Tar tu NEMO European Estonia Museum Conference Museums 2030 Sharing recipes for a better future 7–10 November 2019 Museums 2030 Sharing recipes for a better future

NEMO European Museum Conference Estonia, Tartu, 2019 6 Foreword David Vuillaume 42 European museum projects that dare to take a stand

8 Introduction 43 Introduction Rebecca Thonander

9 The United Nations’ 2030 Agenda for Sustainable Development – A 44 A museum with attitude Aleksandra Berberih-Slana plan of action for people, planet and prosperity Mercedes Giovinazzo 46 Taking a stand against violence Anna Hansen 12 Transforming our world with museums Henry McGhie 48 The Accessible Museum programme Magdolna Nagy

50 The Generation of Liberty Denisa Brejchova and Marketa Formanova 16 Museums and … Sustainable cities and communities 54 Putting theory into practice 17 Introduction: Sustainable cities, their cultural dimension and the role of museums Jordi Baltà Portolés 55 The best way to predict the future is to design it Sevra Davis 20 Sustainable cities and communities – Museums as places for equity and wellbeing Tiina Merisalo 57 How to get your audiences involved – SDGs and action oriented exhibitions Friso Visser 24 What is the role of a 21st century museum? Matthew & Jessica Turtle 59 Discover your SDG superpower Henry McGhie

61 Systems thinking in process – Sustainability in progress 28 Museums and … Susanne Zils and Alice Anna Klaassen Peace, justice, strong institutions

29 Introduction: How can and should museums play a role in 63 Image and publication credits an increasingly unbalanced, politically challenged age? Maria Vlachou

32 Inspiring people to protect their freedom – The role of museums in building inclusive societies Keiu Telve

35 Museums for radical interconnectedness Višnja Kisić Development already exists. However, natural resources and the exploitation Foreword the museum community is facing of humankind still play an essential different challenges. role worldwide. Not all museums are aware of the Despite these challenges, museums fact that they can be agents of change. have a huge potential and are in a Some of them are even acting as privileged position to contribute to a if their role were to prevent change. better future, a better society and These museums are part of the a better climate. Because our action diversity of the museum sector, but it range is limited, we have to focus is not possible to achieve the SDGs on specific goals without forgetting without a motivation to change the the big SDG picture. David Vuillaume present situation. Even the smallest change and NEMO Chair, However, the motivation for change contribution can help, even the smallest Network of European Museum Organisations is not enough. There is indeed a big museum can contribute. It’s all about threat in commitment. The threat is being conscious about it. We can act that the commitment itself becomes directly, for example by paying the During the 27th annual conference to rethink our management methods. more rewarding than the action and workforce adequately, by providing of NEMO, the Network of European ‘Engaged’ means to act with others, the impact of the action. A positive spaces for encounter, dialogue and Museum Organisations, more than to disseminate and to motivate their feeling to be ready do something good interaction. We can support others in 200 delegates from 39 countries visitors and other stakeholders to is crucial but it is only the first step. achieving the SDG targets with our in Europe gathered in Tartu to discuss go in the same direction, to share the When we want to change some- exhibitions and other communication how museums can work for a better same goals. thing, it means that something went measures. And we can change future, a better society and a better The UN’s Sustainable Develop- wrong. If we want to radically change internally, within our organisations, planet. ment Goals (SDGs) can be summarised something, it usually means that by measuring and correcting our When I look at museums, I actually as being made up of ‘five Ps’: people, we are in a crisis. A positive energy internal working processes. see that they are climate killers too: planet, prosperity, peace and partner- for change is just the other side This publication aims to inspire air conditioning, for example, is required ship. The first three relate to the three of a negative perception of the world museums and other cultural insti- almost everywhere for the profes- dimensions of sustainability (social, linked with feelings like fear, despair, tutions to step up and dare to take sional conservation of collections, the environmental, economic), while peace hopelessness. action. We want to show that the exhibition of objects and the comfort and partnership enable and support We are the winners of globalisation museum community is an excellent of visitors. But I want rather to consider sustainability. Museums and museum in rich societies and we are at the key player in achieving the SDGs the museum as a learning, creative organisations can bring the SDGs same time afraid of the future because and the 2030 Agenda for Sustainable and engaged institution. ‘Learning’ forward. I can say with full confidence our authorities, our society, our parents Development and to make sure that means ready to change, ready to act. that the museum community that were not able in the last 30 years to museums are recognised and supported ‘Creative’ means ready to look for new works to achieve the SDGs and the significantly change the global rules by EU policy-makers for their work solutions, for the right technologies, 2030 Agenda for Sustainable of economy, where the destruction of contributing to a sustainable future.

NEMO Museums 2030 — 6 Estonia, 2019 Sharing recipes for a better future 7 Introduction The United Nations’ 2030 Agenda for Sustainable Development – “A plan of action for people, planet and prosperity”

Mercedes Giovinazzo Director, Interarts Foundation

Between 2013 and 2015, a global 2.5, 4.7, 8.3, 8.9, 12.b, 16.4 and civil society mobilisation of inter- 16.10. At the occasion of the recent national cultural organisations and 2019 UN SDGs Summit, a new networks lobbied to include culture #culture2030goal was launched with in the 2030 Agenda and its SDGs: the release of the report, Culture in the #culture2015goal campaign, the Implementation of the 2030 Agenda, with the title The Future We Want which analyses the first four years Includes Culture, published a of the agenda and its SDGs from the series of high-quality documents perspective of culture. Focusing on and deployed a set of high-level the Voluntary National Reviews (VNRs) actions. Unfortunately, with culture submitted by state parties to the UN, directly mentioned only in the the report explains the developments preamble of the agenda, the result of policy in the global conversation has been disappointing: among on culture and provides key recommen- the 17 SDGs and their 169 targets, dations for the decade 2020-30. culture is mentioned directly only Against this background, it is of in target 11.4 and, indirectly, in targets utmost importance that the European

Museums 2030 — Sharing recipes for a better future 9 cultural sector not only acknowledges voluntary action in terms of legislation, that the signatory parties are free the structured setting within which the existence of the 2030 Agenda and policy-making or operational to decide whether to address it or to exercise action, it offers a relevant its SDGs but that it also works to programmes. Its monitoring mechanism not through legislation, policy and/or framework for, on the one hand, actively address their content. Indeed, is relatively fragile insofar as its programmes. The consequences active citizenship and, on the other, in spite of the minor and tangential main purpose is to evaluate the action of this lack of explicit references the mobilisation of cultural civil mention of culture, the agenda provides undertaken and it does not foresee to culture in the 2030 Agenda and society to actively engage in its deploy- an extremely interesting and relevant retributory countermeasures. Notwith- SDGs are underlined in the report ment and development, in view of reference for the cultural sector with a standing these drawbacks, the Culture in the Implementation of the a future strengthened and concrete normative, operational and symbolic 2030 Agenda has an undeniable 2030 Agenda, which stresses that positioning of culture. value. normative value. “the cultural dimension of sustainable International normative instruments Achieving the objectives set forth development lags significantly set the frame as to how, according in a normative instrument is possible behind (between one eighth to one to a value position, an issue should be through specific national legislation fifth of) the other three recognised addressed. Most of them are non- and policies as well as operational dimensions (the social, economic and binding and have a ‘declarative’ nature: programmes. As an example, the environmental)”. their signatory parties commit to EU’s Creative Europe programme to On the contrary, the symbolic value transposing the indications therein support the cultural and creative and power of the 2030 Agenda as to their national legislations and/or to sectors finds its justification in a legal regards culture is not only undeniable deploy related policies and programmes. basis without which the programme but also significant. Indeed, the For these instruments to be of could not exist. Since culture is agenda offers a solid basis on which relevance within the international not specifically foreseen in the 2030 to raise awareness and inform both arena, they must have a strong Agenda, the possibility to deploy cultural stakeholders and the general and structured monitoring mechanism operational programmes to support public as to the challenges that and a consequent and systematic it is practically non-existent. A the world currently faces. It is also an budgetary allocation. A relevant normative instrument inspires action; extremely useful tool by which to example is the European Convention not mentioning culture specifically leverage interest for legislative, policy on Human Rights (ECHR), which entails that both the issuing organi- and operational action both at established the European Court sation and the signatory parties will national and international levels. It of Human Rights in Strasbourg, France. not consider it as relevant. Indeed, the is closely related to the concept of The 2030 Agenda is an interna- drafting of normative instruments citizenship, which enables the exercise tional normative instrument that sets is a painstaking process that aims to of civil and political rights but also a frame and establishes objectives ensure common ground for under- of social, economic and cultural rights. to be achieved by its signatory parties. standing and commitment by all those In this sense, the 2030 Agenda It has a declarative purpose and involved. With culture mainstreamed is a formidable tool that provides for intention; it also sets the frame for throughout the agenda, it is obvious ‘constitutional praxis’: understood as

