pomurje Museum Murska Sobota
Slovenia
Viviane Panelli
Sarraf
Universidade de São Paulo
Brazil
Lise
Sattrup
Denmark
Stefania
Savva
Cyprus University of Technology
Cyprus
Leslie Ann
Schmidt
Brandts
Denmark
Anne
Schnettler
Stage Designer SDS & Architect
Denmark
Kirsten
Schroeder
The Museum of Modern Art
USA
Helen
Scott
The Barns-Graham Charitable Trust
UK
Domenico
Sergi
University of East Anglia
UK
Elizabeth
Silkes
International Coalition of Sites of Conscience
USA
King-chung
Siu
The Hong Kong Polytechnic University
China
Esther
Solé i Martí
Universitat de Lleida
Spain
Amalie
Sølling-Jørgensen
Denmark
Rosie
Spooner
The University of Glasgow
UK
Dineke
Stam
Imagine IC
Netherlands
USA
Anthony
Stepter
USA
Kirse
Stevnsborg
Den Frie
Denmark
Tular
Sudarmadi
Vrije University, Amsterdam
Netherlands
Ilona
Szekely
Eastern Kentucky University
USA
Marcin
Szeląg
Adam Mickiewicz University & The National Museum in Poznań
Poland
Bradley
Taylor
University of Michigan
USA
Terry Mark
Thibodeaux
USA
Sitthiporn
Thongnopnua
Florida State University
USA
Jacob
Thorek Jensen
Denmark
Lissi W
Thrane
Denmark
Susanne
Trudsø
Denmark
Nina
Udby
Denmark
Thomas
van der Walt
University of South Africa
South Africa
Hélène
Verreyke
Erasmus University Rotterdam
Netherlands
Filip
Vest
Denmark
Malene
Vest Hansen
University of Copenhagen
Denmark
Pat
Villeneuve
USA
Nicholas
Vogelpoel
UK
Jørgen
Wadum
Denmark
Shuchen
Wang
Aalto University
Finland
Christina Papsø
Weber
ARKEN Museum of Modern Art
Denmark
Yiwen
Wei
USA
Marie
Wengler
Denmark
W. Richard
West
The Autry
USA
Vera
Westergaard
Denmark
Anders
Wikström
Malmö University
Sweden
Brenda
Winter-Palmer
Queen's University Belfast
UK
Ole
Winther
Denmark
Anna
Wiseman
Museums Association, UK
UK
Nina
Wöhlk
Superflex
Denmark
Gina
Zacharias
Point and Shoot - A Social Photographic Project
Denmark
Gerardo
Zavarce
Miriam Koktvedgaard
Zeitzen
University of Copenhagen
Denmark
Lamine
Zenakhri
Lamine Zenakhri Architecte
Algeria
Venezuela
THE INTERNATIONAL JOURNAL OF THE
INCLUSIVE MUSEUM
ABOUT THE JOURNAL
The International Journal of the Inclusive Museum addresses the following key question: 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 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 key question of the journal is: How can the institution of
the museum become more inclusive?
EDITOR
Amareswar Galla, Ph.D.- Professor and Executive Director, International Institute for the Inclusive Museum, Denmark & India; Former
Vice President, ICOM, Paris
OPEN PEER REVIEW
The International Journal of Technology, Knowledge and Society is a fully peer reviewed scholarly journal, one of sixty-nine academic
journals published by Common Ground. Common Ground’s approach to peer review is open and inclusive. Instead of being dominated
by the exclusive academic hierarchies represented by many traditional editors and their networks, Common Ground journals buil d
lateral knowledge communities. Our referee process is criterion-referenced, and referees are selected on the basis of subject matter
and disciplinary expertise. Ranking is based on clearly articulated criteria. The result is a refereeing process that is scrupulously fair in
its assessments. At the same time, the process offers a carefully structured and constructive contribution to the shape of the published
paper.
INTELLECTUAL EXCELLENCE
The result of our peer review process is a publishing method which is without prejudice to institutional affiliation, stage i n career,
national origins, or disciplinary perspective. If the paper is excellent, and has been systematically and independently assessed as such,
it will be published. This is why Common Ground journals have such a vast amount of exciting new material. Much of the content
originates from well-known research institutions, but a considerable amount of material comes from brilliantly insightful and innovative
academics in lesser known institutions in the developing world, emerging researchers, people working in hard-to-classify
interdisciplinary spaces, and researchers in liberal arts colleges and teaching universities. In recognition of the highest levels of
excellence, an international prize is awarded annually for the top-ranked paper in each journal.
ACCESSIBILITY
Common Ground is developing a low-cost commercial approach to academic publishing. We believe there are limitations in both the
high-cost commercial publishing and the seemingly no-cost open access publishing models. This is why we are seeking to find a
practical middle way between the idealism of open access and the inefficiencies and greed of which the big journal publishers are
increasingly accused. The idealism of open access often creates new problems, leaving academics in the often less -than-happy role
of amateur publisher. And ironically, open access journals and repositories sometimes give insider networks even greater control over
what gets published than was traditionally the case with the big commercial publishers.
This is one of the reasons that Common Ground has recently made all of its journals hybrid open access. The hybrid open access
model offers authors the choice to pay a small fee to have their article made freely available for viewing and downloading by anyone
immediately upon publication. This model also grants readers broad reuse rights to encourage the widespread republication and
distribution of open access articles. Thus, while all Common Ground journal articles are automatically available via personal and
institutional subscriptions and can be purchased for a small per-article fee, authors may also opt to make their article available to
anyone for free by making it open access.
SUBSCRIPTION INFORMATION
Website: http://onmuseums.com/publications/journal
Publisher: Common Ground - www.CommonGroundPublishing.com
ISSN: 1835-2014
Frequency: 4 issues per volume
INSTITUTIONAL SUBSCRIPTION
Information on library subscriptions may be found at http://onmuseums.com/publications/journal/subscriptions-and-orders.
COMPLIMENTARY SUBSCRIPTION
As part of the conference registration, participants are provided with a complimentary electronic subscription to all full-text papers
published in The International Journal of the Inclusive Museum. The duration of this access period is from the time of registration until
one year after the end date of the conference. To view articles, click on the “Inclusive Museum Bookstore” link at
http://onmuseums.com/publications/journal. 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.
LIBRARY RECOMMENDATION FORM
If you wish to recommend the Journal to your library, we have library recommendation forms at the Registration Desk. T hese forms are
also available for download at http://onmuseums.com/publications/journal/about-the-journal.
CONTACT
If you have any questions, please do not hesitate to contact us at [email protected].
SUBMISSION INFORMATION
Registration for the Inclusive Museum Conference allows participants the opportunity to publish in The International Journal of the
Inclusive Museum. Presenters may submit their papers up to one month after the conference. Submitted papers will be fully refereed.
The publication decision will be based on the referees’ reports. To submit, at least one author of each paper must be registered to
attend the conference (to a maximum of one paper per registered author).
General Requirements:

