Eighth International Conference on The Inclusive Museum 7-9 AUGUST 2015 | HOSTS: NATIONAL COUNCIL OF SCIENCE MUSEUMS, & INTERNATIONAL INSTITUTE FOR THE INCLUSIVE MUSEUM | ONMUSEUMS.COM Common Ground Publishing and the International Institute for the Inclusive Museum gratefully acknowledge the generous support of the following for the 8th International Conference on the Inclusive Museum, New :

Rashtrapati Bhavan Ministry of Culture, International Council of Museums, National Council of Science Museums National Museum of India, National Gallery of Modern Art of India, New Delhi Aga Khan Trust for Culture Indian National Trust for Art & Sanskriti Pratishthan – Sanskriti Foundation, New Delhi British Council, India International Institute for the Inclusive Museum Australian High Commission, New Delhi International Coalition of Sites of Conscience Pacific Asia Observatory for Cultural Diversity in Human Development Federation of International Human Rights Museums Asian Museum Institute International Curators Forum Sahapedia Commonwealth Association of Museums

Cover Image: CELESTIAL CINEMA

Science and Movement (Cinema) of the Venus (Celestial body) as it crosses the face of the Sun. 6th June 2012 from 5.23 AM to 10.22 AM. National Science Centre, New Delhi, National Council of Science Museums India. Eighth International Conference on the Inclusive Museum

“Museums as Civic Spaces”

National Science Museum, Delhi | New Delhi, India | 7-9 August 2015

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First published in 2015 in Champaign, Illinois, USA by Common Ground Publishing, LLC www.commongroundpublishing.com

© 2015 Common Ground Publishing

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Designed by Ebony Jackson The Inclusive Museum onmuseums.com

Dear Delegate,

Welcome to the Eighth International Conference on the Inclusive Museum. The conference is a cross-disciplinary forum which brings together museum practitioners, researchers, and teachers to discuss the nature, objectives and future shape of the museum. The conference is held annually in different locations around the world, each selected for a particular relationship to an innovative museum or local museum practices.

The conversations at this conference weave between the theoretical and the empirical, research and application, institutional pragmatics and social idealism. In professional and disciplinary terms, the conference traverses a broad sweep to construct a transdisciplinary dialogue which encompasses a broad variety of perspectives and practices.

In addition to the Inclusive Museum Conference, Common Ground also hosts conferences and publishes journals in other areas of critical intellectual human concern, including aging, food studies, diversity, learning, sustainability, and the interdisciplinary social sciences, to name several. Our aim is to create new forms of knowledge community, where people meet in person and also remain connected virtually making the most of the potentials for access using digital media. We are also committed to creating a more accessible, open and reliable peer review process. Alongside opportunities for well-known academics, we are creating new publication openings for scholars from developing countries and for researchers from institutions that are historically teaching-focused. We would like to invite conference participants to develop publishing proposals for original works or for edited collections of papers drawn from the journal which address an identified theme. Finally, please join our online conversation by subscribing to our monthly email newsletter, and subscribe to our Facebook, RSS, or Twitter feeds at http://onmuseums.com/.

We are also proud to announce Scholar, created in an association between Common Ground and the University of Illinois. If the social glue that holds together Facebook is ‘friends’ and the stickiness of Twitter is having ‘followers’, then the common bond created in Scholar is ‘peers’ working together in knowledge producing communities. We call this a ‘social knowledge’ space. Not only can you join the Inclusive Museum community in Scholar, you can also create your own knowledge communities and use Scholar as a learning space, with a strong focus on peer-to-peer dialogue and structured feedback. For more information, visit www.cgscholar.com.

This is the longer story of the Inclusive Museum Conference. The shorter story includes a phenomenal amount of careful planning and thinking on the part of Professor Amareswar Galla, Executive Director of the International Institute for the Inclusive Museum; Mr. Ganga Rautela, DG of the National Council of Science Museums, India; Mr. Rama Sarma Dhulipati, Director of the National Science Centre, Delhi and several of their colleagues in the field of museums in India. On a more personal note, many thanks to thank our Common Ground colleagues who have put so much work into this conference: Ebony Jackson, Emily Kasak, Izabel Szary, and Jessica Wienhold-Brokis.

We wish you all the best for this conference, and hope it will provide you every opportunity for dialogue with colleagues from around the corner and around the world. We also hope you will be able to join us for the Ninth International Conference on the Inclusive Museum, to be held at the Freedom Centre in Cincinnati, USA, from 17 to19 September 2016.

Yours Sincerely,

Bill Cope Director, Common Ground Publishing Professor, Education Policy, Organization, and Leadership University of Illinois, Urbana-Champaign, USA FOREWORD

India is on the cusp of an unprecedented museum development. The cultural and linguistic diversity of India, the world’s largest democracy, provides a challenge and an opportunity for exploring new pathways for developing museums as vibrant civil society agents, for community building and intercultural understanding. The key concern across the world remains whether museums in the 21st Century are chameleon like or relevant and responsive cultural institutions that are grounded in social, economic, cultural and environmental futures of sustainability. What are the key cultural indicators for appreciating the transformations of museums as civic spaces with regard to the new Sustainable Development Goals and the post-2015 UN Development agenda that is imminent for adoption in the UN General Assembly as we conference here?

The International Council of Museums (ICOM) and the Inclusive Museum Knowledge Community are tireless advocates for developing museums as civic spaces for all people, irrespective of their backgrounds, legacies and inheritances. Nobel Laureate succinctly states the reality that ‘…. we all have many affiliations and associations, and each of these identities fit into the way we lead­­—and can continue to lead—our lives, without displacing other identities.’ (Identity and Violence: The Illusion of Destiny, 2007). In this context, developing critical museological discourse has become imperative for addressing reflective, revealing and confronting narratives to unravel the layers of significances in our collections, past and contemporary, for bringing people and their heritage together.

The Inclusive Museum Knowledge Community facilitates an ongoing dialogue and with this aspiration throughout the year – registration is for the three days here face-to-face, and then for the next year on line. Participatory democracy is facilitated in the digital domain through triangulating Collections – Connectivity – Communities. Collections are embedded knowledge systems with layers of significance. Connectivity provides the means for engagement and interactivity through the affordances and possibilities in the digital domain. Stakeholder communities, in all their meanings, manifestations, cultural understandings; and the multitude of publics and audiences remain in the liminal space between the collections and connectivities – the aspirational Inclusive Museum.

The 28th General Assembly of ICOM, meeting on 17 August, 2013, in Rio de Janeiro, Brazil, resolved to ‘Evaluate the extent to which programs and ICOM activities are in accordance with the ICOM 2010 Cultural Diversity Charter of ICOM adopted in and implement a policy of gender equality as an integral part of the strategic directions of ICOM’. The Inclusive Museum Conference is a partnership activity contributing to these professional endeavours of ICOM.

Several pathways inform the processes of the Inclusive Museum Knowledge Community. Through case study analysis and facilitated dialogue participants explore in the next three days as to how museums can transform their operations and practices to meet the changing and complex needs of society in a rapidly globalizing world. What are our current museological approaches in addressing cultural and linguistic diversity and should they be re-envisioned? What practices and strategies do we employ to be or become inclusive? What are the challenges and benefits? How can museums measure their relevance and impact using the ICOM Cultural Diversity Charter?

There are many dedicated people that have made this Conference and the Knowledge Community activities possible in New Delhi. We are grateful to Shri. Ganga S. Rautela, DG, National Council of Science Museums for hosting the Conference and the Ministry of Culture, Government of India for its magnanimous support to make the event possible; Dr. Saroj Ghose, former President of ICOM, for his continuing inspiration and guidance; the generous support of the co-conveners—Shri Sanjiv Mittal, IAS., DG, National Museum of India; Professor Rajeev Lochan, Director, National Gallery of Modern Art; Shri Ratish Nanda, Director, Aga Khan Trust for Culture, India; Shrimati Nerupama Y. Modwel, Intangible Heritage section, INTACH; Mr. O.P.Jain, Founder, ; and Shri Promod Kumar Jain, IAS., Joint Secretary, Ministry of Culture; and The British Council, the Australian High Commission and National Art Gallery of for co-sponsoring the plenary events. Finally the dedication of Shri Dhulipati Rama Sarma as the local anchor and his staff at the National Science Centre has been outstanding and is gratefully appreciated. We finally thank many sponsors at Common Ground Publishing: The President, Professor Bill Cope; Director of Conferences, Dr. Phillip Kalantzis-Cope, Assistant Director of Conferences Emily Kasak, Designer Ebony Jackson, and Conference Producer Izabel Szary.

Finally it is a privilege for all of us to be the guests at the inauguration of the Conference by the Honorable , Shri Pranab Mukherjee. Two distinguished personalities of India, civil society voices of conscience and meaningful engagement, will lay down the challenges for addressing the theme Museums as Civic Spaces: Professor Emirati Romila Thapar on the past as present and Nobel Laureate Shri Kailash Satyarthi on civil society and community engagement in intergenerational ethics.

Esteemed colleagues and delegates, we invite you to productive discussions, to vision and re-envision the way forward for promoting the institution of the Museum as an Inclusive Civic Space.

Yours sincerely,

Prof. Amareswar Galla, PhD Chairperson, the Inclusive Museum Knowledge Community, Common Ground Publishing & Executive Director, International Institute for the Inclusive Museum

Email. [email protected] Web. www.inclusivemuseum.org Dear Delegates,Dear Delegates,

At the outset, I would like to extend a warm welcome to you all, personally and on behalf of the National Council of Science At theMuseums, outset, I would India. We,like toat theextend Council, a warm feel welcomeprivileged to and you honoured all, personally for being and given on behalfthe opportunity of the National to host Councilthe Eighth of InternationalScience Museums, Conference on the Inclusive Museum in India, at the National Science Centre, New Delhi. India. We, at the Council, feel privileged and honoured for being given the opportunity to host the Eighth International Conference on the InclusiveAfter its Museum formation in in India, the year at the 2008, National the Inclusive Science Museum Centre, NewKnowledge Delhi. Community has been organizing the annual conference in different parts of the world, in order to bring together museum professionals, researchers and thinkers on one platform. I am sure, with your participation in this year’s conference, this Community in India will benefit and the family will grow larger. The After itsoverwhelming formation inresponse the year that 2008, we have the Inclusivereceived from Museum the museum Knowledge professionals Community of the has world been for organizing attending the this annual conference conference is the first in indicator of its success. different parts of the world, in order to bring together museum professionals, researchers and thinkers on one platform. I am sure, with th your participationAt the inauguration in this ceremonyyear’s conference, on Thursday, this theCommunity 6 of August, in India you willwill benefithear some and of thethe familymost distinguished will grow larger. personalities The overwhelming of India, notably Shri Kailash Satyarthi, an advocate of children’s rights, who was conferred with Nobel Peace Prize in the year 2014 and Dr. responseSaroj that Ghose, we have the former received President from the of museumICOM and professionals architect of the of sciencethe world museum for attending movement this in conference India. The isinaugural the first address indicator will ofbe its success.delivered by the Honorable President of India, Shri Pranab Mukherjee, a visionary with unparalleled experience in governance. I am sure these deliberations will set the tone and direction for the conference.

The focus on museums as civic spaces, within the past, present and future contexts, will be set by the keynote speech of one of the At themost inauguration eminent historians ceremony of on not Thursday, only India the but 6th the of world,August, Professor you will Emirati hear some Romila of the Thapar. most distinguishedThe following sessionspersonalities over theof India,three notablydays Shri are Kailash all at the Satyarthi, most prominent an advocate addresses of children’s of Delhi rights,- the National who was Science conferred Centre, with National Nobel Museum,Peace Prize National in the Galleryyear 2014 of Modern and Dr. Art, Humayun’s Tomb and INTACH. The venues will offer glimpses of Indian Culture which will be a learning experience for all of Saroj you.Ghose, We the look former forward President to your contribution of ICOM and to architectthe conference of the which science will museum enlighten movement us on best in practices India. The in your inaugural great institutions. address will We be deliveredlook byforward the Honorable to a successful President conference. of India, Shri Pranab Mukherjee, a visionary with unparalleled experience in governance. I am sure theseAt the deliberations end, you may will enjoy set thethe exiting tone and experience direction of for the the visit conference. to one of the most famous wonders of the world, the . The symmetry of the grand marble structure and marvelous geometrical patterns of gardens add magnificence to this symbol of love, dedication and purity, ‘The Taj’! The focus on museums as civic spaces, within the past, present and future contexts, will be set by the keynote speech of one of the most eminentWe have historians worked for of several not only months India tobut put the together world, Professor an exciting Emirati and focused Romila agenda Thapar. bringing The following together sessions experts, over visionaries the three and days professionals from the world of museums. We wish you an interesting, challenging and enjoyable stay in India. are all at the most prominent addresses of Delhi—the National Science Centre, National Museum, National Gallery of Modern Art,

Humayun’sGanga TombS. Rautela and INTACH. The venues will offer glimpses of Indian Culture which will be a learning experience for all of you. We lookDirector forward General to your contribution to the conference which will enlighten us on best practices in your great institutions. We look National Council of Science Museums, India forward to a successful conference.

At the end, you may enjoy the exiting experience of the visit to one of the most famous wonders of the world, the Taj Mahal. The symmetry of the grand marble structure and marvelous geometrical patterns of gardens add magnificence to this symbol of love, dedication and purity, ‘The Taj’!

We have worked for several months to put together an exciting and focused agenda bringing together experts, visionaries and professionals from the world of museums. We wish you an interesting, challenging and enjoyable stay in India.

Ganga S. Rautela Director General National Council of Science Museums, India | About Common Ground

Our Mission Common Ground Publishing aims to enable all people to participate in creating collaborative knowledge and to share that knowledge with the greater world. Through our academic conferences, peer-reviewed journals and books, and innovative software, we build transformative knowledge communities and provide platforms for meaningful interactions across diverse media.

Our Message Heritage knowledge systems are characterized by vertical separations—of discipline, professional association, institution, and country. Common Ground identifies some of the pivotal ideas and challenges of our time and builds knowledge communities that cut horizontally across legacy knowledge structures. Sustainability, diversity, learning, the future of the humanities, the nature of interdisciplinarity, the place of the arts in society, technology’s connections with knowledge, the changing role of the university—these are deeply important questions of our time which require interdisciplinary thinking, global conversations, and cross-institutional intellectual collaborations. Common Ground is a meeting place for these conversations, shared spaces in which differences can meet and safely connect—differences of perspective, experience, knowledge base, methodology, geographical or cultural origins, and institutional affiliation. We strive to create the places of intellectual interaction and imagination that our future deserves.