NEMO Museums 2030 — 10 Estonia, 2019 Sharing recipes for a better future 11 range of stakeholders. That means the balance of the ‘5 Ps’: people, planet, Transforming our world the ‘United Nations SDGs’ (as you prosperity, peace and partnerships. sometimes hear them referred to) are Sustainability enhances the balance with museums really everyone’s SDGs. Whether you of these dimensions, enhancing think of them as a recipe, a roadmap, positive impacts and steadily reducing a blueprint, or a template, they are negative ones. The SDGs are relevant an amazing opportunity for all sectors to museums and museum networks, and indeed every single one of us as museums are closely associated to collaborate to help put the world with human and environmental rights on a path to a sustainable future. (notably the rights to cultural The 2030 Agenda and SDGs came participation and lifelong education). from a realisation that we can’t tackle I suggest that museums can the world’s problems one by one: support the SDGs, and use them as the challenges are interconnected, and a template for their activity to in tackling one problem, we have to support a better future, by working Henry McGhie ensure we’re not creating other problems on the following six-step plan and Consultant and founder of Curating Tomorrow and just moving the problem from one seven key activities 1. place to another. The vision of the Firstly, understand the SDGs to 2030 Agenda is tremendous and highly be an integrated set of 17 goals What kind of future do we want: for futures? Finding a shared blueprint, ambitious. If you haven’t already done and 169 targets. They can’t be cherry- ourselves, for others, for those who language and set of objectives will so, I recommend you read this vision. picked: you have to consider the come after us, and for nature? What help us go further, faster, together. The SDGs are about supporting people’s whole agenda, to work to support the roles can museums play in creating Fortunately, such a shared individual and collective human rights considerations of people, planet, these futures? No doubt we will each blueprint exists in the shape of the and environmental rights, as they prosperity, peace and partnerships. have different answers, and that is 2030 Agenda, presented in the underpin peace and justice. They are You should also check out the full partly fine, but it is also really problem- document Transforming Our World. about reducing inequality, ensuring title of each goal, rather than the short atic. We can only do so much on our The agenda was agreed upon by long-term social and environmental name that appears on the better own (and that is certainly worth doing), the members of the United Nations sustainability and, importantly, they known icons. but to make a real difference we in September 2015 and came aim to “leave no-one behind”, to create Secondly, decide what position or need to collaborate, with other museum into effect in January 2016. The a future where people flourish in positions you are going to take with workers, with museum networks, agenda runs until 2030 and is harmony with nature. They have been the SDG agenda, whether as a leader, with other sectors and with potential achieved through the pursuit of set out as an invitation to all sectors follower, resource provider, partner partners to build our individual and 17 SDGs, which are themselves made to collaborate to create this better or whatever else. collective capacities to imagine, design, up of 169 targets. The goals and future, and I like to think that we also shape and grow the future we want. targets were developed through an have to ensure that we leave no sector 1 NEMO webinar,Using the Sustainable Development Goals in Museums, available So how can we create these better extensive process involving a wide behind. The SDGs are built around at https://bit.ly/McGhieWebinar

NEMO Museums 2030 — 12 Estonia, 2019 Sharing recipes for a better future 13 Thirdly, consider how you and your 01 it. Don’t wait; start now if you haven’t work currently support (and impede) Protect and safeguard the world’s already started. The future needs you. each of the 17 goals, and identify which cultural and natural heritage, both The SDGs need museums, goals connect most with your work. within museums and more generally. and museum workers, as they play a This will vary for different roles and crucial part in protecting and safe- for different kinds of museums. 02 guarding cultural and natural heritage, For example, an educator will have Support and provide learning and supporting a wide range of a particularly strong link to Goal 4 opportunities in support of the SDGs educational, cultural and research (Quality education), and if someone activities. On the other hand, works in an aquarium they will have 03 museums need the SDGs: they will a clear link to Goal 14 (Life in water). Enable cultural participation for all help them have a clear purpose Fourthly, I suggest the following in society, build better and stronger seven key activities as a very impactful 04 partnerships, and ultimately way for museums to contribute to the Support sustainable tourism make a bigger and better difference SDGs. The list applies to individuals, for the world. institutions, networks and the 05 NEMO’s members represent entire sector. The list identifies where Enable research in support of the SDGs more than 30,000 museums in museums can make a difference, 43 countries. Imagine the difference and is mapped against the SDGs and 06 they – we – could make if we targets. It is not intended to be used Direct internal leadership, management each and all took up the SDGs as a list for museums to justify how they and operations towards the SDGs and the 2030 Agenda as our presently make a difference, but as collective roadmap to a better future. a roadmap to enhancing their contri- 07 That is also surely the way that butions to the SDGs. As with the Direct external leadership, collaboration museums will have the most secure SDGs themselves, the seven activities and partnerships towards the SDGs. future, and when 2030 comes, we should be considered alongside one will be able to say that we did what another, and developed in harmony we could with the opportunities (and not in opposition, or at the expense Fifthly, develop an action plan to and resources available to us. of other activities): enhance positive contributions to the This article is based on a freely available guide, SDGs and reduce negative impacts, Museums and the Sustainable Development Goals: working towards your vision and goals. a how-to guide for museums, galleries, the cultural sector and their partners, available at bit.ly/2ZdSFUR. Build this into your planning, moni- toring, reporting and communications. Sixthly, review and renew your action plan regularly and repeat this six-step process. Enjoy it and celebrate

NEMO Museums 2030 — 14 Estonia, 2019 Sharing recipes for a better future 15 Museums and … Introduction: Sustainable cities, their cultural Sustainable cities dimension and the role and communities of museums

Jordi Baltà Portolés Advisor, United Cities and Local Governments (UCLG) Committee on Culture

The SDGs recognise the importance estimated that over 65% of the SDG of cities and local settlements in Goal 11, targets are closely related to the which addresses the increasing delivery of basic services by local urbanisation of the world and the need and regional governments – the to make cities and towns more inclu- figure is even higher in more decen- sive, safe, resilient and sustainable. It tralised countries. Therefore, in is also in Target 11.4, where possibly order to make the SDGs successful, the most substantive and explicit refer- it is necessary to strengthen the ence to cultural aspects in the SDGs competences and resources of local is made, by establishing a commitment and regional governments and to strengthening efforts to protect establish multi-level strategies and and safeguard cultural and natural mechanisms that recognise the heritage. specific role of local and regional But beyond SDG 11, we refer to authorities. And because the SDGs the ‘localisation’ of the SDGs to stress are universal, they also apply that many of the SDGs need to be to all stakeholders, including local implemented at the local level. It is cultural actors such as museums.