We only accept text files or files in .doc format (such as from Microsoft Word or OpenOffice). We do not accept PDF
submissions or .docx files.

Papers should be approximately 2,000-5,000 words in length. They should be written as continuous expository narrative in a
chapter or article style – not as lists of points or a PowerPoint presentation.

Please remember that the papers are to be published in a fully refereed academic journal. This means that the style and
structure of your text should be relatively formal. For instance, you should not submit a verbatim transcript of your oral
presentation, such as, “Today I want to speak to you about …”

Paper submissions must contain no more than 30% of textual material published in other places by the same author or
authors, and these other places must be acknowledged and cited; in other words, the remaining 70% of the paper must be
unique and original to your current submission.

Authors must ensure the accuracy of citations, quotations, diagrams, tables and maps.

Citations must be submitted in accordance with the Chicago Manual of Style.

Spelling can vary according to national usage, but should be internally consistent.

Papers should be thoroughly checked and proofread before submission, both by the author and a critical editorial friend –
after you have submitted your paper you are unable to make any changes to it during the refereeing process.

Papers will be assessed by referees against ten criteria – or fewer if some criteria do not apply to a particular kind of paper
(see the Peer Review Process).
Illustration/Electronic Artwork Guidelines:

Figures and images must be clear and easy to view. Common Ground cannot improve the quality of images.

Figures and tables need to be placed where they are to appear in the text. If preferred, you may also place images and tables
at the end of your paper.