Our Media Common Ground creates and supports knowledge communities through a number of mechanisms and media. Annual conferences are held around the world to connect the global (the international delegates) with the local (academics, practitioners, and community leaders from the host community). Conference sessions include as many ways of speaking as possible to encourage each and every participant to engage, interact, and contribute. The journals and book imprint offer fully-refereed academic outlets for formalized knowledge, developed through innovative approaches to the processes of submission, peer review, and production. The knowledge community also maintains an online presence—through presentations on our YouTube channel, monthly email newsletters, as well as Facebook and Twitter feeds. And Common Ground’s own software, Scholar, offers a path-breaking platform for online discussions and networking, as well as for creating, reviewing, and disseminating text and multi-media works.

11 The Inclusive Museum Knowledge Community

Exploring the role of museums, with a particular focus on how they can become more inclusive The Inclusive Museum Knowledge Community

The Inclusive Museum Knowledge Community is brought together by common concern for the future role of the museum, and in particular, how it can become more inclusive. The community interacts through an innovative, annual face-to-face conference, as well as year-round virtual relationships in a weblog, peer reviewed journal, and book imprint.

Conference The conference is built upon four key features: Internationalism, Interdisciplinarity, Inclusiveness, and Interaction. Conference delegates include leaders in the field as well as emerging artists and scholars, who travel to the conference from all corners of the globe and represent a broad range of disciplines and perspectives. A variety of presentation options and session types offer delegates multiple opportunities to engage, to discuss key issues in the field, and to build relationships with scholars from other cultures and disciplines.

Publishing The Inclusive Museum Knowledge Community enables members to publish through two media. First, community members can enter a world of journal publication unlike the traditional academic publishing forums—a result of the responsive, non-hierarchical, and constructive nature of the peer review process. The International Journal of the Inclusive Museum provides a framework for double-blind peer review, enabling authors to publish into an academic journal of the highest standard. The second publication medium is through the book imprint, The Inclusive Museum, publishing cutting edge books in print and digital formats. Publication proposal and manuscript submissions are welcome.

Community The Inclusive Museum Knowledge Community offers several opportunities for ongoing communication among its members. Any member may upload video presentations based on scholarly work to the community YouTube channel. Monthly email newsletters contain updates on conference and publishing activities as well as broader news of interest. Join the conversations on Facebook and Twitter, or explore our new social media platform, Scholar.

15 The Inclusive Museum Themes

On the relation of Theme 1: Visitors museum to its • Visitor diversity in the inclusive museum communities of users. • Defining museum stakeholders and measuring participation • The politics of heritage: national, regional, ethnic, diasporic, and first nation identities • Multilingualism: accessibility for small languages and cultures • Gender and sexual orientation in the museum • Disability access in the museum • Competing cultures: high, folk, popular, techno-scientific • Public trust: re-establishing the bases of ‘authority’ • Defining the ‘education’ and ‘communications’ roles of museums • Pedagogy as presentation or dialogue: how the museum relates to its visitors • The ubiquitous museum: towards the anywhere anytime learning resource • Competing pleasures: museums against or with ‘entertainment’ and ‘edutainment’ • Cross connections: with schools, with universities • Sponsorship and philanthropy: logics and logistics • The economics of admissions • Memberships: changing roles and demographics • Voluntarism and professionalism: calibrating the mix • Government stakeholders (local, state, national, transnational): museums in politics and navigating government funding and policies

On the practices and Theme 2: Collections processes of collecting • The changing work of the curator and curating. • Exhibition didactics: the dynamics of visitor learning • The idea of ‘heritage’: changing conceptions of what counts • Authenticity, decontextualization and recontextualization of objects-on-show • Custodianship and community assets: meanings and purposes for the museum • Representing social and cultural intangible heritage • The ‘ethnographic’ and the ‘anthropological’: framing first peoples and other ‘traditions’ • Technologies in the museum • Arts in the museum • Environment in the museum • The process of acquisition: competing demands and limited resources • Conservation, preservation: negotiating changing priorities • Artifacts: what are the objects of the museum? • Places for amateurism: barefoot repositories and the self-made museum

16 The Inclusive Museum Themes

On museums as Theme 3: Representations repositories and • Museums as knowledge makers and cultural creators communicators of culture and knowledge. • Architectonics: designing buildings and information architectures • Research and investigation in the museum • Measuring knowledge ‘outputs’ • Intellectual property: commons versus commercialism? • Knowledge management paradigms and practices • ‘Neutrality’, ‘balance’ and ‘objectivity’; or ‘narrative’ and ‘politics’? The knowledge rhetorics of the museum • Knowledge frames: modern and postmodern museums • Cross connections: with libraries, with galleries, with educational institutions, with arts centers • The digitization of everything: from collection objects to media representations • The virtual museum • Online discoverability and public access • Museums in and for the knowledge society: preserving heritage ‘born digital’ • New literacies: changing the balance of creative agency in the era of the Internet and new media • Addressing the digital divide • Digital disability access • Cataloguing, metadata, discovery and access • Internet standards, semantic publishing and the semantic web

17 The Inclusive Museum 2015 Special Focus

Museums as Civic Spaces

The inclusive museum is an aspirational civic space that is created and recreated based on the context and relevance to diverse stakeholders. It liberates museums and communities from legacies, enables a first voice, and empowers people of culturally and linguistically diverse backgrounds with a sense of place and multiple identities. The challenge is also to address intersectionality across cultural borders through appropriate research, development and capacity building. This must be at all levels of engaged partners from curators, educators, conservators to directors and trustees. Connecting collections and communities is critical.

The Inclusive Museum Knowledge Community continues to build on the lessons learnt and ongoing discursive crossings to promote for posterity the museum for diverse peoples irrespective of their backgrounds. India on the cusp of an unprecedented museum development is the host to the Eighth International Conference on the Inclusive Museum. As the world’s largest democracy it is also well known for its cultural and language diversity. This diversity is embedded in the nation’s Constitution. A vibrant civil society such as India mandates relevant and responsive cultural institutions, especially inclusive museums.

18 The Inclusive Museum Scope and Concerns

Visitors No longer the universal individual citizen of our recent modern aspirations, visitors of today are recognizably diverse. The dimensions of this diversity are material (class, locale, family circumstances), corporeal (age, race, sex and sexuality, and physical and mental characteristics) and symbolic (culture, language, gender, family, affinity and persona). These are the gross demographics, the things that insist on our attention. But if we take the time to look more closely at today’s public, it is qualified by intersections and layers of identity which immediately turn the gross demographics into sometimes dangerous oversimplifications. The paradox of today’s public is that, in an era of globalization, cultures are diverging: dispositions, sensibilities, values stances, interests, orientations, affinities and networks.

So how can one speak to audiences? How does participation work? How can we create meanings which are germane? ‘Inclusivity’ names a paradoxically two sided answer. One side is to recognize particularity. What and who should be represented in the museum? What is it to be comprehensive? What is canonical or definitive? To answer these questions today, we need to move beyond the divisions of high as opposed to popular culture, the techno-scientific as opposed to the everyday, the national-modern as opposed to the ethnographic-traditional. No longer can we solve the problem of difference, of ‘us’ and ‘them’, by dividing people and their objects into separate categories and separating them in spaces unto themselves. We need to anticipate the particularities of visitors.

The other side of this answer requires us not just to catalogue of differences, to check them off from a list of potential points of dissonance. Perhaps we also need to create a new and paradoxical form of universality, the universality of inclusivity. How do we create a museum where the text is open, where every visitor is allowed the space to create their own meanings, where no visitor is left out? The answer in part is in to devise new …

Forms of Engagement What is the role today of the reader, the viewer, the audience, the citizen, the customer, the patron? Our recent modernity was premised on relatively passive readers, viewers and audiences; relatively compliant employees and dependent citizens; and relatively appreciative customers and patrons. To take just a few touchstones of change, the new media transform readers, viewers and audiences into users, players and characters. Workers are supposed to personify the enterprise and citizens to assume responsibility for themselves. Customers are always right—for their differences, products and services have to be customized. So too, the quirks of patrons must be patronized.

The change represents an evening up of balance of agency and a blurring of roles, between the person in command and the person consenting, between producers and consumers of knowledge, and between creators and readers of culture.

In museums, more than simply ‘interaction’, visitors need to place themselves in the exhibition, to belong in the space and to join the cultural dialogue. For museums, this is the basis for a new communicative frame of reference and a new pedagogics. This will be made possible at least in part through the new…

19 The Inclusive Museum Scope and Concerns

Modalities of Representation The emerging communications environment—in which image, sound and word are all made of the same digital stuff—affords new openings for museums, and new challenges.

Not only are museums challenged to preserve heritage which is increasingly ‘born digital’. It is also the case today that there is no collectable object, no site-specific experience, which cannot be reproduced and made available to ‘visitors’ at the ends of the earth though digital means of representation.

This creates unique challenges in the realm of intellectual property. It raises new practicalities of relating to visitors who are more diverse than ever. It presents a new task for museum workers to explore the communicative affordances of the ‘mutiliteracies’ of digital representation.

In meeting these challenges, museums are destined to reflect their changing world, and also—at times provocatively, riskily— change that world. The Museum Conference, Journal, Book Imprint and News Weblog provide a forum for the discussion of these and other fundamental questions which will surely determine the changing shape and future role of museums.

20 The Inclusive Museum Community Membership

About The Inclusive Museum Knowledge Community is dedicated to the concept of independent, peer-led groups of scholars, researchers, and practitioners working together to build bodies of knowledge related to topics of critical importance to society at large. Focusing on the intersection of academia and social impact, The Inclusive Museum Knowledge Community brings an interdisciplinary, international perspective to discussions of new developments in the field, including research, practice, policy, and teaching.

Membership Benefits As an Inclusive Museum Knowledge Community member you have access to a broad range of tools and resources to use in your own work: • Digital subscription to the The International Journal of the Inclusive Museum for one year. • Digital subscription to the book imprint for one year. • One article publication per year (pending peer review). • Participation as a reviewer in the peer review process, with the opportunity to be listed as an Associate Editor after reviewing three or more articles. • Subscription to the community e-newsletter, providing access to news and announcements for and from the knowledge community. • Option to add a video presentation to the community YouTube channel. • Free access to the Scholar social knowledge platform, including: ◊ Personal profile and publication portfolio page; ◊ Ability to interact and form communities with peers away from the clutter and commercialism of other social media; ◊ Optional feeds to Facebook and Twitter; ◊ Complimentary use of Scholar in your classes—for class interactions in its Community space, multimodal student writing in its Creator space, and managing student peer review, assessment, and sharing of published work.

21 The Inclusive Museum Engage in the Community

Present and Participate in the Conference You have already begun your engagement in the community by attending the conference, presenting your work, and interacting face-to-face with other members. We hope this experience provides a valuable source of feedback for your current work and the possible seeds for future individual and www.facebook.com/ OnMuseums.CG collaborative projects, as well as the start of a conversation with community colleagues that will continue well into the future. @onmuseums

#CGMuseum Publish Journal Articles or Books We encourage you to submit an article for review and possible publication in the journal. In this way, you may share the finished outcome of your presentation with other participants and members of the community. As a member of the community, you will also be invited to review others’ work and contribute to the development of the community knowledge base as an Associate Editor. As part of your active membership in the community, you also have online access to the complete works (current and previous volumes) of journal and to the book imprint. We also invite you to consider submitting a proposal for the book imprint.

Engage through Social Media There are several ways to connect and network with community colleagues:

Email Newsletters: Published monthly, these contain information on the conference and publishing, along with news of interest to the community. Contribute news or links with a subject line ‘Email Newsletter Suggestion’ to [email protected].

Scholar: Common Ground’s path-breaking platform that connects academic peers from around the world in a space that is modulated for serious discourse and the presentation of knowledge works.

Facebook: Comment on current news, view photos from the conference, and take advantage of special benefits for community members at: http://www.facebook.com/OnMuseums.CG.

Twitter: Follow the community @onmuseums and talk about the conference with #CGMuseum.

YouTube Channel: View online presentations or contribute your own at http://onmuseums. com/the-conference/types-of-conference-sessions/online-presentations.

22 The Inclusive Museum Advisory Board

The principle role of the Advisory Board is to drive the overall intellectual direction of the Inclusive Museum Knowledge Community and to consult on our foundational themes as they evolve along with the currents of the community. Board members are invited to attend the annual conference with a complimentary registration and provide important insights on conference development, including suggestions for speakers, venues, and special themes. We also encourage board members to submit articles for publication for consideration to The International Journal of the Inclusive Museum as well as proposals or completed manuscripts to The Inclusive Museum Book Imprint.