Museums 2030 — Sharing recipes for a better future 17 In addition to the specific 02 The SDGs are our current framework, references to cultural aspects made In many areas of the SDGs, cultural but this is not the agenda we in a few targets and goals, we knowledge and resources can would have wanted. We believe the believe that cultural aspects can operate as enablers to achieve the next decade, the ‘implementation contribute to the achievement of global goals. These are areas decade’, should serve both to demon- all the SDGs. The UCLG Committee where, although cultural aspects strate that culture matters for the on Culture fosters the integration are not explicitly formulated, they achievement of the SDGs, and to call of cultural aspects in all approaches could provide resources and activities for better, more comprehensive to sustainable development, placing that contribute to making progress, future agendas. In particular, we see emphasis on cultural rights as a basis for example by organising community the following as key measures: for local cultural policies. Last year events that foster wellbeing, creating UCLG published Culture in the employment, attracting tourism, Raise awareness of how museums Sustainable Development Goals: or collecting and disseminating contribute to SDGs through case A Guide for Local Action 2, which knowledge around natural resources studies, publications, events, etc. explains why culture matters in each and their sustainable use. (SDGs 2, of the 17 SDGs, providing examples 6, 7, 8, 12, etc.) Strengthen cross-sector partner- and guidance for making this effective ships and networks in our cities and locally. We could argue that there 03 towns, reinforcing the place of are three main ways to understand Cultural practices convey forms culture in sustainable development. this connection: of expression, creativity and identity- building that relate to the core of Ensure cultural actors take part in 01 human dignity, embodying a people- sustainable development planning Because the SDGs are universal, centred sustainable development and monitoring exercises. they need to be adapted to national with culture in a substantive part. In and local specificities, translating this respect, museums and other Advocate for future agendas the global language into specific cultural institutions should be seen that give culture a more visible challenges, stories and activities. In as basic services (in line with a compre- place –for example, via the global this context, museums can play a hensive, multidimensional approach #culture2030goal campaign. role by fostering participatory activities to poverty and exclusion – see SDG 1). that enhance ownership of relevant Museums can also contribute to In this chapter, Tiina Merisalo and policies and programmes (SDG 16), as inclusive education and learning Matthew and Jessica Turtle highlight well as by operating as knowledge (SDG 4), guarantee equal access and the role of museums in contributing centres, collecting and disseminating participation for women and girls to sustainable and inclusive cities and information on local histories and and make sure their stories and heritage communities in their contributions. needs. are made visible (SDG 5), and foster 2 Available here: http://www.agenda21culture.net/ inclusion (SDG 10), among others. sites/default/files/culturesdgs_web_en.pdf

NEMO Museums 2030 — 18 Estonia, 2019 Sharing recipes for a better future 19 Helsinki has an ambitious vision created in participation with citizens and Sustainable cities and to become the most functional city in offers a free, democratic space and the world. The city strategy states: access not only to books and the world communities – Museums “Functionality is based on equality, of literature and learning, but also to non-discrimination, strong social sewing machines, 3D printers, music as places for equity and cohesion and open, inclusive ways of studios, meeting rooms, etc. Since operating. Everyone feels safe in opening in December 2018, it has Helsinki. A functional city is based on already attracted three million visitors. wellbeing trust. Safety and a sense of mutual Libraries in Finland have always been trust and togetherness are a competitive a trusted, valued and heavily used public edge for the city. The city is for service. The city museum, with everyone. The city is built together.” free spaces and services for different Helsinki aims to become carbon audiences, is fostering the same neutral by the year 2035. Action democratic values mentioned above. is being taken every day in all parts Tiina Merisalo of the city to meet this goal – for How culture and museums Director, Helsinki City Museum instance, by reducing traffic emissions can have an impact on and developing public transport – sustainable development but until now, there has been less in cities Museums all over the globe seem to opportunities to participate or discussion of a socially and culturally have only begun waking up to climate volunteer – sometimes they just don’t sustainable city and the effect this Diminishing our own carbon footprint change in the last few years, as has even recognise it themselves. We can have on wellbeing. is of course one of the first measures the majority of humankind. Conferences have a shared need to recognise what But it is precisely here that on our path towards a more sustainable and seminars around these issues we can do and do better. museums, libraries and cultural services museum. This calls for staff education have been many, especially this year, have their place. As open, easily and many small changes in our daily life. when voices have been louder and Helsinki has accessible, mostly free spaces that Museums can also take actions that the feeling of emergency stronger. ambitious goals foster information, knowledge, are more connected to their contents What can we do? How should we act experiences, arts, creativity and per- and role as a knowledge and memory to make change happen, to have an Helsinki City Museum is owned by the spective from the past through to organisation. They can have an impact impact in building a better world for all? City of Helsinki and is closely connected the present towards the future, they on sustainable development by, for Museums are working in line with with the community values, goals can create opportunities to build a example: many of the SDGs. They have collective and actions that the growing city has more sustainable society, more resilient impact, for example, by contributing decided to adopt. As we know, cities cities, and to promote dialogue, developing open, accessible to education, raising awareness through are playing an increasingly important equality, equity and wellbeing. One places, spaces and services their exhibitions, events or opening role around the world as vanguards great example of this is Helsinki’s that encourage dialogue and up their collections, organising of sustainable development. new central library, Oodi, which is encounters

NEMO Museums 2030 — 20 Estonia, 2019 Sharing recipes for a better future 21 strengthening democratic rights and enabler, is a growing position The 4th floor as test lab for is collaboration with a team of experts to cultural heritage, knowledge and strongly connected with an under- contents outside the museum and with street information and ensuring their standing that the museum does not guides from the Hima & Strada project, accessibility need to work alone, and that we can The 4th floor space in our flagship a group of experienced experts on make it possible for people or different museum is our own test lab, where we homelessness. producing contents which promote communities to use the museum try to deliver thought- and emotion- diversity, multiple voices and cultural heritage for their own provoking contents and apply methods aspirations and initiatives. This of participation. A somewhat hidden sharing opportunities means sharing and opening up our agenda is that this space also is used to participate for all data and knowledge resources for to build up empathy skills. Various free, and making our spaces an easily exhibition projects like Helsexinki or Fear supporting active citizenship accessible and open resource for all. have been experiments into this. The discussion of changing roles is The next two projects in 2019-20 collaborating with diverse actors ongoing and needs to be practiced are following the sustainable and communities in the cultural and challenged every day. In this era of museum agenda: Helsinki hobo and ecosystem. emergency, should we take even more Urban cultivation/urban food. an activist role in building up resilience Helsinki hobo presents Johan Knut The great transformation of Helsinki in our community, as fosterers of Harju (1910–1976) who was a self- City Museum from 2013-16 offered us democracy and keepers of civil society taught writer and folklore collector, but an opportunity to reassess and rethink or as fighters for sustainability? also a homeless alcoholic whose life’s our mission, vision, services, roles We have embedded a partici- work was to record life on the streets of and ways of doing our work and to create patory approach in our planning Helsinki. His notebooks will be opened a completely new museum. and projects. And for us, participation to the public for the first time in an During the renewal process, four is a way to involve and engage exhibition. Key concepts and questions central roles in which we are acting Helsinkians. It enhances the feeling to be discussed through the exhibition were recognised. Firstly the museum of belonging and commitment to are homelessness, life on the streets, is and has traditionally been the work for a better city. It adds empower- survival on the edge of society, promoter of Helsinki knowledge and ment to the wellbeing of individuals diversity, destigmatising and multiple understanding through its collections, and communities. identities. We are enhancing diversity exhibitions and events, publications Creating the museum as a place by giving voice to people not often heard and education. The museum also for meaningful life and encounters or seen in museums, presenting city aspires to be a Helsinki experience. The does not happen overnight. It takes history from a new perspective and third role, museum as a social hub time to create trust and build up presenting unseen materials, a collec- and place for encounters, has become the brand and reputation of an inviting tion of 20,000 pages from Harju’s more essential over the last five years. and inclusive museum. notebooks. At the core of this project The fourth role, museum as a platform