Please refrain from using Word Drawing objects. Instead use images imported from a drawing program. Word Drawing
objects will not be rendered in the typeset version.
Keyword Guidelines:
Keywords are extremely important in search engine rankings. To achieve better exposure for your paper, please make sure your
keywords are clear and accurate.
Resubmission Policy:
If your paper has been rejected, we will allow a maximum of TWO further resubmissions until TWO months prior to the anticipated
publication date.
How to submit a paper:
For information on how to submit a paper, please visit the “Publish Your Paper” page at
http://onmuseums.com/journal/publish-your-paper/.
The publication process is as follows:

When we receive a paper, it is verified against template and submission requirements. If there are any problems, authors will
be asked to resubmit the paper.

The paper will be prepared and matched to two appropriate referees. When a paper has been submitted to the referees,
authors will receive an email notification. Additionally, authors may be asked to referee up to 3 papers.

When the referee reports are uploaded, authors will be notified by email and provided with a link to view the reports (after the
referees' identities have been removed).

If a paper is accepted, we will confirm conference registration before sending a Publishing Agreement.

Authors will then be asked to accept the Publishing Agreement and submit the final paper.

Papers will be typeset and proofs made available for final approval before publication in the journal’s online bookstore as w ell
as in individual author Creator Sites.
The final date for submission of papers to the Journal (for one way blind refereeing) is 24 May, 2013 – one month after the
close of the conference.
Papers are published continuously in the online bookstore. Authors may view the status of their paper at any time by logging into their
CGPublisher account at www.CGPublisher.com.
OTHER JOURNALS PUBLISHED BY COMMON GROUND
Aging and Society: An Interdisciplinary Journal provides an international forum for the discussion of a rapidly growing segment
of the population, in developed countries as well as in developing countries. Contributions range from broad theoretical and
global policy explorations to detailed studies of the specific physiological, health, economic, and social dynamics of aging in
today’s global society.
Website: www.AgingandSociety.com/Journal
The International Journal of the Arts in Society aims to create an intellectual frame of reference for the arts, and to create an
interdisciplinary conversation on the role of the arts in society. This peer-reviewed journal is intended as a place for critical
engagement and examination of ideas that connect the arts to their contexts in the world.
Website: www.Arts-Journal.com
The International Journal of the Book provides a forum for publishing professionals, librarians, researchers, authors, retailers,
and educators to discuss that iconic artifact, the book—and to consider its past, present, and future. Discussions range from the
reflective to the highly practical, with an eye towards new practices of writing, publishing, and reading.
Website: www.Book-Journal.com
The International Journal of Climate Change: Impacts and Responses seeks to create an interdisciplinary forum for discussion
of evidence of climate change, its causes, its ecosystemic impacts, and its human impacts. This peer-reviewed journal also
explores technological, policy, strategic and social responses to climate change.
Website: www.Climate-Journal.com
The International Journal of the Constructed Environment publishes broad-ranging and interdisciplinary articles on human
configurations of the environment and the interactions between the constructed, social and natural environments. This peerreviewed journal brings together researchers, teachers, architects, designers, and others interested in how we interact with our
environment.
Website: www.ConstructedEnvironment.com/Journal
Design Principles and Practices: An International Journal is a site of discussion exploring the meaning and purpose of “design”
and the use of designed artifacts. This peer-reviewed journal examines transdiciplinary conversations between the theoretical
and the empirical, the pragmatic and the idealistic.
Website: www.Design-Journal.com
The International Journal of Diversity in Organizations, Communities and Nations allows educators, professionals, and anyone
interested in the mediation of cultural difference and diversity to empirically and strategically discuss globalization, identity and
social group formation. This peer-reviewed journal reflects the business of negotiating diversity in organizations and
communities.
Website: www.Diversity-Journal.com
Food Studies: An Interdisciplinary Journal provides an interdisciplinary forum for the discussion of agricultural, environmental,
nutritional, health, social, economic and cultural perspectives on food. Contributions range from broad theoretical and global
policy explorations, to detailed studies of specific human-physiological, nutritional and social dynamics of food.
Website: www.Food-Studies.com/Journal/
The Global Studies Journal is devoted to mapping and interpreting new trends and patterns in globalization. This peer-reviewed
journal attempts to do this from many points of view and from many locations in the world, working between empirical and
general modes of engagement with one of the central phenomena of our contemporary existence.
Website: www.GlobalStudiesJournal.com
The International Journal of Health, Wellness and Society addresses a number of interdisciplinary health topics, including:
physiology, kinesiology, psychology, health sciences, public health, and other areas of interest. This peer-reviewed journal is
relevant to anyone working in the health sciences, or researchers interested in exploring the intersections between health and