We are grateful for the continued service and support of these world-class scholars and practitioners. • Professor Laishun An, Deputy Director of the International Friendship Museum of ; and Secretary General of Chinese Society of Museums, Beijing, China. • Professor Corazon S. Alvina, Former Director, National Museum of the Philippines, Manila, Philippines. • Professor Henry C. (Jatti) Bredekamp, Former Chief Executive Officer, Iziko Museums of Cape Town, South Africa. • Alissandra Cummins, Immediate Past President of ICOM; Director, Barbados Museums and Historical Society, Barbados; Former Chairperson, Executive Board, UNESCO, Paris, France. • Dr. Ann Davis, Former Director, The Nickle Arts Museum, University of Calgary, Alberta, ; and President, ICOM international Committee for Museology, Paris, France. • Dr. Nevra Ertürk, Güzel Sanatlar Fakültesi, Sanat Eserlerinin Konservasyonu ve Restorasyonu Bölümü, Mimar Sinan Güzel Sanatlar Üniversitesi, Istanbul • Mlle Christine Hemmet, Responsable de l’unité patrimoniale des collections Asie, Musée du quai Branly, Paris, France. • Professor Dr Rohit Jigyasu, UNESCO Chair Professor, Research Centre for Disaster Mitigation of Urban Cultural Heritage, Ritsumeikan University, Kyoto • Lcda Lucía Astudillo Loor, Directora, Museo de los Metales, Cuenca, Ecuador. • Professor Pascal Makambila, Conservateur en chef des musées, Brazzaville, Congo. • Adi Meretui Ratunabuabua, Pacific Heritage Hub Manager, University of South Pacific; and Principal Cultural Development Officer, Department of Culture and Heritage, Ministry of Fijian Affairs, Culture and Heritage, Suva, Fiji Islands. • Professor Dr. Tereza C. Moletta Scheiner, Coordinator, Postgraduate Program in Museology and Heritage, Federal University of the State of Rio de Janeiro – UNIRIO, Rio de Janeiro, Brazil, Vice President, ICOM Executive Council. • Dr. Lina G. Tahan, Centre for Tourism and Cultural Change, Leeds Metropolitan University, Leeds, UK. • Dr. Shahid Vawda, School of Social Sciences, University of Witwatersrand, Johannesburg, South Africa. • Professor Dr Jørgen Wadum, Keeper of Conservation & Director of CATS, Statens Museum for Kunst/National Gallery of Denmark & Chairman of the Department of Conservation & Restoration at the Faculty of Humanities, University of Amsterdam • W. Richard ‘Rick’ West, Jr., President and CEO, Autry National Center for the American West, Los Angeles, California & Founding Director and Director Emeritus, National Museum of the American Indian, Smithsonian Institution, Washington DC

23 The Inclusive Museum Advisory Board

Chairperson of the Advisory Board • Professor Dr. Amareswar Galla, Executive Director, International Institute for the Inclusive Museum, Australia; Former Vice President, ICOM, Paris

Assisting the Chairperson • Rama Sarma Dhulipati, Director, National Science Centre, New Delhi, India (2015 Museum Conference)

Ex Officio • Professor Dr. Hans-Martin Hinz, President of the International Council of Museums, former Deputy Director, Deutsches Historisches Museum, Berlin and Deputy Minister of Culture for Berlin, 2000-2001 • Dr. Anne-Catherine Robert-Hauglustaine, Director General, International Council of Museums, Paris, France • Ganga Rautela, Director General, National Council of Science Museums, New Delhi/Kolkata, India (2015 Museum Conference) • Sanjeev Mittal, Director General, National Museum of India, New Delhi (2015 Museum Conference)

24 A Social Knowledge Platform Create Your Academic Profile and Connect to Peers

Developed by our brilliant Common Ground software team, Scholar connects academic peers from around the world in a space that is modulated for serious discourse and the presentation of knowledge works.

Utilize Your Free Scholar Membership Today through • Building your academic profile and list of published works. • Joining a community with a thematic or disciplinary focus. • Establishing a new knowledge community relevant to your field. • Creating new academic work in our innovative publishing space. • Building a peer review network around your work or courses.

Scholar Quick Start Guide 1. Navigate to http://cgscholar.com. Select [Sign Up] below ‘Create an Account’. 2. Enter a “blip” (a very brief one-sentence description of yourself). 3. Click on the “Find and join communities” link located under the YOUR COMMUNITIES heading (On the left hand navigation bar). 4. Search for a community to join or create your own.

Scholar Next Steps – Build Your Academic Profile • About: Include information about yourself, including a linked CV in the top, dark blue bar. • Interests: Create searchable information so others with similar interests can locate you. • Peers: Invite others to connect as a peer and keep up with their work. • Shares: Make your page a comprehensive portfolio of your work by adding publications in the Shares area - be these full text copies of works in cases where you have permission, or a link to a bookstore, library or publisher listing. If you choose Common Ground’s hybrid open access option, you may post the final version of your work here, available to anyone on the web if you select the ‘make my site public’ option. • Image: Add a photograph of yourself to this page; hover over the avatar and click the pencil/edit icon to select. • Publisher: All Common Ground community members have free access to our peer review space for their courses. Here they can arrange for students to write multimodal essays or reports in the Creator space (including image, video, audio, dataset or any other file), manage student peer review, co-ordinate assessments, and share students’ works by publishing them to the Community space.

25 A Digital Learning Platform Use Scholar to Support Your Teaching

Scholar is a social knowledge platform that transforms the patterns of interaction in learning by putting students first, positioning them as knowledge producers instead of passive knowledge consumers. Scholar provides scaffolding to encourage making and sharing knowledge drawing from multiple sources rather than memorizing knowledge that has been presented to them.

Scholar also answers one of the most fundamental questions students and instructors have of their performance, “How am I doing?” Typical modes of assessment often answer this question either too late to matter or in a way that is not clear or comprehensive enough to meaningfully contribute to better performance.

A collaborative research and development project between Common Ground and the College of Education at the University of Illinois, Scholar contains a knowledge community space, a multimedia web writing space, a formative assessment environment that facilitates peer review, and a dashboard with aggregated machine and human formative and summative writing assessment data.

The following Scholar features are only available to Common Ground Knowledge Community members as part of their membership. Please email us at [email protected] if you would like the complimentary educator account that comes with participation in a Common Ground conference.

• Create projects for groups of students, involving draft, peer review, revision and publication. • Publish student works to each student’s personal portfolio space, accessible through the web for class discussion. • Create and distribute surveys. • Evaluate student work using a variety of measures in the assessment dashboard.

Scholar is a generation beyond learning management systems. It is what we term a Digital Learning Platform— it transforms learning by engaging students in powerfully horizontal “social knowledge” relationships. For more information, visit: http://knowledge.cgscholar.com.

26 The Inclusive Museum Journal

Addressing how the institution of the museum can become more inclusive International Journal of the The Inclusive Museum Inclusive Museum

About The International Journal of the Inclusive Museum addresses the key question: How can the institution of the museum become more inclusive? The journal brings together academics, curators, museum and public administrators, cultural policy makers and research students to engage in discussions about the historic character and future shape of the museum.

The International Journal of the Inclusive Museum is peer-reviewed, supported by rigorous processes of criterion-referenced article ranking and qualitative commentary, ensuring that only intellectual work of the greatest substance and highest significance is published.

Editor

Amareswar Galla, Executive Director, International Institute for the Inclusive Museum, Australia; Former Vice President, ICOM, Paris

Indexing Art Abstracts Associate Editors Art Full Text Art Index Articles published in The International Journal of the Inclusive Museum are peer reviewed by Art Source scholars who are active members of the Inclusive Museum knowledge community. Reviewers may Scopus be past or present conference delegates, fellow submitters to the journal, or scholars who have The Australian Research Council (ERA) volunteered to review papers (and have been screened by Common Ground’s editorial team). This engagement with the knowledge community, as well as Common Ground’s synergistic and criterion- Founded: based evaluation system, distinguishes the peer review process from journals that have a more 2010 top-down approach to refereeing. Reviewers are assigned to papers based on their academic interests Publication Frequency: and scholarly expertise. In recognition of the valuable feedback and publication recommendations Quarterly (March, June, that they provide, reviewers are acknowledged as Associate Editors in the volume that includes the September, December) paper(s) they reviewed. Thus, in addition to The International Journal of the Inclusive Museum’s ISSN: Editors and Advisory Board, the Associate contribute significantly to the overall editorial quality and 1835-2014 (print) content of the journal. 1835-2022 (online) onmuseums.com ijz.cgpublisher.com

29 The Inclusive Museum Submission Process

Journal Collection Submission Process and Timeline Below, please find step-by-step instructions on the journal article submission process:

1. Submit a conference presentation proposal.

2. Once your conference presentation proposal has been accepted, you may submit your article by clicking the “Add a Paper” button on the right side of your proposal page. You may upload your article anytime between the first and the final submission deadlines. (See dates below)

3. Once your article is received, it is verified against template and submission requirements. If your article satisfies these requirements, your identity and contact details are then removed, and the article is matched to two appropriate referees and sent for review. You can view the status of your article at any time by logging into your CGPublisher account at www. CGPublisher.com.

4. When both referee reports are uploaded, and after the referees’ identities have been removed, you will be notified by email and provided with a link to view the reports.

5. If your article has been accepted, you will be asked to accept the Publishing Agreement and submit a final copy of your article. If your paper is accepted with revisions, you will be required to submit a change note with your final submission, explaining how you revised your article in light of the referees’ comments. If your article is rejected, you may resubmit it once, with a detailed change note, for review by new referees.

6. Once we have received the final submission of your article, which was accepted or accepted with revisions, our Publishing Department will give your article a final review. This final review will verify that you have complied with the Chicago Manual of Style (16th edition), and will check any edits you have made while considering the feedback of your referees. After this review has been satisfactorily completed, your paper will be typeset and a proof will be sent to you for approval before publication.

7. Individual articles may be published “Web First” with a full citation. Full issues follow at regular, quarterly intervals. All issues are published 4 times per volume (except the annual review, which is published once per volume).

Submission Timeline You may submit your article for publication to the journal at any time throughout the year. The rolling submission deadlines are as follows: • Submission Round 1 – 15 January • Submission Round 2 – 15 April • Submission Round 3 – 15 July • Submission Round 4 (final) – 15 October

Note: If your article is submitted after the final deadline for the volume, it will be considered for the following year’s volume. The sooner you submit, the sooner your article will begin the peer review process. Also, because we publish “Web First,” early submission means that your article may be published with a full citation as soon as it is ready, even if that is before the full issue is published.

30 The Inclusive Museum Common Ground Open

Hybrid Open Access All Common Ground Journals are Hybrid Open Access. Hybrid Open Access is an option increasingly offered by both university presses and well-known commercial publishers.

Hybrid Open Access means some articles are available only to subscribers, while others are made available at no charge to anyone searching the web. Authors pay an additional fee for the open access option. Authors may do this because open access is a requirement of their research-funding agency, or they may do this so non-subscribers can access their article for free.

Common Ground’s open access charge is $250 per article­–a very reasonable price compared to our hybrid open access competitors and purely open access journals resourced with an author publication fee. Digital articles are normally only available through individual or institutional subscriptions or for purchase at $5 per article. However, if you choose to make your article Open Access, this means anyone on the web may download it for free.

Paying subscribers still receive considerable benefits with access to all articles in the journal, from both current and past volumes, without any restrictions. However, making your paper available at no charge through Open Access increases its visibility, accessibility, potential readership, and citation counts. Open Access articles also generate higher citation counts.

Institutional Open Access Common Ground is proud to announce an exciting new model of scholarly publishing called Institutional Open Access.

Institutional Open Access allows faculty and graduate students to submit articles to Common Ground journals for unrestricted open access publication. These articles will be freely and publicly available to the whole world through our hybrid open access infrastructure. With Institutional Open Access, instead of the author paying a per-article open access fee, institutions pay a set annual fee that entitles their students and faculty to publish a given number of open access articles each year.

The rights to the articles remain with the subscribing institution. Both the author and the institution can also share the final typeset version of the article in any place they wish, including institutional repositories, personal websites, and privately or publicly accessible course materials. We support the highest Sherpa/Romeo access level—Green.

For more information on how to make your article Open Access, or information on Institutional Open Access, please contact us at [email protected].

31 The Inclusive Museum Journal Awards

International Award for Excellence The International Journal of the Inclusive Museum presents an annual International Award for Excellence for new research or thinking in the area of museums. All articles submitted for publication in The International Journal of the Inclusive Museum are entered into consideration for this award. The review committee for the award is selected from the International Advisory Board for the collection and The Inclusive Museum annual conference. The committee selects the winning article from the ten highest-ranked articles emerging from the review process and according to the selection criteria outlined in the reviewer guidelines.

Award Winner, Volume 7 Allison Callender, Curator Art/Art History, Barbados Museum and Historical Society, St. Philip, Barbados

For the Article “Accessibility of Museums in Barbados”

Abstract This paper aims to provide an overview of the issues surrounding accessibility for disabled visitors at four museums in Barbados, with a focus specifically on hearing impaired visitors. “Access has long been a critical issue in relation to museums and galleries, the needs of disabled people have often been very low down the list.” The same can be said of museums in Barbados, where access is still an underdeveloped area which needs to be addressed more broadly. Not enough has been written on accessibility, and there are still some misconceptions surrounding the appropriate terminology of disability and impairment, as it relates to access and accessibility in museums. There is no doubt that museums play an important role in society, and while some museums may cater to people with disabilities, many museums do not. “Accessibility of Museums in Barbados” is a study which investigates whether hearing impaired visitors benefit from visiting museums in Barbados.

32 The Inclusive Museum Subscriptions and Access

Community Membership and Personal Subscriptions As part of each conference registration, all conference participants (both virtual and in-person) have a one-year digital subscription to The International Journal of the Inclusive Museum. This complimentary personal subscription grants access to both the current volume of the journal as well as the entire backlist. The period of complimentary access begins at the time of registration and ends one year after the close of the conference. After that time, delegates may purchase a personal subscription.

To view articles, go to http://ijz.cgpublisher.com/. Select the “Login” option and provide a CGPublisher username and password. Then, select an article and download the PDF. For lost or forgotten login details, select “forgot your login” to request a new password.

Journal Subscriptions Common Ground offers print and digital subscriptions to all of its journals. Subscriptions are available to The International Journal of the Inclusive Museum and to custom suites based on a given institution’s unique content needs. Subscription prices are based on a tiered scale that corresponds to the full-time enrollment (FTE) of the subscribing institution.

For more information, please visit: • http://onmuseums.com/publications/journal/subscriptions-and-orders • Or contact us at [email protected]

Library Recommendations Download the Library Recommendation form from our website to recommend that your institution subscribe to The International Journal of the Inclusive Museum: http://onmuseums.com/publications/journal/library-recommendation.

33 The Inclusive Museum Book Imprint

Aiming to set new standards in participatory knowledge creation and scholarly publication The Inclusive Museum Book Imprint

Call for Books Common Ground is setting new standards of rigorous academic knowledge creation and scholarly publication. Unlike other publishers, we’re not interested in the size of potential markets or competition from other books. We’re only interested in the intellectual quality of the work. If your book is a brilliant contribution to a specialist area of knowledge that only serves a small intellectual community, we still want to publish it. If it is expansive and has a broad appeal, we want to publish it too, but only if it is of the highest intellectual quality.

We welcome proposals or completed manuscript submissions of: • Individually and jointly authored books • Edited collections addressing a clear, intellectually challenging theme • Collections of articles published in our journals • Out-of-copyright books, including important books that have gone out of print and classics with new introductions

Book Proposal Guidelines Books should be between 30,000 and 150,000 words in length. They are published simultaneously in print and electronic formats and are available through Amazon and as Kindle editions. To publish a book, please send us a proposal including: • Title • Author(s)/editor(s) • Draft back-cover blurb • Author bio note(s) • Table of contents • Intended audience and significance of contribution • Sample chapters or complete manuscript • Manuscript submission date

Proposals can be submitted by email to [email protected]. Please note the book imprint to which you are submitting in the subject line.