NEMO Museums 2030 — 22 Estonia, 2019 Sharing recipes for a better future 23 st and national level. The backdrop authorities and large service providers What is the role of a 21 for this work has been a dramatic rise in London because these were in different forms of exclusion and people they had been unable to reach. century museum? inequality in the UK in the last nine MoH was part of this coalition years. Official figures show the and present in the space, contributing number of people sleeping on the volunteer shifts and playing a streets has risen by 165% in nine leading role in a public protest outside years whilst the percentage of people Downing Street that sought to draw applying to be housed across the attention to the tragedy of people who UK has risen by 44%. Just recently, the die whilst homeless. At this protest, UK’s Office for National Statistics we used photocopies of items from our recorded the highest figures for people archive – newspaper clippings and who have died whilst homeless ever. posters – that show past injustices, as These changes exist as part of broader part of our first placard exhibition. cuts by the UK government on Sofia House existed for just a few Matthew and Jessica Turtle funding for social care, health services weeks before the groups were peace- Co-founders, Museum of Homelessness and benefits. Meanwhile the fully evicted but its impact was vast. era-defining ‘Brexit’ vote has sharply It brought renewed attention to the work polarised different communities, of grassroots groups and their Museums and galleries have always workshops, campaigns and exhibitions, leading to bitter divisions, rising hate innate ability to connect with people reflected and interpreted social, with support from a broad network crime, economic uncertainty and who would otherwise be suspicious political and economic changes. An of arts, academic, policy and medical political instability throughout the UK. of the larger mainstream services. increasingly complex and globalised professionals. As well as this, we Our first example took place in It also brought greater collaboration world is causing museum practitioners provide direct support – bursaries, March 2018 during the ‘Beast from the between these groups and local govern- to reconsider the relevance and mentoring, training and practical East’ spell of intense cold weather in ment. The following year, Sadiq purpose of museums and how they support – to our community members. the UK. During this month, a coalition Khan, the Mayor of London, committed best reflect and serve the communities Together we collect and share the of street outreach groups and £600,000 for better winter provision they are a part of. art, history and culture of homelessness volunteers, led by Streets Kitchen, for homelessness in the city. He has In 2015 the Museum of and housing inequality to change legally squatted in Sofia House, also made frequent calls for large Homelessness (MoH) was established society for the better. Together we find a prominent commercial building on empty commercial properties to be and in its four-year journey, MoH hope in deeply divided and difficult Great Portland Street in central made available by businesses. has developed into a community-driven times. London. Taking matters into their own Another example is our more recent social justice museum that tackles We want to introduce two examples hands, the action got nearly 200 campaigning work around the Dying homelessness and housing inequality of our work with partners and allies of London’s most marginalised people Homeless Project, a UK-wide campaign by amplifying the voices of its that have played a role in direct cam- off the streets within days, a originally created by the Bureau of community through research, events, paigning and led to changes at local development that surprised local Investigative Journalism in response

NEMO Museums 2030 — 24 Estonia, 2019 Sharing recipes for a better future 25 to the growing crisis of people dying homeless in the UK. The bureau did this when they realised that no one authority recorded the names or stories of people who die homeless. The bureau ran the project between October 2017 and March 2019 and we have inherited it. The project aims to honour and remember people through an online memorial whilst seeking to bring about change for the better. In the time we have been holding the project, we have been asked to give evidence to members of parliament, and the National Records Office of Scotland has made a commitment to record statistics around homeless deaths for the very first time. This follows on from the Office for National Statistics for England and Wales, which agreed last year to do the same off the back of the work of the bureau. These examples illustrate how a museum, no matter what size it is, can play a role in fostering democratic participation and action. They involve collaborating with groups and people who work far outside the museum field, yet demonstrate how important and powerful a museum can be in representing communities and promoting a just world. These are important things to hold onto as we enter a new and uncertain decade.

NEMO 26 Estonia, 2019 Museums and … Introduction: How can and should museums play Peace, justice, a role in an increasingly strong institutions unbalanced, politically challenged age?

Maria Vlachou Executive Director, Acesso Cultura

The recent – and ongoing - discussion of ICOM Europe, reporting on the regarding the proposal for a new Kyoto General Assembly in a Portuguese museum definition has fully exposed newspaper, stated that it is the rift within the museum world. a confrontation “between a purely And that, in principle, is a good thing. instrumental and aspirational It will oblige us to look at what we are vision of museums, which essentially doing and how and why we are doing diminishes them by assimilating it, considering the changes taking them to any other institution or cultural place in our societies and, inevitably, project animated by the motivations within the field. and principles of social democracy, and François Mairesse, who resigned another, which, although not rejecting from the International Council of such principles, seeks to concentrate on Museums (ICOM) committee tasked what distinguishes museums, makes with rewriting the definition, called them unique and, therefore, magnifies it “a statement of fashionable values, them in their irreducible originality”. much too complicated and partly Raposo considers that the first perspec- aberrant”. Luís Raposo, President tive is best suited to what he calls

Museums 2030 — Sharing recipes for a better future 29 “activists of all just causes”; the second, expression, dialogue, critical thinking what is going on around them? Was to museum professionals. and social cohesion. Is this what there any reaction, for instance, Should we consider peace and we actually do, though, in practice? from European cultural organisations, justice – just to state two words Or rather, despite what the museum and the many European migration that form part of this chapter’s title – definition might state, are we here to museums, in particular, regarding the “fashionable values”? And should collect, research and simply exhibit recent vote in the European Parliament people, colleagues of ours, who have objects? Making no effort whatsoever against improving the search and rescue been actively defending these to actually use these objects as a of migrants and refugees in the and other values through their work no practical tool, to make them meaningful Mediterranean? What happened to the matter what the museum definition and relevant for people of different European values we are so proud is, not be acknowledged as the museum backgrounds? Do museums really wish of? To the international conventions professionals that they are, but to connect to their societies and do we have signed? How can we keep rather as “activists of all causes”? they take a stand in practice, publicly, silent when those who are supposed Although I was myself very critical when certain values are being to defend them – because this is of the proposal for a new museum ignored and attacked? And if they do, what the EU was built upon – blatantly definition, my criticism was mainly or say that they do, are people aware disregard them? to do with the form, not the content. of that? Do people have this perception In this chapter, Keiu Telve of Actually, for a long time I – just as many of museums? the Vabamu Museum of Occupations other museum professionals around To give just a couple of examples, and Freedom in Estonia and the world – have embraced many of the the Museum of Memory and Višnja Kisić of the University of principles and values stated in the Human Rights in Chile has been Belgrade share their thoughts proposal, because this is precisely the actively involved in the huge on the role museums may be playing way we interpret the current museum demonstrations currently taking in normalising the systemic violence definition, namely where it refers to an place in the country, and it has around them; and how they may be able “institution in the service of society been very vocal. In Lebanon, a number to help raise awareness regarding and its development… for the purposes of leading cultural organisations a number of issues to activate people’s of education, study and enjoyment”. collectively committed to Open Strike sense of citizenship. Another issue that has clearly and made provisions in order to emerged in this discussion – and that allow their staff and members to join I personally tend to focus on a lot – the protests. “Arts and culture are is whether we are just full of words. In integral part of every society,” they their mission statements (when they stated, and this is what I mean exist) and other texts and presentations, when I question whether museums the majority of museums and cultural really wish to connect to their organisations say that they exist societies: how vocal are they, and to defend and promote freedom of not just within their walls, about

NEMO Museums 2030 — 30 Estonia, 2019 Sharing recipes for a better future 31 create and support understanding how we must, on a daily basis, Inspiring people to protect of how people and societies survived continuously and consciously nurture crimes against humanity and what freedom in a free society. It is their freedom – The role we can do to prevent history repeating important that we are honest about itself. history and ask uncomfortable Two of our four key values questions about collaboration and of museums in building are ‘inclusive discussion’ and ‘vibrant compromise. When we talk about opinions’. We initiate discussion Soviet times, we encourage museum inclusive societies to bring people together. We are open guests to take the position of people to different perspectives and create living in that era and to see how there opportunities for people to exchange were no easy answers. For instance, their opinions and encourage them should a young girl from a religious to carry on the ideals of liberty. At the family join the Communist youth same time, we stand for freedom of league, Konsomol, and get access to expression, opinion, religion, mobility, education and career opportunities, Keiu Telve enterprise, and all other forms of even though she has to betray her Executive Director, Vabamu Museum of Occupations and Freedom freedom. We remember how these beliefs and family? The visitors read freedoms have been repressed these life stories with great interest in the past and ensure that they are and reflect on what what they would do The Vabamu Museum of Occupations Estonia to educate people to reflect rebuilt and reimagined in the present. in a similar position. Their empathy, and Freedom recounts the story of about its recent history. She decided to The most important tool for us to ability to reflect and compassion grows the Estonian people from occupation establish a museum that remembers carry out our mission is our permanent towards the people who lived through to independence and inspires the past and helps to protect freedom exhibition, Freedom without Borders, this era. They understand better how people to stand up for their freedom. today. Our museum sees the freedom which opened in 2018. It consists of five privileged we are nowadays to be We educate, engage, and encourage and lack of freedom during the occupa- topics: crimes against humanity; living in a free society. Estonian people and visitors to reflect tions as two sides of the same coin. Estonians in the free world; life in Soviet Through temporary exhibitions on recent history, feel the fragile Our exhibitions have been developed to Estonia; the restoration of indepen- and museum programmes, we are able nature of freedom and stand up for foster understanding about Estonia’s dence; and freedom. We acknowledge to mediate between different groups liberty and justice. complex recent history. Along with the that the topic of freedom is not in Estonian society. We ask questions The museum was opened in historical background, we are opening unique to Estonians. This story does about the events of the 1990s, using 2003 by Olga Kistler-Ritso, a foreign up people’s memories and their life not belong to us and, on a wider storytelling methods that allow people Estonian who had to flee the country stories, and showing how there were scale, it is a story of humanity and to speak about what they felt and 1945 when the Soviet Union occupied no easy choices under the inhuman inhumanity all around the world believed in when Estonia restored its Estonia. When the country restored regimes of the Nazi and Soviet occupa- and how one country managed to independence. Vladimir is one of the its independence almost a half century tions. We are not looking for victims survive this and build an indepen- people who tells his story. He was living later, Olga wanted to make a gift to or someone to blame – rather we try to dent state in the 1990s. It is also about and working in Narva, and like many