society.
Website: www.HealthandSociety.com/Journal
The International Journal of the Humanities provides a space for dialogue and publication of new knowledge which builds on the
past traditions of the humanities whilst setting a renewed agenda for their future. The humanities are a domain of learning,
reflection and action, and a place of dialogue between and across epistemologies, perspectives and content areas. It is in these
unsettling places that the humanities might be able to unburden modern knowledge systems of their restrictive narrowness.
Website: www.TheHumanities.com/Journal/
The International Journal of the Image interrogates the nature of the image and the functions of image-making. This peerreviewed, cross-disciplinary journal brings together researchers, practitioners, and teachers from areas of interest including:
architecture, art, cultural studies, design, education, history, linguistics, media studies, philosophy, religious studies, semiotics,
and more.
Website: www.OntheImage.com/Journal
The International Journal of Learning sets out to foster inquiry, invite dialogue and build a body of knowledge on the nature and
future of learning. This peer-reviewed journal provides a forum for any person with an interest in, and concern for, education at
any of its levels and in any of its forms, from early childhood to higher education and lifelong learning.
Website: www.Learning-Journal.com
The International Journal of Knowledge, Culture and Change Management examines the nature of the organization in all its
forms and manifestations. Across a variety of contexts, a pragmatic focus persists—to examine the organization and
management of groups of people collaborating to productive ends, and to analyze what makes for success and sustainability.
Website: www.Management-Journal.com
The International Journal of the Inclusive Museum asks: In this time of fundamental social change, what is the role of the
museum, both as a creature of that change, and as an agent of change? This peer-reviewed journal brings together academics,
curators, researchers, and administrators to discuss the character and future of the museum.
Website: www.Museum-Journal.com
The International Journal of Religion and Spirituality in Society aims to create an intellectual frame of reference for the academic
study of religion, and to create interdisciplinary conversations on the role of religion and spirituality in society. This peerreviewed journal seeks to critically examine ideas that connect religious philosophies to their contexts throughout history.
Website: www.Religion-Journal.com
The International Journal of Science in Society provides an interdisciplinary forum to discuss the past, present, and future of the
sciences and their relationships to society. This peer-reviewed journal examines broad theoretical, philosophical and policy
explorations and detailed case studies of particular intellectual and practical activities at the intersection of science and society.
Website: www.Science-Society.com/Journal
The International Journal of Interdisciplinary Social Sciences aims to examine the nature of disciplinary practices and the
interdisciplinary practices that arise in the context of ‘real world’ applications. This rigorously peer-reviewed journal also
interrogates what constitutes ‘science’ in a social context, and the connections between the social and other sciences.
Website: www.SocialSciences-Journal.com
Spaces and Flows: An International Journal of Urban and ExtraUrban Studies addresses some of the most pressing and
perturbing social, cultural, economic and environmental questions of our time. This peer-reviewed journal focuses on spaces of
production, consumption, and living, and flows of people, goods, and information as crucibles and vectors of ongoing
transformation.
Website: www.SpacesandFlows.com/Journal
The International Journal of Sport and Society provides a forum for wide-ranging and interdisciplinary examination of sport. This
peer-reviewed journal examines the history, sociology, and psychology of sport; sports medicine and health; physical and health
education; and sports administration and management. Discussions range from broad conceptualizations to highly specific
readings.
Website: www.SportandSociety.com/Journal
The International Journal of Environmental, Cultural, Economic and Social Sustainability creates a place for the publication of
papers presenting innovative theories and practices of sustainability. This peer-reviewed journal is cross-disciplinary in its
scope, a meeting point for natural and social scientists, researchers and practitioners, professionals and community
representatives.
Website: www.Sustainability-Journal.com
Ubiquitous Learning: An International Journal sets out to define an emerging field. Ubiquitous Learning is a new educational
paradigm made possible in part by the affordances of digital media. Our changing learning needs can be served by ubiquitous
computing. This peer-reviewed journal investigates the affordances for learning through digital media, in school, and throughout
everyday life.
Website: www.Ubi-Learn.com/Journal
The Journal of the World Universities Forum seeks to explore the meaning and purpose of the academy in times of striking
social transformation. This peer-reviewed journal brings together university administrators, teachers and researchers to discuss
the prospects of the academy and to exemplify or imagine ways in which the university can take a leading and constructive role.
Website: www.Universities-Journal.com
INCLUSIVE MUSEUM: BOOK SERIES
SUBMIT YOUR BOOK PROPOSAL
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 a 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.
TYPE OF BOOKS
Each conference and journal community has an accompanying book series. We welcome proposals or completed manuscript
submissions of:




Individually and jointly authored books
Out of print works with new scholarly introductions
Edited collections addressing a clear, intellectually challenging theme
Collections of papers published in The International Journal of the Inclusive Museum
Editorial selection can occur after the conference; or a group of authors may first wish to organize a colloquium at the
conference to test the ideas in this broader intellectual context.
PROPOSAL GUIDELINES
Books should be between 30,000 and 150,000 words in length. They are published simultaneously in print and electronic
formats. To publish a book, please send us a proposal including:








Title
Author(s)/editor(s)
Back-cover blurb
Table of contents
Author bionote(s)
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 series that you are
submitting to in the subject line.
INCLUSIVE MUSEUM BOOKS PUBLISHTED BY COMMON GROUND
As part of the conference registration, participants are provided with a complimentary electronic version of each of the
following books from the Inclusive Museum Book Series:
International Heritage Instruments and Climate Change
Rae Sheridan and John Sheridan
International Heritage Instruments and Climate Change considers the current and potential
effectiveness of two UNESCO instruments, the 1872 World Heritage Convention and the 2003
Intangible Cultural Heritage Convention, in protecting and safeguarding the world’s cultural
heritage against the escalating threat from climate change.
This work considers the threat that climate change poses to cultural heritage, both directly and
indirectly (through climate change’s effects on humanity) and recommendations are made as
to how the Conventions might be fortified to better protect and safeguard cultural heritage.
Finally, International Heritage Instruments presents a case study built around the culturally rich
region of Leh, Ladakh, which was recently devastated by climate change linked flooding and
landslides.
Museums and Communities: Changing Dynamics
Deborah Tranter
This book draws on the experiences of the author as the director of the Cobb+Co Museum in
Toowoomba, Australia since its opening in 1987. It charts the changing dynamics between the
museum and its community that have provided enormous benefits to both the institution and
the community itself.
Museums can play substantial leadership roles within communities. This occurs when the
relationship between the museum and its community becomes entrenched with shared values.
These values can facilitate social, cultural, and economic benefits for both museums and their
communities. This book explores these values and their expression within a regional museum
context.
Vietnam Museum of Ethnology: The making of a national museum for communities
Nguyễn Văn Huy
For more than a decade (1995–2006), the Vietnam Museum of Ethnology has undertaken
many journeys: journeys to bring relevant ethnographic objects to the museum; journeys to
reach the opening of the museum's permanent exhibition in its new structure–itself shaped like
a traditional bronze drum–journeys to prepare temporary exhibitions; journeys to seek out and
erect houses of different ethnic groups in the museum's outdoor exhibition; journeys to learn
about and present craft demonstrations and performances; journeys to implement educational
programs for children; and journeys to introduce multimedia into museum activities. Each
journey–creative and educational–has provided opportunities for us to learn about how the
people in our country have adapted to changing conditions.
Plantation to Nation: Caribbean Museums and National Identity
Edited by: Alissandra Cummins, Kevin Farmer, and Roslyn Russel
Plantation to Nation: Caribbean Museums and National Identity explores the evolution of
Caribbean museums from colonial-era institutions that supported imperialistic goals to today’s
museums that aim to recover submerged or marginalized histories, assert national identities
and celebrate cultural diversity.
This book is the first to focus on the growth and development of Caribbean museums and
museology, to address museums across the region regardless of nation or language, and to
allow for much-needed discourse on their evolution.
*Set for Release in May of 2013
Museologists from across the region and internationally address the challenges faced by
museums in the Caribbean, both historically and in the contemporary setting.
RECENT BOOKS PUBLISHED BY COMMON GROUND
Below are selections of books published in other Book Series. These and other books are available at
http://theuniversitypressbooks.cgpublisher.com/
Sustaining Living Culture
Frieda E. Gebert and Kevin Gibson (eds)
While it is indisputable that the Earth’s physical resources are being depleted, distinct
cultural practices are also being eroded by forces of development and homogenization. The
central question addressed in this book is how to sustain cultural practices that are still
active today but are, nevertheless, vulnerable. This is a time when many unique cultures
are threatened; practitioners of rare arts are aging, young people are being integrated into
larger communities, languages are disappearing, and cultural memories are being lost.
Sadly, once the integrity of cultural knowledge is lost, it can never be fully restored. These
articles embody dynamic contemporary efforts to sustain ongoing, and therefore, everchanging cultural practices, not merely closed histories of past events. The lessons learned
in these pages can be passed on to future generations to nourish living cultures.
Views from the frontline: Voices of conscience on college campuses
Sherwood Thompson
Views from the Frontline: Voices of Conscience on College Campuses draws upon the
experience of educators working to sustain diversity and multiculturalism on college
campuses. The book provides a forum for educators to express their views and tell their
stories about their struggles and success. The book is filled with passionate accounts and
new perspectives on diversity, inclusion and multicultural community building. It is
committed to informing and inspiring readers to learn more about the transformation of
cultural diversity on college campuses through documenting the experiences of
administrators and faculty that are changing the legacies of higher education.
China and the Humanities: At the crossroads of the human and the humane
Kang tchou
In the first decade of the 21st century, from the Beijing Olympics to the Shanghai World
Exposition, the Chinese dragon that Napoleon hoped would sleep forever has awakened
from its slumber. If 2008 was for China a year of international athletics, and 2010 a year of
business and economics, then 2009 was a year of the Humanities in China. Over 450
scholars from 16 countries gathered at the historic Friendship Hotel in Beijing to find a new
direction for the Humanities. This collection of twelve essays on human rights, philosophy,
education, theater, literature, medical humanities, consumer culture, and ethnic minorities
in China, by authors from six countries represents the myriad of discourses that marked
that meeting of minds. As a book it builds a bridge between China and the Humanities by
taking its reader to the intersection of the human and the humane. quo needs to be
addressed in order for the field to go forward.
CONFERENCE EVALUATION FORM
Name (optional):__________________________________
We appreciate your taking the time to complete this evaluation form. Your feedback will assist us in planning future
conferences. Please also include comments with specific feedback relating to each of the questions.
1.
2.
How did you find out about the Museum Conference?