37 The Inclusive Museum Book Imprint

Call for Book Reviewers Common Ground Publishing is seeking distinguished peer reviewers to evaluate book manuscripts.

As part of our commitment to intellectual excellence and a rigorous review process, Common Ground sends book manuscripts that have received initial editorial approval to peer reviewers to further evaluate and provide constructive feedback. The comments and guidance that these reviewers supply is invaluable to our authors and an essential part of the publication process.

Common Ground recognizes the important role of reviewers by acknowledging book reviewers as members of the Editorial Review Board for a period of at least one year. The list of members of the Editorial Review Board will be posted on our website.

If you would like to review book manuscripts, please send an email to [email protected] with: • A brief description of your professional credentials • A list of your areas of interest and expertise • A copy of your CV with current contact details

If we feel that you are qualified and we require refereeing for manuscripts within your purview, we will contact you.

38 The Inclusive Museum Book Imprint

The Museum for the People

Sharon A. Pittman

Opening during the tumultuous sixties as “the museum for the people,” the Oakland Museum of California (OMCA) has from time to time been at the center of political tensions that have become characteristic of the city known as “the home of the Black Panther Party.” The Museum for the People traces OMCA’s roots back to its pre-sixties origins, i.e. the period when its surrounding neighborhoods transitioned from predominantly white to increasingly African American. Three cultural institutions that were founded in the early 1900s merged, relocating to the current site during the sixties, and were met by protests before actually opening the doors of what is now OMCA. Delivering the history through the voices of individuals such as L. Thomas Frye, the Oakland Museum of California’s founding curator of History, and providing various current accounts from recent employees and visitor feedback, the author describes an institution that has remained viable by reaching out to “the people” during various critical times throughout its history. ISBN—978-1-61229-484-1 135 Pages Author Bio: Community Website: Sharon Annette Pittman retired in 2012 from a 28-year career as a secondary school art and onmuseums.com cross-cultural educator and currently teaches at the college level. Since 2004, she has been involved in research on relationships between historically marginalized peoples and institutions, particularly Bookstore: onmuseums. schools and museums. In 2004, she presented a scholarly paper on the Ebonics controversy at the cgpublisher.com Annual Modern Language Association Convention that was held in Philadelphia, Pennsylvania. Her presentation was focused on the Oakland public school system. Other writings include a critique of James Cuno’s book Whose Culture?, in which she defended the rights of Third World nations in particular to have their cultural property repatriated from Western encyclopedic museums. The Museum for the People is an adaptation of her doctoral dissertation, which she successfully defended in 2013 to receive a Ph.D. in cultural studies with a concentration in museum studies.

39 The Inclusive Museum Book Imprint

Museums in Human Development: The Place of Museums in a Globalised and Transforming World

Conrad Gershevitch

Museums in Human Development attempts to answer four inter-related questions: What is happening to our world? Why is it happening? How can we think about and understand these first two questions? What are some solutions to the challenges posed by contemporary modernity?

Museums in Human Development is a sweeping review of global trends and risks, a summary of approaches to understanding these trends, a study of civil society and those UN systems that incorporate heritage, sustainability, human rights, and distributive and cultural equity. It argues that cultural institutions, in particular museums, can provide the vectors of positive, transformative change for a world in crisis. New museology as a principle and the ecomuseum as a site share much ISBN—978-1-61229-249-6 in common with other inter-disciplinary approaches, such as urban planning and health promotion, 287 Pages which are approaches that respond to human necessities and the human condition in fair, consensual, Community Website: flexible, sustainable, and creative ways. onmuseums.com In the future—in a world that is increasingly urban, crowded, conflicted, resource poor, and where Bookstore: cultures, people, and faiths encounter each other as never before—museums can be sites of collective, onmuseums. cgpublisher.com democratic decision making, where information is sublimated into knowledge, global problems are faced at the local level, and the dehumanised is rehumanised.

Author Bio: Conrad Gershevitch has worked for many years on issues of human rights, cultural liberty, anti- discrimination, and health promotion and planning in both the government and non-government sectors. He has post-graduate qualifications in literary studies, public sector economics, and museolgy. A generalist, Conrad has a wide range of personal interests including music, the arts, gastronomy, astronomy, and horticulture. He has two children, currently works in the healthcare sector, and lives in the World Heritage-listed Blue Mountains, west of Sydney, Australia.

40 The Inclusive Museum Conference

Curating global interdisciplinary spaces, supporting professionally rewarding relationships The Inclusive Museum About the Conference

Conference History Founded in 2008, the International Conference on the Inclusive Museum brings together a community of museum practitioners, researchers, and thinkers. The key question addressed by the conference: How can the institution of the museum become more inclusive? In this time of fundamental social change, what is the role of the museum, both as a creature of that change, and perhaps also as an agent of change?

The International Conference on the Inclusive Museum is built upon four key features: Internationalism, Interdisciplinarity, Inclusiveness, and Interaction. Conference delegates include leaders in the field as well as emerging scholars, who travel to the conference from all corners of the globe and represent a broad range of disciplines and perspectives. A variety of presentation options and session types offer delegates multiple opportunities to engage, to discuss key issues in the field, and to build relationships with scholars from other cultures and disciplines.

Past Conferences • 2008 - National Museum of Ethnology, Leiden, Netherlands • 2009 - University of Queensland, Brisbane, Australia • 2010 - Yildiz Technical University, Istanbul, Turkey • 2011 - University of Witwatersrand, Johannesburg, South Africa • 2012 - University of the West Indies, Cave Hill, Barbados • 2013 - National Art Gallery of Denmark, , Denmark • 2014 - The Autry National Center, Los Angeles, USA • 2015 - The National Science Museum, New Delhi, India

Plenary Speaker Highlights: The International Conference on the Inclusive Museum has a rich history of featuring leading and emerging voices from the field, including:

• Finn Andersen, The Danish Cultural Institute, Copenhagen, Denmark (2013) • Julien Anfruns, International Council of Museums, Paris, France (ICOM) (2009) • Catherine Branson, Australian Human Rights Commission, Sydney, Australia (2009) • Lonnie G. Bunch, III, Smithsonian‘s National Museum of African American History and Culture, Washington DC, USA (2012) • Alissandra Cummins, Barbados Museum and Historical Society, Bridgetown, Barbados (2008, 2009, 2010, 2012) • Steven Engelsman, National Museum of Ethnology, Leiden, Netherlands (2008) • Liebe Geft, Museum of Tolerance, Los Angeles, USA (2014) • Hans-Martin Hinz, The Internationals Council of Museums, Berlin, Germany (2009, 2010, 2013) • Sonwabile Mancotywa, National Heritage Council of South Africa, Pretoria, South Africa (2011) • Omarakhan Massoudi, National Museum of Afghanistan, Kabul, Afghanistan (2010) • Craddock Morton, National Museum of Australia, Acton, Australia (2009) • Karsten Ohrt, National Gallery of Denmark, Copenhagen, Denmark (2013) • Lejo Schenk, Amsterdam Tropenmuseum, Amsterdam, The Netherlands (Royal Tropical Institute) • Elizabeth Silkes, International Coalition of Sites of Conscience, , USA (2013) • W. Richard West, Jr., Smithsonian National Museum of the American Indian, Washington DC, USA (2008)

43 The Inclusive Museum About the Conference

Past Partners Over the years the International Conference on the Inclusive Museum has had the pleasure of working with the following organizations:

Autry National Center of Barbados Museum, Commonwealth Association the American West, Bridgetown, Barbados (2012) of Museums, Los Angeles, USA (2014) London, UK(2011-2014)

Commonwealth Danish Institute for Faculty of Art and Design, Department of Art, Foundation (2012) Human Rights, Art Management Division Museum Studies Copenhagen, Denmark (2013) Graduate Program, Yildiz Technical University, Istanbul, Turkey (2009)

ICOM (2008-Present) International Coalition of International Curators Forum, Sites of Conscience, London, UK (2012-2013) New York City, USA (2013)

Iziko Museums, Museum of Copenhagen, Nationaal Natuurhistorisch Museum Cape Town, South Africa (2011) Copenhagen, Denmark (2013) (National Museum of Natural History), Leiden, The Netherlands (2008)

44 The Inclusive Museum About the Conference

National Gallery of Denmark, National Museum of Ethnology, Turkish Ministry of Copenhagen, Denmark (2013) Leiden, The Netherlands (2008) Culture and Tourism, Istanbul, Turkey (2010)

University of Queensland, University of the West Indies, University of Witwatersrand, Brisbane, Australia (2008-2010) Kingston, Jamaica (2012) Johannesburg, South Africa (2011)

Become a Partner Common Ground Publishing has a long history of meaningful and substantive partnerships with universities, research institutes, government bodies, and non-governmental organizations. Developing these partnerships is a pillar of our Knowledge Community agenda. There are a number of ways you can partner with a Common Ground Knowledge Community. Contact us at [email protected] to become a partner.

45 The Inclusive Museum About the Conference

Conference Principles and Features The structure of the conference is based on four core principles that pervade all aspects of the knowledge community:

International This conference travels around the world to provide opportunities for delegates to see and experience different countries and locations. But more importantly, the Inclusive Museum Conference offers a tangible and meaningful opportunity to engage with scholars from a diversity of cultures and perspectives. This year, delegates from over 25 countries are in attendance, offering a unique and unparalleled opportunity to engage directly with colleagues from all corners of the globe.

Interdisciplinary Unlike association conferences attended by delegates with similar backgrounds and specialties, this conference brings together researchers, practitioners, and scholars from a wide range of disciplines who have a shared interest in the themes and concerns of this community. As a result, topics are broached from a variety of perspectives, interdisciplinary methods are applauded, and mutual respect and collaboration are encouraged.

Inclusive Anyone whose scholarly work is sound and relevant is welcome to participate in this community and conference, regardless of discipline, culture, institution, or career path. Whether an emeritus professor, graduate student, researcher, teacher, policymaker, practitioner, or administrator, your work and your voice can contribute to the collective body of knowledge that is created and shared by this community.

Interactive To take full advantage of the rich diversity of cultures, backgrounds, and perspectives represented at the conference, there must be ample opportunities to speak, listen, engage, and interact. A variety of session formats, from more to less structured, are offered throughout the conference to provide these opportunities.

46 The Inclusive Museum Ways of Speaking

Plenary Plenary speakers, chosen from among the world’s leading thinkers, offer formal presentations on topics of broad interest to the community and conference delegation. One or more speakers are scheduled into a plenary session, most often the first session of the day. As a general rule, there are no questions or discussion during these sessions. Instead, plenary speakers answer questions and participate in informal, extended discussions during their Garden Conversation.

Garden Conversation Garden Conversations are informal, unstructured sessions that allow delegates a chance to meet plenary speakers and talk with them at length about the issues arising from their presentation. When the venue and weather allow, we try to arrange for a circle of chairs to be placed outdoors.

Talking Circles Held on the first day of the conference, Talking Circles offer an early opportunity to meet other delegates with similar interests and concerns. Delegates self-select into groups based on broad thematic areas and then engage in extended discussion about the issues and concerns they feel are of utmost importance to that segment of the community. Questions like “Who are we?”, ”What is our common ground?”, “What are the current challenges facing society in this area?”, “What challenges do we face in constructing knowledge and effecting meaningful change in this area?” may guide the conversation. When possible, a second Talking Circle is held on the final day of the conference, for the original group to reconvene and discuss changes in their perspectives and understandings as a result of the conference experience. Reports from the Talking Circles provide a framework for the delegates’ final discussions during the Closing Session.

Themed Paper Presentations Paper presentations are grouped by general themes or topics into sessions comprised of three or four presentations followed by group discussion. Each presenter in the session makes a formal twenty- minute presentation of their work; Q&A and group discussion follow after all have presented. Session Chairs introduce the speakers, keep time on the presentations, and facilitate the discussion. Each presenter’s formal, written paper will be available to participants if accepted to the journal.

Colloquium Colloquium sessions are organized by a group of colleagues who wish to present various dimensions of a project or perspectives on an issue. Four or five short formal presentations are followed by commentary and/or group discussion. A single article or multiple articles may be submitted to the journal based on the content of a colloquium session.

47 The Inclusive Museum Ways of Speaking

Focused Discussion For work that is best discussed or debated, rather than reported on through a formal presentation, these sessions provide a forum for an extended “roundtable” conversation between an author and a small group of interested colleagues. Several such discussions occur simultaneously in a specified area, with each author’s table designated by a number corresponding to the title and topic listed in the program schedule. Summaries of the author’s key ideas, or points of discussion, are used to stimulate and guide the discourse. A single article, based on the scholarly work and informed by the focused discussion as appropriate, may be submitted to the journal.

Workshop/Interactive Session Workshop sessions involve extensive interaction between presenters and participants around an idea or hands-on experience of a practice. These sessions may also take the form of a crafted panel, staged conversation, dialogue or debate—all involving substantial interaction with the audience. A single article (jointly authored, if appropriate) may be submitted to the journal based on a workshop session.

Poster Sessions Poster sessions present preliminary results of works in progress or projects that lend themselves to visual displays and representations. These sessions allow for engagement in informal discussions about the work with interested delegates throughout the session.