NEMO Museums 2030 — 32 Estonia, 2019 Sharing recipes for a better future 33 other people from Russian-speaking communities, he believed that Museums for radical the Estonian state would protect the interests of minorities. Unfortunately, interconnectedness Estonian citizenship was only given to those who could prove their Estonian origins. Even today there are 80,000 people with an ‘alien’s passport’, which is issued to a person with undefined citizenship. We are also supporting integration and collaboration between Estonian- and Russian-speaking youth. One integration project is Ten Decades of the History of Estonia. It brought together Estonian- and Russian- speaking youngsters for a four- Višnja Kisić day-long programme. They had the Researcher, University of Belgrade opportunity to create an exhibition showing different perspectives on the history of Estonia and how, in many The invitation to talk at NEMO’s injustice and violence implicit in cases, groups remember and interpret conference in 2019 about museums museums, we need to work to unearth, history differently. and the SDG of Peace, Justice reflect on, reconnect with, feel and Our experiences show that and Strong Institutions came about address the cycles of violence that we bringing people together, creating a because of my research and work on are all implicated in and share in safe space for ideas and encouraging heritage, politics and conflicts, including today’s neoliberal, global capitalist conversation can change stereotypes heritage-led peacebuilding in south- world. This violence stems from and support the formation of inclusive east Europe and the post-Yugoslav deeply rooted hierarchies of power and societies. These are only a couple of region. However, talking about peace worth through which we dissect, examples that show how using historical and justice in contrast to violent define, collect, exhibit and enact the perspectives can help us reflect on armed conflicts and wars can easily world we live in – hierarchies relying today’s societies. We see that daily work mask the depth and breadth of on anthropocentrism, patriarchy, in our museum supports democracy violence and injustices of the world colonialism, eurocentrism and global and the growth of civil society. we live in – parking it in a particular capitalism. These hierarchies and place, community and time. This poem the practices that enact them are not takes a different stance; it starts from just well documented, but are also an argument that in order to tackle the perpetuated by museums. This poem

NEMO Museums 2030 — 34 Estonia, 2019 Sharing recipes for a better future 35 is thus a call for museums to go such a world, we need honesty, When 36% of the world lives below the poverty line, beyond the SDGs and other policy- critical thinking on historic, structural, And 26 richest persons own the same as defined frameworks in building ecological, symbolic and emotional 50% of the poorest humans a peaceful and fair world without violence, deep affection, dedication Governments of “developed” countries violence. For museums that build and radical interconnectedness. Are implicated in that violence.

When a raped teenage girl in San Salvador Ends up in jail, When 39 dead Vietnamese bodies are found For abortion is illegalised based on Catholic faith frozen in a lorry in Essex, Catholic missionaries are implicated in that violence. a British family whose homes are kept tidy by poorly paid immigrant labour When humans with no homes, is implicated in violence. Freeze, starve and die on the streets of London, all those who own second and third When an Afro-Colombian family loses its son, apartments because he refuses to be silent on cocaine trafficking are implicated in the violence. as a guard at a small airport in Colombian Pacific in Nuqui, European and US elites, When humans who can pay $80,000 for something, drown in Mediterranean waters that is worth only $2,000 escaping violence, hunger and death, when it leaves Colombia, not only EU governments, police and military, are implicated in violence. but EU creative forces and votes are implicated in that violence. When landscapes of dead fish and birds, stomachs packed with plastics, When rivers, forests and all that is living populate beaches, is poisoned by mercury from gold extraction, our warm take-away coffee moments, banks full of gold, golden weddings and adorations children’s toys, are implicated in the violence. and fresh bottled waters are implicated in death and violence. When products of lesser quality are made for Eastern Europeans, When those 40% of undocumented Western Europeans are implicated in that violence. Children born in Sub-Saharan Africa End up in deadly mines For the precious metals in our phones, Phone users are implicated in violence.

NEMO Museums 2030 — 36 Estonia, 2019 Sharing recipes for a better future 37 By being proper, Homicide ignorant consumers Pesticide of citizenship in the “peaceful, democratic, developed world”, Genocide We are mass killers. Ecocide.

In our privilege For not to see that, We are implicated in the violence of the web of life. we have created networks of disciplines, borders, But none of us is guilty separations, or could be charged of atrocities. domains, properties, In a world ordered by the passports, integrated global capitalism, and concepts grown on all past and current forms of patriarchy, So that we can live blind of coloniality, Radical interconnectedness. racism, speciesism, In our separated disciplines, rationalism, In our “universal”, national and thematic museums, Enlightenment In our ordered collections, and civilising rituals, In our “common European heritage”, We are implicated in everyday, eco-systemic violence Epistemic, eco-systemic, structural, and symbolic webs of violence That connects us to oppression Get neutralised, disconnected and ignored. through our privilege and ignorance. In our museums, Violence violence is always somewhere out there. in our hierarchies of value, In the blood of our ancestors. our economies of worth, In arms of our neighbours, our landscapes of care, In times and places other than ours. practiced on ourselves In sites of atrocities, in slavery museums, and all those deemed outside. In World Wars, in other past wars, occupations and armed conflicts, All the disposables. in Middle East, Northern Ireland and the Balkans.

Disposable bodies, Objects, landfills, Dreams. Disposable futures.

NEMO Museums 2030 — 38 Estonia, 2019 Sharing recipes for a better future 39 To address violence beyond armed conflicts, Dismantling oppression, Guilt is not an option. Daring to care For there is no innocent existence. Daring to learn Just networks of care Daring to ask and networks of separation that shape our worlds. Daring to connect. Sorrow, grief and unease are a good place to begin Daring to choose radical interconnectedness, Choosing to see, Life, solidarity and openness, Choosing to ask and to feel In place of ignorance, tolerance, violence. emotionally, bodily and mentally politics of existence Choosing to be more and presences of all those who are present in their absence. Than SDGs, than strategies and policies, For more just, peaceful, vibrant worlds. This act is not about personal guilt and personal choice But about professional ethics and institutional responsibility. It is not about the food in a museum cafeteria or its energy consumption, But about epistemic injustice on which its collections, buildings and practices are made. It is not about the power to change the world, But about daring to contribute to other worlds possible. Worlds of anti-violence, interconnectedness and care.

Daring to try and experiment. No best practice and ready-made recipes. But honest attempts. Mining the Museum The Fall of the First European Wall Museum of Homelessness Museum of Abortion and Contraception Museo Casa Memoria Museo de la Memoria y los Derechos Humanos History that does not Exist.

NEMO Museums 2030 — 40 Estonia, 2019 Sharing recipes for a better future 41 Introduction It takes a lot of courage for a European museum museum to take a stand, both on Rebecca Thonander an organisational as well as on a Communications Officer, personal level. You might find a project projects that dare NEMO to be important, but you also have to convince your colleagues to participate in order to implement it. You are to take a stand The main goal of NEMO’s European possibly putting the reputation of your Museum Conference was to inspire museum at risk and you can never each other and the museum community know how the local community and to take action and do our part for audience, or funders, will react. a better future. To question what is There’s also the risk that the project happening in the world and in the will not work out at all and you have local community can be difficult, but to be ready for critique. But when you it is an important part of creating succeed you can really pat yourself a better tomorrow. Therefore, NEMO on the back and feel accomplished for invited museums to submit their brave making a change and for inspiring projects to the European Project Slam people. of Courageous Museum Projects. Four In the 2019 edition of the European museums were selected to present Project Slam, all four museums made their projects at the conference: the the most of their role as trusted insti- National Liberation Museum Maribor tutions and active agents of change. (Slovenia), the Regional Museum of All projects have in their own way taken Skåne (Sweden), Hungarian Open Air a stand by creating awareness on a Museum – Museum Education and difficult topic that is bound to not please Methodology Centre (Hungary) and the everyone or create unease – staff, Museum of West Bohemia in Pilsen visitors, the general community, and (Czech Republic). politicians. Two projects empowered The projects that were selected to people in difficult situations. The be presented at the conference all other two projects made parallels to inspired us with their courageousness. the past by highlighting problematic Just as with the SDGs, it is important developments in the present. to put commitment into action if you want to change even just a little bit in the world.