Online Search or Listserve

Information Forwarded from a Colleague

Received Email Call for Papers

Other
(Please Specify:___________________________________________________)
How important were each of the following features in your decision to attend this conference?
Please rate on a scale of 1 to 3. 1 = Not Important, 2 = Somewhat Important, and 3 = Very Important.
Location (Desirability as a Destination)
Cost of Travel and Accommodation
Opportunity to Publish in Companion Journal
Quality/Reputation of Plenary Speakers
Interdisciplinary Nature of Conference
Opportunity for Personal Interaction with Diverse
(International, Interdisciplinary) Delegates
3.
1
2
3
1
2
3
1
2
3
1
2
3
1
2
3
1
2
3
Please rate your level of satisfaction with each of the following components of the conference experience:
Please rate on a scale of 1 to 3. 1 = Dissatisfied, 2 = Neutral/Satisfied, and 3 = Very Satisfied.
Pre-Conference
Submission Process (Conference Proposal)
1
2
3
Registration and Payment Process
1
2
3
Communication from Conference Staff
1
2
3
1
2
3
Plenary Speakers
1
2
3
Talking Circles
1
2
3
Parallel Sessions
1
2
3
Collegial Interactions
1
2
3
At the Conference
Venue and Facilities
Conference Content
Continued on reverse…
EVALUATION, CONTINUED…
4.
Do you have any suggestions for venues or host institutions, or for plenary speakers for future conferences?
5.
Would you recommend this conference to colleagues? Why or why not?
6.
How can we improve the conference experience in the future?
7.
Any additional comments?
Thank you for completing this evaluation form as it will help us with our conference planning in the future.
PLEASE LEAVE THIS FORM AT THE CONFERENCE REGISTRATION DESK,
OR MAIL, FAX OR SCAN/EMAIL TO:
[email protected]
Common Ground Publishing
University of Illinois Research Park
2001 South First St., Ste 202
Champaign, IL 61820 USA
Fax: +1-217-328-0435

Full Program Here

Transcription

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