48 The Inclusive Museum ICOM Cultural Diversity Charter

As an integral part of the outcomes of the activities of 2010—The International Year for the Rapprochement of Cultures, The International Year of Biodiversity, and The International Year of Youth: Dialogue and Mutual Understanding; and in response to the ICOM Cross Cultural Task Force recommendation for a set of guiding principles that are consistent with the 1998 Cultural Diversity Policy Framework of ICOM, and in continuing to address the wide range of issues with cross cultural dimensions through intercultural and intergenerational dialogue, and in developing inclusive approaches and guidelines as to how museums should endeavour to deal with cultural diversity and biodiversity, the 25th General Assembly of the International Council of Museums meeting on 12 November 2010 in Shanghai, China, adopted the following set of principles as the

ICOM Cultural Diversity Charter:

1. DIVERSITY: To recognise and affirm all forms of cultural diversity and biological diversity at local, regional and international levels, and to reflect this diversity in all policies and programs of museums across the world. 2. PARTICIPATORY DEMOCRACY: To promote enabling and empowering frameworks for active inputs from all stakeholders, community groups, cultural institutions and official agencies through appropriate processes of consultation, negotiation and participation, ensuring the ownership of the processes as the defining element. 3. COOPERATION AND COORDINATION: To cooperate and coordinate in sharing projects and enhancing professional exchanges so as to maximise resources and expertise at regional and global levels. 4. PEACE AND COMMUNITY BUILDING: To promote the sense of place and identity of diverse peoples through appreciating their multiple inheritances — natural and cultural, tangible and intangible, movable and immovable — and fostering a shared vision inspired by the spirit of reconciliation through intercultural and intergenerational dialogue. 5. INNOVATION AND INSPIRATION: To foster creativity and to develop challenging approaches to stimulate inclusive heritage consciousness in culturally and linguistically diverse museum contexts. 6. CAPACITY BUILDING: To make directed and sustained endeavours to increase the operational capacity of museums to respond with vigour and insight to transformation and change in culturally and linguistically diverse societies. 7. PRODUCTIVE DIVERSITY: To maximise approaches that will encourage the diversification of resources to address and reconcile the competing demands of cultural diversity and biodiversity with economic imperatives. 8. STANDARD SETTING: To discuss and debate various UN and UNESCO international heritage law instruments, both soft law recommendations, charters and declarations and hard law conventions and treaties, providing strategic professional leadership, especially with reference to the cultural suite of international legal instruments. 9. SUSTAINABILITY AND CLIMATE CHANGE: To locate culture as the fourth pillar along with economic, social and environmental sustainability and to address the cultural and creative dimensions of climate change. 10. DIGITAL DOMAIN: To understand the differences between digitisation, digital access and digital heritage, to support digital access in all activities, and to recognise that digital access is not a substitute for return, restitution and repatriation.

49 The Inclusive Museum ICOM Cultural Diversity Charter

La Charte de la diversité culturelle de l’ICOM Dans le cadre de l’Année internationale du rapprochement des cultures, l’Année internationale de la biodiversité et l’Année internationale de la jeunesse : dialogue et compréhension mutuelle et suite à l’adoption par l’ICOM en 1998 d’une Politique de diversité culturelle, le Groupe de travail interculturel de l’ICOM recommande de poursuivre, grâce à un dialogue entre cultures et générations, les réflexions que posent les approches transculturelles, et de développer des approches de travail inclusives ainsi que des lignes directrices relatives à la façon dont les musées devraient traiter la question de la diversité culturelle et de la biodiversité.

Dans cet esprit, l’Assemblée générale du Conseil international des musées adopte l’ensemble des principes suivants comme Charte de la diversité culturelle de l’ICOM:

1. DIVERSITÉ : reconnaître et promouvoir toutes les formes de diversité culturelle ou biologique aux niveaux local, régional et international et refléter cette diversité dans tous les programmes et politiques des musées partout dans le monde. 2. DÉMOCRATIE PARTICIPATIVE : promouvoir des cadres d’action encourageant la participation active de toutes les parties prenantes, associations locales, établissements culturels et agences gouvernementales, grâce à des processus de consultation, négociation et participation appropriés, et en prenant l’appropriation de ces processus comme élément déterminant. 3. COOPÉRATION ET COORDINATION : coopérer et coordonner pour collaborer à des projets et améliorer les échanges professionnels afin de disposer des meilleures ressources et expertises possibles tant au niveau régional qu’international. 4. PAIX ET RENFORCEMENT DES COMMUNAUTÉS : promouvoir le sentiment d’appartenance et d’identité de divers peuples grâce à la valorisation de l’ensemble de leur patrimoine (naturel et culturel, tangible et intangible, meuble et immeuble) et développer une vision commune inspirée par l’esprit de réconciliation grâce à un dialogue entre cultures et entre générations. 5. INNOVATION ET INSPIRATION : encourager la créativité et le développement d’approches originales pour développer une conscience commune du patrimoine dans des contextes muséaux culturellement et linguistiquement différents. 6. RENFORCEMENT DES CAPACITÉS : accomplir des efforts ciblés et durables visant à augmenter la capacité opérationnelle des musées à faire face aux transformations et changements avec dynamisme et perspicacité dans des sociétés culturellement et linguistiquement différentes. 7. DIVERSITÉ PRODUCTIVE : optimiser les façons d’encourager la diversification des ressources pour concilier entre elles les demandes concurrentes de diversité culturelle et répondre aux préoccupations en matière de biodiversité eu égard aux impératifs économiques. 8. ÉTABLISSEMENT DE NORMES : débattre et interpréter les divers instruments juridiques de l’UNESCO en matière de patrimoine international, qu’il s’agisse du droit mou (recommandations, chartes et déclarations) ou de norme contraignante (accords et traités), en dégageant un positionnement stratégique de meneur, en particulier en ce qui concerne l’ensemble des instruments de législation internationale. 9. ÉVELOPPEMENT DURABLE ET CHANGEMENT CLIMATIQUE : identifier la culture comme quatrième pilier aux côtés des trois autres axes de développement durable (économique, social, écologique) et répondre à la dimension culturelle de la problématique de changement climatique. 10. LE NUMÉRIQUE : comprendre la différence entre numérisation, accès numérique et patrimoine numérique et soutenir l’accès numérique pour toutes les activités, et prendre conscience que l’accès numérique ne saurait remplacer le retour, la restitution ni le rapatriement des objets culturels.

50 The Inclusive Museum ICOM Cultural Diversity Charter

Carta de la diversidad cultural del ICOM Como parte integral de los resultados de las actividades del año 2010, Año Internacional de Acercamiento de las Culturas, Año Internacional de la Biodiversidad, y Año Internacional de la Juventud - El diálogo y la comprensión mutua; - el ICOM Cross Cultural Task Force recomienda, dentro del marco de políticas de diversidad cultural del ICOM de 1998, y dando continuidad a la amplia gama de temas relacionados al encuentro de culturas a través del diálogo intercultural e inter- generacional; y desarrollando enfoques inclusivos y directrices relativas a la forma en que los museos deberían esforzarse por manejar la diversidad cultural y la biodiversidad; que la 25ª reunión de la Asamblea general del Consejo internacional de museos, celebrada en noviembre de 2010 en Shanghái, China, adoptar el siguiente conjunto de principios como la Carta de la diversidad cultural del ICOM. 1. DIVERSIDAD: El reconocimiento y la afirmación de todas las formas de la diversidad cultural y la diversidad biológica a nivel local, regional e internacional y el reflejo de esta diversidad en todas las políticas y programas de los museos de todo el mundo. 2. DEMOCRACIA PARTICIPATIVA: Promoción de sistemas de trabajo que permitan el aporte de todas las partes interesadas, grupos comunitarios, instituciones culturales u organismos oficiales, a través de procesos adecuados de consulta, la negociación y la participación, que garanticen cierta pertenencia a los procesos como elemento definitorio. 3. COOPERACIÓN Y COORDINACIÓN: La cooperación y coordinación para compartir proyectos y mejorar los intercambios profesionales, con el fin de maximizar los recursos y conocimientos especializados a nivel regional y mundial. 4. LA PAZ Y LA CONSTRUCCION DE COMUNIDADES: Promover el sentido de pertenencia y la identidad de los diversos pueblos a través de la apreciación de sus múltiples herencias -naturales y culturales, tangibles e intangibles, muebles e inmuebles- y el fomento de una visión común inspirada en el espíritu de la reconciliación a través del diálogo intercultural e inter generacional. 5. LA INNOVACIÓN Y LA INSPIRACIÓN: Fomento de la creatividad y el desarrollo de desafíos para estimular la conciencia inclusiva del diverso patrimonio cultural y lingüístico en el contexto de los museos. 6. CREACIÓN DE CAPACIDADES: Dirigir y mantener los esfuerzos para aumentar la capacidad operativa de los museos con el objetivo de responder con vigor y perspicacia a las transformaciones y cambios en sociedades diversas desde un punto de vista cultural y lingüístico. 7. DIVERSIDAD PRODUCTIVA: Maximización de las formas para fomentar la diversificación de los recursos que permitan abordar y conciliar las demandas de la diversidad cultural y la biodiversidad con los imperativos económicos. 8. AJUSTE ESTANDAR: Discutir y debatir los instrumentos internacionales de derecho del patrimonio de las Naciones Unidas y la UNESCO, tanto las Recomendaciones, soft law, Cartas y Declaraciones, como las Convenciones y tratados, hard law, proporcionando el liderazgo profesional estratégico, especialmente con relación a los instrumentos jurídicos internacionales para la cultura. 9. LA SOSTENABILIDAD Y EL CAMBIO CLIMÁTICO: Hacer de la cultura uno de los cuatro pilares, junto con la sostenibilidad económica, social y medioambiental y desarrollar la dimensión cultural y creativa del cambio climático. 10. DOMINIO DIGITAL: Comprensión de las diferencias entre la digitalización, acceso digital y patrimonio digital, así como facilitar el acceso digital a todas las actividades, y darse cuenta de que el acceso digital no es un sustituto para el retorno, la restitución y repatriación.

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Presidential Inauguration at the Auditorium of the Rashtrapati Bhavan Cultural Centre, New Delhi Thursday, 6 August, 18:00 (6:00pm) It is a great honour to the world of museums that the President of India, Shri Pranab Mukherjee, will inaugurate the Eight International Conference on the Inclusive Museum in the Presidential Palace at 6.00pm on Thursday, 6th August 2015. In order to ensure timely security arrangements and protocols, all participants and their spouses are required to gather and register at the National Science Centre by 4.00pm. Buses will then transport them to the Presidential Palace, or Rashtrapati Bhavan. The ceremony will be followed by High Tea hosted by the President of India. Dress Code is formal or national attire.

The inauguration and visit to the Rashtrapati Bhavan are rare opportunities that are free for registered delegates.

Shri Mukherjee–President of India Shri Pranab Mukherjee assumed office as the 13th President of India on July 25, 2012, crowning a political career of over five decades of exemplary service to the nation in Government as well as Parliament. He is a man of unparalleled experience in governance with the rare distinction of having served at different times as Foreign, Defence, Commerce, and Finance Minister. He was elected to the Upper House of the Parliament () five times from 1969 and twice to the Lower House of the Parliament () from 2004. A powerful orator and scholar, his intellectual and political prowess as well as remarkable knowledge of international relations, financial affairs, and parliamentary process are widely admired. He has been acclaimed for his role as a consensus builder on difficult national issues through his ability to forge unity amongst the diverse political parties that form part of India’s vibrant multi- party democracy. A man of humble origins, he was born in the small village of Mirati in Birbhum District of West Bengal as son of freedom fighters, Shri Kamada Kinkar Mukherjee and Rajlakshmi on December 11, 1935. His father was a Congress leader who endured great hardship including being sent to jail several times for his role in India’s struggle for independence. He acquired a Master’s degree in History and Political Science as well as a degree in Law from the University of Kolkata. He then embarked on his professional life as a college teacher and journalist. Inspired by his father’s contribution to the national movement, he in 1969 plunged into full time public life following his election to the Upper House of the Parliament (Rajya Sabha).

Kailash Satyarthi–Nobel­ Laureate Kailash Satyarthi, born Kailash Sharma, is an Indian social reformer who campaigned against child labour in India and internationally. Much of the world’s population, especially in poor countries, is made up of children and young people. To achieve a peaceful world, it is crucial that the rights of children and young people be respected. Following the tradition of Mahatma Gandhi, he has waged a peaceful struggle to stop children being exploited as labor instead of attending school. In 1980 he founded the non-profit organization Bachpan Bachao Andolan (BBA - “Save the Childhood Movement”). He was the catalyst for the 1998 Global March Against Child Labor, a series of demonstrations and marches across some 100 countries in which more than seven million people participated. The movement resulted in the passage of the Convention Concerning the Prohibition and Immediate Action for the Elimination of the Worst Forms of Child Labour by the International Labour Organization (ILO) in 1999. In the same year, he was among the cofounders of the Global Campaign for Education, which championed education as a universal human right. In 2001 he became a founding member of the UNESCO High-Level Group on Education for All. Bal Mitra Gram (BMG) was launched in 2011. It is a program for “child friendly” villages in which child labour was banned and all children were enrolled in school. There are over 350 villages in this program. He and ’s Malala Yousafzai were awarded the Nobel Peace Prize on

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December 10, 2014 for their pioneering work on promoting child rights. In keeping with the tradition of a unique kind of autograph given by the laureates he wrote under a chair at the Nobel Museum in Stockholm “For me this chair is still empty and waiting and inviting millions of left out children”. The Nobel chairs are not only museum artefacts but also a guest book of sorts, cataloguing the signatures of all the Nobel laureates who paid a visit to the museum. He presented his Nobel Peace Prize Medal to President Pranab Mukherjee at the Rashtrapati Bhavan, dedicating the honour bestowed upon him to the nation. It is kept on display at the Rashtrapati Bhavan Museum. He will speak at the Presidential inauguration of the Eighth International Conference on the Inclusive Museum, with the theme Museums as Civic Spaces, in the Rashtrapati Bhavan/ Presidential Palace.

Nobel Lecture: http://www.nobelprize.org/nobel_prizes/peace/laureates/2014/satyarthi-facts.html

About The Rashtrapati Bhavan “The Rashtrapati Bhavan is at the centre of a multifarious heritage. It represents one of the greatest architectural projects of the modern period; a unique synthesis of eastern and western influences in architecture and landscape; a historical setting in the establishment of modern South Asian nations; a meeting ground for heads of states and luminaries; the venue par excellence for stately functions and ceremonies; the headquarters of the oldest regiment of the Indian army, the President’s Body Guard (PBG); a housing estate; a historical monument; a cultural centre; a museum—amongst others. Significantly, the Rashtrapati Bhavan has a dual association with India as a British colony and an independent democracy and it serves a dual purpose as a private home and a public monument.”