Museums 2030 — Sharing recipes for a better future 43 A museum with ended with a special ‘police and tear gas prejudice, not only among kids but periods, countries and with different entertainment programme’ during teachers as well. It was time for action. stories. People could meet them, attitude the so-called Maribor Uprising. People We came up with different get to know them, talk to them. of Maribor know what they want and ideas and all our colleagues were very We invited Faila Pašič Bišič, who Aleksandra Berberih-Slana if they don’t like someone or something, supportive. Since we always talk about was born into a Muslim migrant Director, the National Liberation they show it. Our then-mayor had to human rights and use our collections family in Slovenia. Faila’s ceaseless Museum, Slovenia resign and the prime minister (with his as proof of what happens when some- work with migrants and refugees government) followed him shortly. one takes these rights from people, has resulted in her receiving a lot of The National Liberation Museum Maribor is a nice city, with kind we did it again. We used our objects, public recognition, and she has is situated in Slovenia, a country people and the oldest vine in the documents, photos, stories and received many different accolades. squeezed between Croatia, Hungary, world. But it has its darker side. As if our knowledge to make a change for She was awarded the Face of the Austria and Italy. Slovenia has people forgot what happened to us a better future and to put a mirror in European Year of Equal Opportunities everything – the Alps, the sea, endless during WWI and WWII, when many of front of us, the whole community. We for All, as well as the Dobrotnica vineyards and bears – and we our ancestors had to leave their homes wanted all of us to see our reflections, Humanist of the Year Award – both are sceptical about sharing them and lost everything. Hundreds of to realise who we are, what we think in 2007 – and many others. Other with anybody. It is a small country, people were resettled or sent to concen- and do, and how our actions influence guests were Samira Kentrič, an independent since 1991. tration camps during the second the world around us. author and artist, and Maisa Al Hafes, The museum’s hometown is world war. War and its consequences Our first initiative was Museum for a Syrian refugee. Maribor, a city in northeastern Slovenia. are something we are familiar with. Peace, an interactive project that We are a museum after all, so A small but a very beautiful city, it Nevertheless, in 2015, when the has reached more than 3,500 children we also prepared some exhibitions. was a European Capital of Culture media was full of terrifying and sad so far. The European Commission in Since the media showed those in 2012. We were all proud of that. images of migrants and refugees, panic Slovenia chose it as project of the year terrifying pictures of crowds crossing Unfortunately, it was also the only and fear started to spread around and financed it in the year 2018. The our country en masse, we opened a European Capital of Culture that the country. Ignorance from not knowing whole idea of this initiative is to raise photo exhibition, Refugees, People, to what was going on, or who the people children who think objectively, talk talk about the personal tragedies of crossing our country were and why they reasonably and act responsibly. The human beings. were there, was followed by fear. pupils learn to overcome prejudices But we wanted to do more. Most Organisations and individuals rushed and get to know non-violent possible of all, we wanted us to stop being to help, but there were also those who solutions for conflicts, which are hypocritical. Our city is a city of migrants were not friendly and understanding. placed in contrast to violent problem- and refugees and it has been A feeling of discomfort was in the air. solving in history. throughout its history. At the moment, Our museum’s pride is our educa- Another project was called Fences the inhabitants of our city are people tional department. We cooperate in our Heads. All prejudice and born in 107 different countries. We all with schools on a daily basis. Principals stereotypes come from within us, as know someone who is a refugee or and teachers contacted us, concerned does fear and hatred. We have invited a migrant. We are their friends and Third Maribor Uprising, 2012 about the rise in fear, hatred and refugees and migrants from different family members. We go out with them,

NEMO Museums 2030 — 44 Estonia, 2019 Sharing recipes for a better future 45 buy their food, eat at their restaurants, Taking a stand several activities and lectures. We meet them everywhere. So do we believe started by having seminars where migrants and refugees are a threat against violence a special group within the police to our way of living? Do we acknowledge focusing on hate crime led discussions them as an equal part of our society? Anna Hansen for people working in the municipality, We expressed our ideas and beliefs in Director, Regional Museum of Skåne, such as firefighters, police officers and the Maribor’s Mosaic exhibiton. Sweden people working in social care. People Our museum has changed a lot. came from all over the region and We have become a relevant partner In spring 2019, the Regional Museum two seminars were fully booked. These to organisations and individuals that of Skåne decided to work with violence were important seminars to make work with migrants and refugees. as a theme. In particular, we focused people who encounter these crimes in A number of self-defence courses were arranged at the museum in order to empower people, in particular those We have opened our museum to them. on domestic violence and hate crime – their professional life more aware of in vulnerable positions Since October 2019, we have had violent crime committed because the judicial system and how hate crime a migrant employee at our museum. of someone’s faith, skin colour, sexual is really defined. singer Josefin Nilsson, who died a few Some of us have been receiving orientation or ethnicity. These On International Women’s Day years earlier, was broadcast on TV. threats because of what we do, but we crimes are often not talked about and in March we put on a lecture by solicitor The documentary had a powerful impact never forget that “evil thrives when sometimes not even reported. Often Ulrika Rogland. She has worked as on people and was much discussed the good do nothing”. After all we are the victim is in a vulnerable position and a judge and prosecutor and has vast across Sweden and in the media. The resilient. We live in a city that still feels doesn’t trust society. It was important experience of crimes against children, reason for this was the story it told the consequences of the second world to the museum to work with this theme, domestic violence and sexual violence. about how she had lived with a man who war; where just months ago, thousands in order to raise awareness of these She is very concerned about victims’ had abused her for several years. of people were evacuated because crimes and acknowledge they exist and safety and often takes part in debates This debate revealed an eminent need two bombs were found. Can we then are serious, and that we all need to to try to influence legislation and in society to get together to show turn away when others need help? take action and support the victims. increase knowledge. Her lecture was that this was intolerable behaviour and By talking about these crimes, we completely full and we even had to share sadness. At the museum hoped to empower victims to report to turn people away because there we worked quickly, and about a week hate crime and make people living were not enough seats. This showed after the debate started, we held in abusive relationships aware of their us that there is huge interest in a demonstration against domestic options. the topic, and a need for people to violence. It was held at lunchtime The Police Museum in Stockholm increase their knowledge and get to enable people to participate, while had produced an exhibition about together to discuss these matters still ensuring that it was easy for hate crime that we hosted at our in a safe environment. us to arrange. We did this together museum. It was opened by a trans By chance there was also huge with the municipality and different woman who gave a speech about interest in domestic violence in women’s aid organisations, as well as the experiences she’d had. In connection the media at that time. In March 2019, the Swedish church. This cooperation Maribor’s Mosaic Exhibition, 2017 with this exhibition, we also arranged a documentary about the Swedish was essential for spreading the word

NEMO Museums 2030 — 46 Estonia, 2019 Sharing recipes for a better future 47 about what was going on, as well against violence, participated in an The year-long development The fee of the sessions and the cost as for finding the right format important discussion in society and, procedure included regular meetings of transport were covered by the and people to do it. It was important hopefully, enabled the people who took of museum professionals, as well programme. At the beginning of the to us to give people the tools to part to get better informed. as integrating the expertise of sociolo- project, we organised eight kick-off handle situations like this, to let gists, non-governmental organisations meetings in centrally located museums them know where to turn. and social workers. In parallel, five of targeted regions, where the teachers Another event in our programme museums developed (in collaboration could meet the 35 museums and build was self-defence training. We ran with universities and teachers) personal contacts with their staff. two courses, one aimed at younger The Accessible model programmes for enhancing people and one aimed at adults. the competencies of different The idea was that if you are in danger Museum groups of underprivileged children. of becoming a victim of any kind of programme The methodology development violence you should be able to defend culminated in the publication of yourself. Magdolna Nagy a book, Chance with Museums, In the end, it was quite a successful Director of the Museum Education which provides practical assistance programme of activities combined and Methodology Centre, to museum educators working with an exhibition. But we could not Hungarian Open Air Museum, Hungary with groups living with social disad- have done this without collaboration. vantages, like children of Roma Some organisations reached out to Our vision was to develop a system heritage, and those living with mental us and wanted to cooperate. They that can help museum professionals or physical impairment, such as Magdolna Nagy speaking about the CultureBonus pro- came up with ideas and did a great job to find a way to collaborate with comprehension obstacles, physical gramme at NEMO’s conference when it came to spreading the word public education to enhance the disabilities, blindness and visual Geographical obstacles are a about the activities. They did not know competencies and skills of under- impairment. The book is also used as constant issue, as travel costs represent from the start that we had a specific privileged children. a handout for the training course, an unsolvable problem for many theme in mind, but some ideas simply The Accessible Museum Chance with Museums. schools when they are not financially connected with our theme, which programme is a complex methodology The CultureBonus programme supported by a project. That is why made the programme richer. In other development. In the first phase, we was launched in November 2018 in we encouraged teachers to engage and cases, we reached out to them. In conducted quantitative and qualitative the eighth and 11th poorest regions cooperate with local museums, but all our activity programmes for any research and reviewed similar of the EU, with the participation nevertheless, many of them chose exhibition, we try to collaborate programmes in different European of 35 museums and 6,000 students the furthest possible destinations: with different partners. This means countries. In 2017, we organised from 40 schools. The respective those children travelled a minimum six that over time we build up a network an international conference, Museums children were transported to the or seven hours a day for a two-hour of connections, which makes it much as institutions of social empowerment, museum education programmes long museum programme. easier when you need specific in order to explore best practices among or, in some cases, the education session Almost 90% of the teachers were partners. So together with some other foreign museums and build personal would take place in the classroom in first-time visitors of the museum. organisations, we took a clear stand contacts with them. the form of a ‘museum-in-a-suitcase’. Some of them hadn’t even heard about

NEMO Museums 2030 — 48 Estonia, 2019 Sharing recipes for a better future 49 museum education before. But The Generation was accompanied by poor living finally gave up its leading role. Right according to the monitoring conditions and bullying of soldiers. after these events, the first democratic surveys, 91% of the teachers were of Liberty president of the Czechoslovak “completely” satisfied with the Information monopoly and Republic was elected: Václav Havel – experience. According to 78%, the Denisa Brejchova and censorship of media, personal and playwright, writer and tireless session was useful. Marketa Formanova official mail correspondence, books fighter against the communist regime. Although there is a financial Museum educators, West Bohemian or films. And what is the situation in incentive included in the scheme Museum Pilsen, Czech Republic our country 30 years after the Velvet to motivate museums to get involved, Physical and psychological control Revolution? We have never experi- this still does not keep museum I would like to start this contribution of society through the state police. enced such a long period of peace and educators engaged in the long run. with a short historical summary: The number of victims is estimated time of prosperity. But... we now In addition, most teachers are not after the Second World War, the at two million people (let me have a president who agrees with currently encouraged to take children to communist regime, under the remind you that the total population contemporary totalitarian leaders. the museum either. We consider it leadership of the Soviet Union, took of Czechoslovakia was around Our state is led by a prime minister who necessary to run a lot of further personal power all over Eastern Europe 12 million inhabitants). Everyone is suspected of several crimes and discussion and organise meetings and remained in most countries for who disagreed with the leading who controls all important businesses to convince both museum professionals 40 years. Czechoslovakia was one role of the Communist Party in and media in our republic. The effects and teachers about the advantages of the countries that experienced a long Czechoslovakia was persecuted, of the 40-year period of totalitarianism of this programme. period of communist totalitarianism. as were the representatives of are still felt. Following the completion of Five basic features of this regime were: subcultures. Tens of thousands That’s why we have prepared in our the pilot, a proposal for extending of people went into exile. museum the educational programme, the initiative all over Hungary will The official ideology of Marxism- Generation of Liberty, for primary and be submitted to the ministry responsible Leninism that everyone had to Another consequence was the secondary school children. Our aim for culture. The results show that accept. People were systematically worsening economic situation. is to lead children to critical thinking, to it is definitely worth continuing the influenced through school Czechoslovakia, which was the ninth understand the historical context and programme, although we have to education, official culture and richest country in the world after the to show them that totalitarianism is still face the fact that change of attitude many propaganda campaigns. First World War, became a devastated an everyday reality for many people takes time. state. in the world. Only one political party with one At the turn of the 1980s and 1990s, What does the programme look leader. all communist regimes in Europe like? Before visiting our museum, gradually collapsed. A turning point teachers receive methodology for school Monopoly of army, which resulted in Czechoslovakia was the brutal preparation. At the museum we in the massive militarisation of suppression of the student demon- introduce the personality of Václav society. Each man at the age of 18 stration on 17th November 1989 in Havel in the various roles of his had to join the army for two years. Prague. It resulted in the so-called Velvet life. As a child, as a dissident fighting This so-called homeland service Revolution and the Communist Party against totalitarianism, as a political

NEMO Museums 2030 — 50 Estonia, 2019 Sharing recipes for a better future 51 prisoner, as a leader of the Velvet be handed over to the Václav Havel Revolution, as a president who, even in Library in Prague in spring next year. the role of supreme statesman and And why did we do it? We would like politician, never stopped defending to try to compel teachers to include human rights, and finally Václav the topic of communism and totalitari- Havel as a citizen seeking to build anism in their lessons at school and a civil society that is free, that has give children the opportunity to reflect. rights but also duties. We want to inspire young people to Subsequently, we acquaint students think about what freedom is and how with the everyday reality of life under easily it can be lost. communism and explain censorship, which would mean, for example, that that they could never read a book about Harry Potter, because it would be forbidden as English (or western) literature. They learn that people secretly made copies of forbidden texts on typewriters. They find out for themselves how difficult this was. We were particularly interested in how children today perceive freedom and what they think of it. We ask them to try to write their attitude to freedom on typewriters. Each participant is absolutely free to express their own statement. Our only condition is that they sign their statements with their full name, because freedom must always be asso- ciated with responsibility. From those pages, which children make during the programme, we will collaborate with students from the West Bohemian Uni- versity in Pilsen to make an artistically bound book of messages from the ‘generation of liberty’. This book will

NEMO 52 Estonia, 2019 The best way to predict the future is Putting theory into to design it Sevra Davis practice Head of Learning, Design Museum, United Kingdom

This workshop explored how the Key questions and main circular economy and circular design points principles can be taught and learned in a museum context. The workshop The question is not whether or not emphasised not only the need a circular economy is possible, for museums to take a leading role but how we will work together to in exploring how we can create a achieve it. more sustainable future through the circular economy, but also why Design thinking and design for learning through ‘doing’ is so fun- behaviour change are powerful damental to the success of the tools in the move toward a circular circular economy and circular design. economy and a sustainable The workshop took as its starting future, but how they are deployed point not the justification for why a will be very important in their circular economy is needed, but success. how we will get there. Specifically, the workshop explored the following: Museums are well-placed to help steward the journey toward a The need to move to a circular more sustainable future, not only economy through their ability to bring people together and deliver inno- The role of design vative formal and informal learning programmes, but also because The principles of design thinking they have an opportunity to take a and design for behaviour change stand and not be neutral when it comes to addressing the climate The role of museums in cultivating emergency. behaviour change