Conference Keynote Speaker—Romila Thapar Friday, 7 August, 10:00–10:30 (10:00am–10:30am) About Professor Romila Thapar Romila Thapar was the foundation Professor of Ancient Indian History in the Centre for Historical Studies at the Jawaharlal Nehru University, New Delhi, where she is now Emeritus Professor in History. In 1983 she was elected General President of the Indian History Congress and in 1999 a Corresponding Fellow of the British Academy. In 2004 the US appointed her as the first holder of the Kluge Chair in Countries and Cultures of the South. She is co-winner of the prestigious Kluge Prize for the Study of Humanity for 2008. Among her publications are and the Decline of the Mauryas; Ancient Indian Social History: Some Interpretations; From Lineage to State, History and Beyond; Sakuntala: Texts, Readings, Histories; Cultural Pasts: Essays on Indian History; and the children’s book Indian Tales. In her latest book The Past As Present—Forging Contemporary Identities Through History, (2014) she argues that ‘it is of critical importance for the past to be carefully and rigorously explained, if the legitimacy of our present, wherever it derives from the past, is to be portrayed as accurately as possible.’ ‘A museum should educate people,’ she said as she delivered in 2014 the prestigious Nathaniel Wallich Memorial Lecture at the bicentenary celebrations of the Indian Museum, Calcutta. While she narrated the genesis of museums worldwide, she also raised questions about race having been a scale for classification of antique art and objects, while also stressing on the importance of today’s museums to be seen as institutions. In a subsequent interview she said that ‘If you are trying to understand a complex society, it has to be seen from multiple perspectives, each based on evidence and analysis. What the historian has to do is to test the reliability of the evidence used as well as the validity and logic of the statements that follow, and then see how best the understanding of the past emerges.’

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Conference Dinner Friday, 7 August, 19:05–20:35 (7:05pm–8:35pm) Dinner after the conference day; followed by bus transport to the conference hotel.

Museum Day Conference Dinner Saturday, 8 August, 18:30 (6:30pm) (Weather Permitting) Held at Sanskriti Pratisthan with a visit to their artists’ studios and National Terracotta Museum.

Farewell Reception Hosted by the Australian High Commission Sunday, 9 August 2015, 18:00 (6:00pm) (Weather Permitting) The Australian High Commission is graciously sponsoring a farewell reception for delegates of the Inclusive Museum Conference. Join us to celebrate a successful conference and to converse with your fellow delegates.

The Taj Mahal and Agra Expereince Monday, 10 August, 6:30–22:00 (6:30am–10:00pm), $30USD **Concessional Registration Not Eligible** Noted litterateur and Nobel Laureate for Literature, Rabindranath Tagore called the Taj Mahal “a teardrop on the cheek of time”. And that is what it is. Located at a distance of 180 Kilometers from the Indian National Capital of Delhi, in the town of Agra in Uttar Pradesh on the banks of the river Yamuna, it stands as an edifice to the immense love a bygone Emperor nurtured for his Empress. Shah Jahan, one of the most refined of the Mughal Emperors, built many structures, but this perhaps is the most delicate and ethereal of them all. His wife Mumtaz Mahal in whose memory it was built was his wife for less than two decades, but the beauty of the Taj stands testimony to the eternal love he had for her. Stories about the Royal Couple abound and so do myths surrounding the mausoleum. But a view of what is one of the Seven Wonders of the World, and a UNESCO World Heritage Site is a must see for all connoisseurs of sheer love and beauty. Not much can be written about the monument. It has to be experienced personally. Information regarding the Taj Mahal can be found at http://www. tajmahal.gov.in. After visiting the Taj Mahal, delegates will proceed for a tour of the majestic Agra Fort that was a fortified citadel of the great Mughals. The fort stands in its full glory even to this day. A guided tour through the fort will take up to two hours. More information on the fort is available at http://agrafort.gov.in. Included in the tour fee is transportation from the conference hotel, guide and volunteer officers from the NSCD, entry fee, a light breakfast, lunch, and a light snack.

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Museum Day Saturday, 8 August 2015, 9:00–18:30; Followed by Dinner at 18:30 Participants are encouraged to bring with them an umbrella as a precautionary measure. It is the rainy season in Delhi. The Museum Day at the Eighth International Conference on the Inclusive Museum is convened and hosted by several prestigious Indian Institutions including, the National Gallery of the Modern Art, India National Trust for Art and Cultural Heritage which is the UNESCO 2003 Convention Nodal Point for Safeguarding Intangible Heritage in India and the Aga Khan Trust for Culture in India. The day is coordinated by the International Institute for the Inclusive Museum with the respective host institutions facilitating the workshops and seminars.

The Museum Day is more than a site visit. Participants are actively engaged in seminars and workshops prepared by the host institutions addressing the ICOM Cultural Diversity Charter. Some of the cross cutting themes are interrogating active citizenship, gender mainstreaming, culture in development and poverty alleviation, appropriate collecting, digitisation, and inclusion and intersectionality as a policy priority for the transformation of all kinds of museums in the 21st Century. The final plenary session at the end of the Museum Day will be at the National Science Museum. This session will be a report back to the Joint Secretary, Museum and International Relations, Ministry of Culture. Government of India International Rapporteurs from each of the options will present the summary of their findings on how museums could become more inclusive and dynamic in a rapidly changing 21st Century. This will be followed by dinner at 6.30PM.

Museum Day Options Include: • Option 1: World Heritage, Urban Renewal and Sustainable Development • Option 2: Museums as Sites for Safeguarding Intangible Heritage • Option 3: Inclusive Art and Aesthetics

All the venues are close to the conference hotel and transportation is being generously provided by the National Council of Science Museums. Internationally renowned museum and heritage experts will be the resource people for each of the options listed below. While the Conveners are the local hosts, all the Rapporteurs are international delegates. August is a pleasant month in New Delhi; however, delegates are encouraged to bring rain coats or umbrellas.

Participants may select one of three options. Seats are limited and once selected changing may not be an option. Schedules are subject to minor changes. The maximum number of participants per option is 30. Slots are filled are on first-come-first- serve basis and registration must be completed to secure a slot. Please see the registration desk to sign-up.

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Option 1: Urban Renewal Initiatives for Safeguarding Outstanding Universal Values in World Heritage Sites Seminar Schedule: 9.30 AM-4.30PM Venue: Hazrat Nizamuddin Basti, AKTC, New Delhi

Museum Day Plenary & Feedback: 5.30-6.30PM followed by dinner Venue: Sanskriti Pratishthan

Convener: Ratish Nanda, Director, AKTC India

As the cultural agency of the Aga Khan Development Network (AKDN), the Aga Khan Trust for Culture (AKTC) plays a vital role in AKDN’s integrated approach of building the broad spectrum of human development–economic, social, and cultural– into a comprehensive strategy. It is dedicated to revitalizing culture and improving the overall quality of life in societies wherever AKDN agencies operate. AKTC projects in Historic Cities across Asia and Africa promote the conservation and re- use of buildings and public spaces. The restoration and rehabilitation of historic structures and public spaces is undertaken in ways that can spur social, economic, and cultural development. In keeping with this philosophy, the Nizamuddin Urban Renewal Initiative, a People Public Private Partnership project with Archaeological Survey of India, South Delhi Municipal Corporation, and Central Public Works Department, integrates conservation, socio economic, and urban development objectives in consultation with local communities and relevant stakeholders. AKTC has also recently commenced a major conservation and landscape restoration project in partnership with the Government of Telangana at the Qutb Shahi Heritage Park, Hyderabad.

Schedule 09:30 Arrival at Hazrat Nizamuddin Basti. Guided walk through Nizamuddin to visit education, health, sanitation, vocational training programme. 09:45 Followed by visit to important monuments in Dargah Complex, Baoli, and Chaunsath Khambha. Walk led by community youth group and supported by AKTC programme team. 11.30 Visit Sundar Nursery - Batashewala complex. 12.15 Visit Humayun's Tomb World Heritage Site. 13:00 Depart to India International Centre Annexe for lunch.

14:30 Presentation/review of material on Nizamuddin renewal initiative and discussion. Bus departs for report back session at Sanskriti Pratishthan. Followed by visits to the Pratishthan’s Museum of Everyday Art of India and Museum of Traditions of Indian Terracotta Arts. Dinner will be in the Jain cultural tradition. As an example, the study tour will examine as to how for over 700 years the Hazrat Nizamuddin Area has boasted of a superior living culture that not only led to the construction of grand mausoleums, mosques, step-wells, garden’s in this area, but also creation of cultural traditions 16:30 of music, poetry, food, and rituals that have defined both Hindustani culture and Sufi traditions. Today, recognized as the densest ensemble of medieval Islamic buildings in the country the area is home to a large population with a significant number of families tracing their descent to the revered Sufi saint, Hazrat Nizamuddin Auliya, whose Dargah remains at the heart of the settlement. Humayun’s Tomb and several other grand garden-tombs were built in the vicinity as it is considered auspicious to be buried near a saint’s Dargah.

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Option 2: Museums as Sites for Safeguarding Intangible Heritage

Seminar Schedule: 9.30 AM-4.30PM Venue: INTACH, 71 Lodhi Estate, New Delhi

Museum Day Plenary & Feedback: 5.30-6.30PM followed by dinner Venue: Sanskriti Pratishthan

Convener: Nerupama Y. Modwel, Director, Intangible Cultural Heritage, INTACH

Museums, irrespective of their pedigree or context, can become ideal sites for safeguarding intangible heritage. The aim of this seminar is to interrogate the role of museums as sites for safeguarding intangible heritage and come up with a set of six relevant recommendations for the future role of museums focusing on the following aspects: • Intangible heritage can be critical in reanimating or bringing to life recent and sometime historical collections to facilitate experiential learning. This enhances the didactics of the display and adds value to the respective museum through dynamism in exhibition planning, design, and final outcomes. • In educational programming contextual valorisation of collections creates a space for meaningful intergenerational dialogue and transmission. The direct participation of carriers and transmitters makes the learning more engaging for young audiences who are often seduced by the offerings of global cultural experiences often homogenising and becoming a major threat to safeguarding intangible heritage. • Inventorisation is a major challenge for safeguarding intangible heritage. Conventional collections management systems and site survey and mapping methodologies are inadequate for dealing with living heritage elements. Documentation can easily induce freezing the element as the transliteration process captures it in time and space. Museums have considerable experience in creating and managing databases. This knowledge could inform new and innovative methods for inventorisation of intangible heritage. • Conservation is only a part of safeguarding process. Yet conservation of tangible items associated with intangible heritage could be informed by the knowledge of the bearers and carriers. This would inform the safeguarding process through direct community engagement. • Museums are increasingly becoming more media savvy. Performances of intangible heritage elements are more likely to attract quality multimedia profiles than simulated tourist promotions which often compromise the values embedded in both the collections and intangible elements. • The 2003 UNESCO Convention for the Safeguarding of Intangible Cultural Heritage and ICOM encourage civil society agencies to take up the task of revitalization and safeguarding process.

ICOM Museum Definition The definition of a museum has evolved, in line with developments in society. Since its creation in 1946, ICOM updates this definition in accordance with the realities of the global museum community. According to the ICOM Statutes, adopted during the 21st General Conference in Vienna, Austria, in 2007:

A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates, and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study, and enjoyment.

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UNESCO and Intangible Heritage Article 2 of the 2003 UNESCO Convention in Safeguarding Intangible Cultural Heritage defines for the purposes of the Convention: The “intangible cultural heritage” means the practices, representations, expressions, knowledge, skills–as well as the instruments, objects, artefacts, and cultural spaces associated therewith–that communities, groups and, in some cases, individuals recognize as part of their cultural heritage. This intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity. For the purposes of this Convention, consideration will be given solely to such intangible cultural heritage as is compatible with existing international human rights instruments, as well as with the requirements of mutual respect among communities, groups and individuals, and of sustainable development. It further delineates that intangible heritage is manifested inter alia in the following domains: (a) oral traditions and expressions, including language as a vehicle of the intangible cultural heritage; (b) performing arts; (c) social practices, rituals and festive events; (d) knowledge and practices concerning nature and the universe; (e) traditional craftsmanship.

Schedule 09:30 Arrival at INTACH. 09:30–12:00 Presentations by Indian and international speakers. 12:00–13:00 Lunch 13:00–16:30 Facilitated workshop. Bus departs for report back session at Sanskriti Pratishthan. Followed by visits to the Pratishthan’s 16:30 Museum of Everyday Art of India and Museum of Traditions of Indian Terracotta Arts. Dinner will be in the Jain cultural tradition.

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Option 3: Inclusive Art and Aesthetics

Seminar Schedule: 9.30 AM–4.30PM Venue: National Gallery of Modern Art, New Delhi

Museum Day Plenary & Feedback: 5.30–6.30PM followed by dinner Venue: Sanskriti Pratishthan

Convener: Prof. Rajeev Lochan, Director, National Gallery of Modern Art, New Delhi, India

Hegemonic notions of aesthetics from colonial or dominant elite perspectives are increasingly being interrogated in recent decades. Several museum networks, contemporary art biennales and triennials are exploring the diversity of aesthetic traditions and their contemporary manifestations. How do art museums and galleries address the inclusive conceptualisation of aesthetics from within both the host cultural context and the global engagement?

The National Gallery of Modern Art provides the ideal setting for this seminar and workshop. Its principal aim and objectives are to: acquire and preserve works of modern art from 1850s onwards; organize, maintain and develop galleries for permanent display; organize special exhibitions not only in its own premises but in other parts of the country and abroad; develop an education and documentation centre in order to acquire, maintain and preserve documents relating to works of modern art; and develop a specialized library of books.

Lunch: Lunch and hospitality are generously provided by the National Gallery of Modern Art, New Delhi.

Schedule 09:00–09.30 Arrival at National Gallery of Modern Art, New Delhi 09:30–12:00 Presentations by Director, invitees, and international speakers 12:00–13:00 Lunch 13:00–16:30 Facilitated workshop Bus departs for report back session at Sanskriti Pratishthan. Followed by visits to the Pratishthan’s 16:30 Museum of Everyday Art of India and Museum of Traditions of Indian Terracotta Arts. Dinner will be in the Jain cultural tradition.

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Mikkel Bogh Mikkel Bogh is 50 years old and provides the next generation leadership for directors of major museums and art galleries in Europe. He held the position as the Rector of the Royal Danish Academy of Fine Arts School of Visual Arts from 2005. His tenure included the process of merging the Schools of Visual Arts and in the autumn of 2012. Up until 2005, he held positions at Aarhus University and the , most recently as head of the University of Copenhagen’s Department of Art and Culture and as head of research for comparative literature and modern culture. He also contributed to the acclaimed Danish newspapers Dagbladet Information and Weekendavisen. He has extensive experience as a teacher and head of research, and has an equally extensive record of scholarly publications. On 1st May 2014, he became the Director of the Statens Museum for Kunst (SMK) / National Art Gallery of Denmark. SMK was the host of the 2013 International Conference on the Inclusive Museum. On his appointment he said “With its collections spanning more than seven centuries of art, the SMK constitutes a unique and vibrant archive of the world views, imagery, and dreams of many ages, including our own. I cannot imagine a more exciting task than being entrusted with leading the SMK, working in concert with the staff to make the museum an open and welcoming art institution where all visitors will feel included, enlightened, and challenged.” He is not a stranger to the Sub- Continent having spent several months travelling across India and Nepal. Delhi looks forward to welcoming him back.