Museums 2030 — Sharing recipes for a better future 55 The United Nations SDGs provide Design Ventura: a free, design How to get your audiences involved – a very useful and universal frame- and enterprise challenge work for designing and delivering for secondary school students, SDGs and action oriented exhibitions museum learning programmes. supported by industry profes- sionals that asks young people to Friso Visser Design for circularity and social design a solution to an everyday Deputy Director/Head of Education, Museon, the Netherlands impact must be more mainstream problem. The programme empha- in all dialogues and it does not sises that the final products need to address every aspect to be should not only be made of sustain- In the workshop, participants got to successful. able materials but may also rush through the SDGs and brain- encourage a more sustainable stormed in small groups about how Learning programmes at museums lifestyle more generally. The to introduce a specific SDG in an and outside them are most programme differs from other exhibition or museum, and how to successful when they are connected design competitions for young activate the public. In a very short to what people care more about. people in that the product is actually time, participants came up with exam- made and sold in the Design ples of possible solutions to present Museum shop and young people the SDGs in such a way that the public Best practice examples see first-hand the manufacturing is called to action (in a hands-on way, process, so begin to understand how rather than merely being informed). All Participants discuss how to apply the Sustainable materials are used. outcomes were shared among the Development Goals to cultural heritage collections participants, leading to an animated The Great Competition: a design discussion of what would be feasible Best practice competition for higher education in terms of audiences and what not. In students explicitly focused on the second round of discussions, Museon’s ONE PLANET exhibition was encouraging new ways of thinking participants got a wider perspective by presented as an example of how the about sustainable manufac- looking at another SDG. Examples SDGs can be introduced to the public. turing and how students of different of applying the SDGs combined with The key to a peaceful, just and secure disciplines can collaborate to and based on heritage collections, world is a fair distribution of food, water stimulate new thinking about the and how this will enhance the visitor and energy, and the acceptance of The atrium of the Design Museum, London circular economy. experience by introducing these differences in cultural identity. The ONE (through storytelling), were discussed PLANET exhibition is about challenges The workshop used two first-hand and presented by all participants. and new social science advances in examples of design education pro- In the end, the group gave evidence of this area. The United Nations’ 17 SDGs grammes run by the Design Museum a wide variety of options of introducing provide the starting point for the to demonstrate how learning about the SGDs within a museum setting and exhibition. ONE PLANET challenges circular design can be put into practice: involving a large audience. visitors to reflect on current issues

NEMO Museums 2030 — 56 Estonia, 2019 Sharing recipes for a better future 57 and offers inspiration in the quest for Discover your SDG superpower solutions. ONE PLANET lets you discover the world, think up solutions Henry McGhie and be a hero on your planet. Consultant and founder of Curating Tomorrow, United Kingdom Museon used the 17 SDGs as the starting point for the exhibition3. Themes include: overfishing, water The idea for this workshop came from for good, some less so; some achieve pollution, energy, refugees, climate thinking about how we can move from more together as a team than on their change and discrimination. The goals the ordinary to the extraordinary and own. All we need to do to contribute are addressed in 17 displays, using achieve what seems impossible at first. to the SDGs is apply ourselves – our text, pictures, interactivity and items In order to empower others to play talents, skills, motivation, energy, from the collection. Each theme their part in the SDGs, we also have to ideas, resources and oppor-tunities – is a challenge facing the whole world, empower ourselves. Empowerment to their achievement. but the display links it to the Nether- can be outlined as understanding the lands, so that visitors can compare difference you can make, having the the situation ‘here’ and ‘there’. motivation to do it (caring about some- thing), and having the skills and Method the opportunity to make that difference. Watching the X-Men films, the idea The workshop uses the model of for this workshop was born: individuals the ‘Hero’s Journey’, a narrative form can become aware that they each have that is very widely used in films and different superpowers; some use them books. Basically, the hero goes from their known world to the unknown where they face a series of challenges. They overcome the challenges and return to their own world, transformed in the process. In the workshop, partic- ipants explored which SDG was most closely linked to: 1. their own work; 2. their institution; and 3. which SDG they cared about. Then, they were asked to imagine it is 2030: the SDGs have been achieved, and they played The workshop by Henry McGhie encouraged people to a part in making that happen. They 3 A video on how the exhibition incorporates discuss their potential to act according to the SDGs in were invited to forget normal conditions the SDGs is available here: their professional environment https://www.youtube.com/watch?v=n-eYmwENvlI and constraints, and to magic up tools

NEMO Museums 2030 — 58 Estonia, 2019 Sharing recipes for a better future 59 and powers that could overcome How would you be changed in the Systems thinking in process – blocking challenges: SDG laser guns, process? shields against negativity, magnets Sustainability in progress that bring people together, unicorns that Participants used this story as the can blend policies, or whatever else. basis for a personal plan that they took Susanne Zils and Alice Anna Klaassen back to their workplace. As a follow- Consultants, State Council of the non-governmental museums in Bavaria, up activity, participants worked as a Germany group to overcome a challenge they Key questions/points could address together. The idea of Museums work like complex systems needed, and which tools can be helpful this is that we can achieve more while exploring objects and trends, in the process of transformation? The participants wrote the outline together than we can alone. The point curating relevant contents and pro- of a story that tells us – and them – of the workshop is very similar to grammes, designing and producing how they did it. how we use museums more generally: exhibitions, and operating the museum as consequence-free places to test as a public space. All the processes Main points / best practice What does your desired 2030 look out ideas. within this dynamic complex use human, like? Where, when, who is in it? ecological and economic resources. Experts agree that systems thinking For the purpose of sustainable action is one key competence required What part could your combination within the institution and imple- in order to deal with complexity, as it of superpowers play in creating that Conclusion menting the 2030 Agenda as “a plan allows us to recognise, understand future? of action for people, planet and and analyse relationships within and Workshops such as this are important, prosperity”, museums have to realise outside a system. Furthermore, it What would be your first steps to as they help apply what people a systemic approach. gives us great help in dealing with uncer- create that future, using your have learnt at conferences to their own tainty. The participants captured a superpowers? situation. The superpower idea is museum as a system by visualising the powerful as it helps extend people’s When would you put your individual sense of what is possible, to begin Key questions skills and superpowers to best use? to build people’s confidence that the future does not in any way have to Practicing routine manners in What would the ordeal be: the be the same as the present. However, museums causes effects. Which problems, how you could overcome to make the future different from the effect is caused by which action them with your superpowers, present does require a bit of planning, or resource input? How can museums enemies, helpers and partners? focusing on what we can do (and be safe resources and still fulfill their ignoring what we can’t). That is how mission? How can museums leave the How could you amplify your we will imagine, design and build paths of linear thinking and start impact: raising ambition, scaling better futures together. All power to you to change a running but not yet sustain- up, moving furtherand faster? and all power to all of us together! able system? Which competence is The circle of system thinking

NEMO Museums 2030 — 60 Estonia, 2019 Sharing recipes for a better future 61 interconnected functions of a museum, Conclusion Image and publication credits as well as considering the input and outcome of museum work in a graph. Systems thinking offers tools to build Offering a holistic view, the picture models of the institution and its was complemented by showing driving exchange with the environment as well Authors Graphic design change factors outside the museum. as to visualise processes within Jordi Baltà Portolés, Aleksandra Studio Pandan Furthermore, the workshop discussed the museum. Participants agreed that Berberih-Slana, Denisa Brejchova, how a flow diagram of the production developing visual diagrams together Sevra Davis, Markéta Formanová, Image credits process can be used to allow insights can enrich discussions where leverage Mercedes Giovinazzo Marín, p. 44: Branimir Ritonja of the necessary efforts in terms points are to be identified and Anna Hansen, Alice Anna Klaassen, p. 46: Mediaspeed of money, material or staff. change triggered in order to meet Henry McGhie, Višnja Kisić, p. 47: Therese Kjellsson To make these concepts less the requirements of sustainability. Tiina Merisalo, Magdolna Nagy, p. 49: Berta Jänes abstract, some case studies were Keiu Telve, Rebecca Thonander, p. 53: Denisa Brejchova presented regarding the greenhouse Jess Turtle, Matt Turtle, Friso Visser, p. 56: The Design Museum, London gas emission equivalents of tempo- Maria Vlachou, David Vuillaume, p. 57, 59: Berta Jänes rary exhibitions. Estimations based Susanne Zils p. 61: Susanne Zils on empirical data for shipping and packaging materials, as well as Editor a detailed look at the number of NEMO-The Network of European Published: March 2020 printed catalogues that are produced Museum Organisations in the end – often only for stocking – Taubenstraße 1 appalled everyone. An example of a 10117 Berlin causal loop diagram (CLD) was Germany developed step by step in order to show how such a tool can explain Edited by the behaviour of a system. Participants Mareen Maaß, Julia Pagel, then accepted the challenge Geraldine Kendall Adams to create CLDs by connecting the causes and symptoms of problems themselves. With support from

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