H.E. Sudharshan Seneviratne Professor Seneviratne is the High Commissioner of Sri Lanka to India. He is the first Sri Lankan to complete Master’s and Doctoral degrees from the Jawaharlal Nehru University, New Delhi. His doctoral thesis, “Social Base of Early Buddhism in Andhra, Tamil Nadu and Sri Lanka (3rd Cent. BC to 3rd Cent AC),” was supported by the Indian Council for Historical Research. He was the former Professor and Head of the Department of Archaeology, University of Peradeniya, Sri Lanka. Since the early 1980’s, he has held the Director’s position in the UNESCO Sri Lanka Cultural Triangle Projects and in 2007 was appointed Director General of the Central Cultural Fund, the Custodian organization for UNESCO Declared World Heritage Sites, and he held this position until 2010. Most recently, he delivered the Gandhi Memorial Lecture and the Tagore Birth Anniversary Lecture. He has also made definitive contributions towards the promotion of academic and cultural connectivity especially in the SAARC region. He has participated in many academic and heritage policy making bodies in the SAARC region and in the USA and was Consultant Archaeologist to UNESCO, Government of South Korea, Republic of Maldives and the American Institute of Archaeology. His publications in English, translated into Sinhala and Tamil, number over 75 and are found in national and international learned journals and books. Over the past two decades, he has received several Distinguished International Awards for his Outstanding Contributions to Archaeology & History. He was most recently the recipient for Best Practice in Conservation & Heritage Management for 2013 awarded for the first time to an Asian by the American Institute of Archaeology, USA. For over thirty years he has actively promoted heritage for conflict resolution and peace, sustainable development, and preservation of traditional knowledge and the empowerment of social and economically disabled groups. He believes in inclusiveness and shared heritage as a source of people to people connectivity.

60 The Inclusive Museum Plenary Speakers

Rama Lakshmi Rama Lakshmi, a trained museologist and an oral historian, has worked on museum projects in India and the United States. She is the curator of the Remember Museum, which tells the story of the 30 years struggle of the survivors of the 1984 Union Carbide gas leak. She has conducted story-telling training programs for the National Rail Museum and the National Museum; art workshops for pre-teens; and oral histories of disability rights activists at the Missouri History Museum. A journalist for The Washington Post in India, she won the American Society of Newspaper Editors award for reporting the 2004 tsunami.

Sabyasachi Mukherjee Sabyasachi Mukherjee is the Director General of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (formerly Prince of Wales Museum of Western India), , and Head of the Postgraduate (Diploma) Program in Museology & Conservation conducted by the Museum in affiliation with the University of Mumbai. He has initiated several innovative projects as well as the Museum Modernization Plan at the CSMVS, Mumbai. He has been editing and publishing several books and journals on different aspects of and Culture. Mukherjee is a member of multiple committees, such as the Heritage Committee in Mumbai, the Mumbai Metropolitan Regional Development Authority Heritage Committee, the National Screening Committee for Tagore National Fellowship for Cultural Research. He is a Trustee on the Board of Indian Museum, Kolkata nominated by the Ministry of Culture, Govt. of India, a member on Council of National Culture Fund (NCF), the Advisory Committee of National Gallery of Modern Art, Mumbai, a member of Bizot Group, USA, and the Advisory Committee of K.R. Cama Oriental Institute and also Fellow of Nehru Trust, Charles Wallace and Salzburg Global Seminar. He is a Member of the Consultant Section Committee for Visualization of the proposed design for Dr. Ambedkar National Memorial in Delhi and Chairman of the Maritime History Museum, Mumbai.

Emily Pringle Emily Pringle is trained as a painter and worked for many years as an artist, educator, consultant, and researcher in a range of museums and cultural settings in the UK and internationally. She has a particular interest in the role of the artist in education contexts and in developing creative and sustainable research and evaluation models. Her publications include ‘What’s with the Artist? Researching Practice with Visual Arts Practitioners’ in Researching Creative Learning Methods and Issues (2011) and ‘The Gallery as a site for Creative Learning’ in The Routledge International Handbook of Creative Learning (2011). She is currently Head of Learning Practice and Research at Tate Gallery, London where she is responsible for strategic programme development and overseeing research and evaluation. She is the editor of the recent publication ‘Transforming Tate Learning’ which is available at http://www.tate.org. uk/download/file/fid/30243 and the convenor of the Tate Research Centre: Learning (www.tate.org.uk/research/research- centres/learning-research).

61 The Inclusive Museum Plenary Speakers

Charles Landry Charles Landry is an international authority on the use of imagination and creativity in urban change. He invented the concept of the Creative City in the late 1980’s. This became a global movement and changed the way cities thought about their capabilities and resources. He helps cities identify and make the most of their potential by triggering their inventiveness and thinking. His aim is to help cities become more resilient, self- sustaining, and to punch above their weight. Acting as a critical friend he works closely with decision makers and local leaders in the short and longer term. He stimulates, facilitates, and inspires so cities can transform for the better. He helps find apt and original solutions to seemingly intractable dilemmas, such as marrying innovation and tradition, balancing wealth creation and social cohesiveness, or local distinctiveness and a global orientation. His overall aim is to help cities get onto the global radar screen. He facilitates complex urban change and visioning processes and undertakes tailored research often creating his own projects. These include the ‘creative city index’ in collaboration with Bilbao, the concept of ‘civic urbanity’ and the ‘creative bureaucracy’ jointly with the South Australian government. ‘The Creative City Index’, developed with Jonathan Hyams, is a strategic tool that measures, evaluates, and assesses the innovative eco-system of a city and its capacity to adapt to radical global shifts and adjustments. So far 20 cities have taken part. More information: http://charleslandry. com/about-charles-landry/biography/

Kavita Singh Kavita Singh is a Professor at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. She teaches courses on the history of Indian painting and the history and politics of museums. She has published essays on issues of colonial history, repatriation, secularism and religiosity, fraught national identities, and the memorialisation of difficult histories as they relate to museums in and beyond. She has also published on Indian painting. Her books include the edited and co-edited volumes New Insights into Sikh Art (Marg, 2003), Influx: Contemporary Art in Asia (Sage, 2013), No Touching, No Spitting, No Praying: The Museum in South Asia (Routledge, 2014) and Nauras: The Many Arts of the Deccan (National Museum, 2015). She has curated exhibitions at the San Diego Museum of Art, the Devi Art Foundation, Jawaharlal Nehru University, and the National Museum of India.

Rohit Jigyasu Rohit Jigyasu is a conservation architect and risk management consultant from India, currently working as UNESCO Chair Professor at the Research Center for Disaster Mitigation of Urban Cultural Heritage at Ritsumeikan University, Kyoto, Japan and Senior Advisor to the Indian Institute for Human Settlements (IIHS). He is the Executive Committee member of ICOMOS International and president of ICOMOS International Scientific Committee on Risk Preparedness (ICORP) and ICOMOS-India. He has been teaching as the visiting faculty at several national and international academic institutions in India and abroad. He has also been consultant to several national and international organizations for conducting research and training on Cultural Heritage Risk Management and has contributed to several international publications.

62 The Inclusive Museum Plenary Speakers

Bose Krishnamachari Artist and independent curator, Bose Krishnamachari’s diverse artistic and curatorial practice includes drawing, painting, sculpture, design, installation and architecture. He has exhibited in several important solo and group exhibitions including ‘”Bombay Maximum City”, Lille 3000, Lille, curated by Caroline Naphegyi-2006; “The Shape That Is,” Jendela and Concourse, Esplanade, Singapore-2006; Indian Art at the Swarovski ‘Crystal World, Innsbruck, Austria-2007; ‘Gateway Bombay’ at the Peabody Essex Museum-2007; India Art Now: Spazio Oberdan, Milan-2007; ‘Indian Highway’ at the Serpentine Gallery2009; the Astrup Fearnley Museum, Norway-2009; the Herning Museum of Contemporary Art, Denmark-2010; the Lyon Contemporary Art Museum, the Fondazione MAXXI, Rome-2011; and the ARTZUID Amsterdam-2011. His curatorial projects include the seminal exhibitions ‘The Bombay Boys’, New Delhi-2004; ‘Double-Enders,’ A travelling show–Mumbai, New Delhi, Bangalore and Kochi-2005; “AF-FAIR,” 1X1 Contemporary and 1X1 Gallery, Dubai-2008. He was the guest curator at the Indian pavilion of ARCO–Madrid-2009; and the travelling project, LaVA (Laboratory of Audio Visual Arts)-2007-2011. In 2009, He created Gallery BMB in South Mumbai with a vision to bring the best national and international art to India. He was Artistic Director and Co-Curator of India’s first Biennale–The Kochi Muziris Biennale 2012; Director of Kochi-Muziris Biennale 2014; and is President of the Kochi Biennale Foundation.

Luigi Maria Dicorato–Organizing Committee of ICOM Milano 2016 & ICOM Endowment Fund Museologist and museum director, Luigi received his degree in Art History at Siena University (Italy) and an Executive Master in Business Administration at Polytechnic University of Milan. He worked as an art exhibition curator both in Italy and abroad, collaborating with cultural institutions such as Frederick R. Weismann Museum of Art, Malibu; Palazzo Bagatti Valsecchi, Milan; Valle d’Aosta Archaeological Museum (Italy); Barbican Gallery, London; British Academy, Rome; Convention Centre, Miami; Luigi Pecci Contemporary Art Museum (Italy); Florentine Superintendence for Archaeological Heritage, Florence; Hafnarborg Institute of Culture and Fine Art (Iceland); Festival de la Littérature, Aix-en-Provence. Since 2001 he is Museum Management lecturer at the Economics Department of Cattolica University, Milan. In 2012 he was invited as guest lecturer by Italian Studies Department. He’s been director of the Fondazione Europea del Disegno, the Fortress of Bard Museum and Monza Museum and Cathedral Treasure. Between 2009 and 2014 he held the position of Sienese Museums Foundation general director. In July 2014 he was appointed Brescia Museums Foundation director. He actively collaborates with ICOM as a member of ICOM Italy Directive Committee, of FIREC, of the Endowment Fund, and as part of the Organizing Committee of ICOM Milano 2016.

63 The Inclusive Museum Plenary Speakers

Amareswar Galla Amareswar Galla is Chairperson of the Sustainability Knowledge Community and Editor of the On Sustainability Journal Collection. A champion of cultural democracy, UN Millennium Development Goals, and safeguarding of all forms of heritage, he is an alumnus of the Jawaharlal Nehru University, New Delhi. He is the founding Executive Director of the International Institute for the Inclusive Museum, India, Australia & Denmark; Senior Adviser, UN post 2015 Development Agenda and World Culture Forum, ‘The Power of Culture in Sustainable Development’, Bali initiative hosted by the President of Indonesia. His recent volume World Heritage: Benefits Beyond Borders, Cambridge University Press & UNESCO Publishing, 2012, is the flagship project of the 40th Anniversary of the 1972 UNESCO World Heritage Convention. He was Australia’s first Professor of Museum Studies at the University of Queensland, Brisbane and prior to that Professor & Director of Sustainable Heritage Development Programs, Australian National University, Canberra. During 1994-99 he was the International Technical Adviser for the transformation of Arts Councils, National Museums and the National Parks Board (now SAN Parks) in post- apartheid South Africa. He was an expert adviser to the UN World Commission for Culture and Development. He worked on the implementation of Museums and Cultural Diversity Promotion at the National Museum of Ethnology, Leiden, Netherlands. His work, listed as best practice in the 2009 World Culture Report by UNESCO, includes the establishment of World Heritage Areas as culture in poverty alleviation projects-Ha Long Bay and Hoi An, Vietnam and Darjeeling Himalayan Railway, India. He has been honoured internationally on several occasions including Outstanding Conservationist of the Year Award by the Vietnamese government in 2002 and the European Best in Heritage Award in 2008. ICOM Australia conferred the 2012 Individual achievement award for excellence for Amar’s extensive and on-going commitment to museums, sustainable development, and poverty alleviation through culture: http://icom.org.au/site/activitiesiaair2012.php. Amar spends half his time building community grounded museums with his graduate students in low economic indicator countries. His enduring commitment to inclusive heritage development informs his community engagement, professional achievements, and keynote addresses worldwide. As the co-founder and the 2nd and 3rd Editor-in-Chief of the International Journal of Intangible Heritage he provided seminal leadership for firmly establishing the journal as a quality assured scholarly journal that is inclusive and representative with emphasis on cultural and linguistic diversity of the world. Email: [email protected]; Web: www.inclusivemuseum.org

64 The Inclusive Museum Graduate Scholar Awardees

Anwesha Chakraborty Anwesha Chakraborty is a second year PhD student at the Department of Philosophy and Communication, University of Bologna, Italy. She is currently working on the role of science museums in the construction of national narratives of scientific heritage. Her research interests are critical heritage studies, social studies of science, science communication, heritage management, and history of scientific institutions. During the course of her ongoing research, she has already presented papers at conferences in Milan, Lisbon, and Canberra and has been a visiting research student at the Science and Technology Museum, Milan. Before beginning her research, she took degrees from and in English literature and language and then moved to Italy on an Italian Government Scholarship to study heritage management in Bologna. During the course of these studies, she worked on two dissertations: one on food writing and the other on the issues of communicating history to young users in museums. Her varied research interests are reflected strongly in the work she has done so far and in the choice of multidisciplinary fields she is delving into at present. She has also worked as an editor and freelance writer of school textbooks and has an active interest in learning foreign languages.

Lisa Edgren Lisa Edgren is a paintings conservator, BSc (2010) and MSc (2015) in Conservator of Cultural Heritage Objects from the Department of Conservation, University of Gothenburg. She also has a background in fine arts with a specialization in paintings. Her main research interest includes sustainable development, material and immaterial preservation, as well as conservation from an inclusive and interdisciplinary perspective.

Nilmini Neththasinghe Nilmini Neththasinghe is the head of the conservation division as well as conservation Officer at the Department of National Museum, Sri Lanka. She has over 15 years of experience in this position and a broad knowledge about conservation methods for all objects, chemicals, and instruments. She provides guidance to staff to carry on their responsibilities and duties methodically, scientifically, and effectively. With her museology knowledge, she organizes, plans exhibitions, and coordinates museum staff. She teaches lectures to undergraduates, people who are in the government sector, as well as the private sector. She holds a Master’s degree in Museology from the Reinward Academy in the Netherlands.

Kanika Singh Kanika Singh is a doctoral student in History at Ambedkar University Delhi. Her thesis is on “Representation of Heritage in Museums of Sikh History: A Case Study of Museum at Sisganj Gurdwara, Delhi.” Her interests include representation of heritage in museums and monuments in India and Delhi’s history. She completed MA in medieval Indian history from Jawaharlal Nehru University; Delhi. She co-founded the group ‘Delhi Heritage Walks’ which leads heritage walks to lesser known sites in the city.

65 FRIDAY, 07 AUGUST

FRIDAY, 07 AUGUST 8:00-9:00 REGISTRATION DESK OPEN 9:00-9:15 AUDIENCE SEATED 9:15-9:30 LIGHTING THE LAMP CEREMONY 9:30-9:45 CONFERENCE WELCOME: GANGA RAUTELA, DIRECTOR GENERAL, NATIONAL COUNCIL OF SCIENCE MUSEUMS, DELHI/KOLKATA CONFERENCE OVERVIEW: PROFESSOR BILL COPE, PRESIDENT, COMMON GROUND PUBLISHING, USA; AND PROFESSOR 9:45-10:00 AMARESWAR GALLA, CHAIRPERSON, INCLUSIVE MUSEUM KNOWLEDGE COMMUNITY AND EXECUTIVE DIRECTOR, INTERNATIONAL INSTITUTE FOR THE INCLUSIVE MUSEUM, AUSTRALIA/DENMARK ROFESSOR OMILA HAPAR ROFESSOR MIRATI AWAHARLAL EHRU NIVERSITY EW 10:00-10:30 OPENING KEYNOTE ADDRESS: P R T , P E , J N U , N DELHI, INDIA UIGI ARIA ICORATO ATHOLIC NIVERSITY ILAN AND OUNDATION IRECTOR RESCIA USEUMS 10:30-10:35 VOTE OF THANKS: L M D , C U , M F D , B M - REPRESENTING THE PRESIDENT OF ICOM, PROFESSOR HANS-MARTIN HINZ 10:35-10:45 CONFERENCE WELCOME: SUJATA SEN, DIRECTOR, BRITISH COUNCIL, EAST INDIA ROFESSOR IKKEL OGH IRECTOR ATIONAL ALLERY OF ENMARK TATENS USEUM FOR UNST 10:45-11:05 PLENARY SESSION: P M B , D , N G D / S M K , DENMARK R ABYASACHI UKHERJEE IRECTOR ENERAL HHATRAPATI HIVAJI AHARAJ ASTU ANGRAHALAYA 11:05-11:25 PLENARY SESSION: M . S M , D G , C S M V S , INDIA 11:25-11:45 PLENARY SESSION: DR. EMILY PRINGLE, HEAD OF LEARNING AND RESEARCH PRACTICE AT TATE BRITAIN AND TATE MODERN, UK 11:45-12:00 TRANSITION BREAK 12:00-12:45 TALKING CIRCLE Room 1 TALKING CIRCLE: Visitors Room 2 TALKING CIRCLE: Collections and Representations Theater TALKING CIRCLE: 2015 Special Focus: Museums as Civic Spaces 12:45-13:35 LUNCH AND GARDEN SESSION 13:35-15:15 PARALLEL SESSIONS Room 1 Visitor Engagement Visitor Engagement in the Meaning Making of Museum Artifacts: An Appraisal of the Indian Scenario Anwesha Chakraborty, Department of Philosophy and Communication, International Centre for the History of Universities and Science, University of Bologna, Bologna, Italy Overview: This paper addresses the key concern of the museum as a civic space by suggesting ways of improving visitor engagement and participation methods in the Indian context. Theme: 2015 Special Focus: Museums as Civic Spaces When Stories Become History: Open Narrative and Personal Testimonies in Historical Exhibitions Arnaud Dechelle, Design for Exhibition and Museums, School of Architecture and Design, University of Lincoln, London, UK Overview: Cultural globalization and democracy are leading museums to use multiple voices to broaden their audience. This paper explores case studies highlighting the use of personal testimonies in historical exhibitions. Theme: Visitors Performance and Theatrical Games: Therapeutic and Inclusive Methods for Youth in Museums Georgia Sivri, Museum and Gallery Practice, UCL Qatar, Doha, Qatar Overview: I recommend a museum educational strategy for youth that combines performance as a therapeutic method, theatrical games as an engaging technique, and drama in education as an educational tool. Theme: Visitors Modern Art in the Gulf Area: Do People in Doha Respond to Contemporary Art Exhibitions? Theofanis Karafotias, Museum and Gallery Practice, UCL Qatar, Doha, Qatar Overview: Mathaf, the Arab Museum of Modern Art in Doha, and its practices seem to fail engaging local communities. This paper questions how people respond to the museum's practices. Theme: Visitors Room 2 Rethinking Museum Representations and Acquisitions Museum as a Hub: An Iconic Structure Yamuna (Priya) Kadolkar Jakkannavar, Third Space Studio Architects, Gogte Institute of Technology, Belgaum, India Overview: This paper suggests rethinking the museum in an artistic way to celebrate the facts of the past, focusing on Modernist Louis Sullivan's “Form Follows Function.” Theme: Representations The Museum-Cooperation Tharangambadi: Three Hundred Years of Indo-German Cultural Exchange Jasmin Eppert, Exhibition Board, Museum-Cooperation Tharangambadi, Halle, Germany Overview: This Museum-Cooperation is a transnational project based on the history of the Protestant Danish-Halle Tranquebar Mission in Tharangambadi, Tamil Nadu that was established by Bartholomew Ziegenbalg 300 years ago. Theme: Representations Vanishing Folk Artists of Andhra Pradesh, India: Need for Representation of Their Intangible Heritage Dr. Venkata Ramana Rayaprolu, Department of Museology, Faculty of Fine Arts, The Maharaja Sayajirao University of Baroda, Vadodara, India Overview: There is need for preservation, documentation, and promotion of some fast declining traditional performing arts of Andhra Pradesh, a State in India; as they contain intangible heritage of social cohesion. Theme: Representations

66 FRIDAY, 07 AUGUST 13:35-15:15 PARALLEL SESSIONS Theater Museums as Civic Spaces Material Culture in the Satoyama of Ifugao: An UNESCO Inscribed Heritage Site and Globally Important Agricultural Heritage Site Dr. Vicky Madangeng, Rice Techno-Complex Museum, Ifugao State University, Lamut, Philippines Overview: This paper addresses the satoyama in Ifugao and the material culture linked directly to the indigenous Ifugao's land use and management, modes of inheritance, social, economic, political, and religious life. Theme: 2015 Special Focus: Museums as Civic Spaces Holocaust Museums as Civic Spaces: Yad Vashem and Alternative Museums in Israel Dr. Stephanie Rotem, Diploma Program for Curatorial and Museum Studies, Tel Aviv University, Tel Aviv, Israel Overview: This paper discusses the establishment of Yad Vashem and its role in assimilating a collective identity, and the emergence of alternative museums in Israel suggesting contesting and subversive narratives. Theme: Representations The Museum as Space for Civic Engagement: Towards a Museum for Citizens Rather Than about Them Johan Kjærulff Rasmussen, Aesthetics and Culture, Aarhus University, Museum of Copenhagen, Copenhagen, Denmark Overview: The Museum of Copenhagen is a local historic museum. But can the museum become more than a display of artifacts? Can the museum become a museum that initiates civic engagement? Theme: 2015 Special Focus: Museums as Civic Spaces Public-private Partnerships for India’s Civic Spaces: The Example of Hampi Archaeological Museum, Kamalapur and Place Hampi Museum, Vidyanagar Dr. Karen Exell, Museum Studies, UCL Qatar, Doha, Qatar Amit Kumar Jain, Delhi, India Overview: Using Hampi Archaeological Museum and the Place Hampi Museum in Vidyanagar, this paper argues that public-private partnerships are an effective model for the sustainability of Indian museums as civic spaces. Theme: 2015 Special Focus: Museums as Civic Spaces 15:15-15:30 BREAK 15:30-17:10 PARALLEL SESSIONS Room 1 Politics of Heritage and Representation Contested Authenticities and the Imagined Past: Museums, Archives, and Ancestral Tourists in Scotland Dr. Derek Bryce, Marketing, University of Strathclyde, Glasgow, UK Dr. Samantha Murdy, Marketing, University of Strathclyde, Glasgow, UK Dr. Matthew Alexander, Marketing, University of Strathclyde, Glasgow, UK Overview: Qualitative research was undertaken amongst curators and archivists working with "ancestral tourists" in Scotland. Debates surrounding the notion of "authenticity" and multiple identities are taken forward conceptually by this research. Theme: Visitors Challenging the Museum Framework in the United Kingdom: The Chester Unlocked Project Dr. James Pardoe, Department of History and Archaeology, University of Chester, Chester, UK Dean Paton, Department of History and Archaeology, University of Chester, Chester, UK Overview: Using contrasting case studies from two historic English towns, this exploratory paper examines the ways in which museum narratives are constructed in heritage destinations in an era of inclusive connections. Theme: Visitors Museums on Sikh History in Contemporary India Kanika Singh, School of Liberal Studies, Ambedkar University Delhi, New Delhi, India Overview: This paper explores museums on Sikh history in contemporary India. It discusses the nature of display and the notion of Sikh heritage as represented in the museum. Theme: Collections Montage Memory Marina George, English Literature, The Manipal Centre for Philosophy and Humanities, Mumbai, India Overview: This paper ponders the creation of archival order and memory, employing theories that examine the space of the archives to understand how we locate, construct, and remember the past. Theme: Representations

67 FRIDAY, 07 AUGUST 15:30-17:10 PARALLEL SESSIONS Room 2 Civic Engagement Engaged Scholarship and a Community-based Museographic Process Surajit Sarkar, Centre for Community Knowledge, Ambedkar University Delhi, Delhi, India Overview: Engaged scholarship and civic engagement leads to public encounters with cultural heritage. Community-centered design strategies are used to collect, describe, and exhibit artifacts and intangible heritage. Theme: 2015 Special Focus: Museums as Civic Spaces Museum and Its Source Community: A Case Study of the Saharia Tribe Shruti Das, Department of Museology, Faculty of Fine Arts, Maharaja Sayajirao University of Baroda, Vadodara, India Overview: This paper illustrates the relationship between a museum and its source community through a sensitization program promoting the arts and crafts of the Saharia tribal community of Rajasthan. Theme: Collections Exploring Synergies in Museums through Public-private Partnership Dr. Sheeba Khan, Department of Museology, Aligarh Muslim University, New Delhi, India Dr. Abdu Raheem K., Department of Museology, Aligarh Muslim University, Aligarh, India Overview: This paper explores the idea of public-private partnership to transform museums into epicenters of cultural and scientific development. Theme: 2015 Special Focus: Museums as Civic Spaces Museums as People’s Places: Knowing Our Visitors and Making Visitors Take Ownership Jacob Thorek Jensen, International Institute for the Inclusive Museum, Aga Khan Trust for Culture, New Delhi, India Overview: The National User Survey (Denmark) provides tools to develop an inclusive museum practice focusing on representation, democracy, transformation, learning, and knowledge sharing, i.e. sustainable solutions for present and future museums. Theme: 2015 Special Focus: Museums as Civic Spaces Theater Cross Connections: Community and Museum Prospective and Educational Significance of a Practical Educational Program Involving Exhibitions Utilizing Cultural Resources Owned by the University Ai Matsuda, Faculty of Art and Design, University of Toyama, Takaoka, Japan Prof. Toshiyuki Ohkuma, Faculty of Art and Design, University of Toyama, Takaoka, Japan Overview: This study highlights the prospect and educational significance of a practical educational program involving exhibitions that utilizes the district’s cultural resources. Theme: Representations STEAM Power: Integrating Art and Technology through Cultural Heritage Museum Partnerships June Bianchi, School of Education, Bath Spa University, Bath, UK Overview: STEAM Power integrates technology with art through cultural partnerships, linking educational and museum-based contexts. Interdisciplinary multimedia projects explore heritage and culture with diverse participants through creative media and techniques. Theme: 2015 Special Focus: Museums as Civic Spaces From “Yojo-Han” Art Center to “Untitled College of Art”: The Possibility of a Local Art Education Network Developing from a Bedroom- sized Art Center Ko Yamada, Department of Art and Design, Faculty of Contemporary Arts, Nagoya Zokei University, Nagoya, Japan Takuji Okagawa, Department of Information Design, Faculty of Information Design and Sociology, Hiroshima Kokusai Gakuin University, Hiroshima, Japan Overview: This paper introduces the “Yojo-Han,” a bedroom-sized art center, and its concept and explores it as an effective component of a sustainable, local network for public art education systems. Theme: Visitors Empowered Civic Spaces: Towards Participatory Planning of Community Museums Tanishka Kachru, Faculty of Communication Design, National Institute of Design, Ahmedabad, India Overview: This paper analyses planning processes of two community museums based on the concept of the "ecomuseum." It imagines alternatives for citizen participation and how these can be practiced and framed. Theme: 2015 Special Focus: Museums as Civic Spaces 17:10-17:25 BREAK

68 FRIDAY, 07 AUGUST 17:25-19:05 PARALLEL SESSIONS Room 1 The Virtual Museum Interactive Onsite Application of Museums’ Art Collections and Image Connectivity Takuya Inagaki, School of Media and Design, Department of Visual Media, Nagoya University, Nissin, Japan Prof. Kiyofumi Motoyama, Graduate School of Information Science, Nagoya University, Nagoya, Japan Overview: In order to open museum collections to a larger public attendance and provide an opportunity for alternative appreciation, we develop a system which allows audiences to view art works virtually. Theme: Collections A Model for Collaboration: Developing the Lowcountry Digital History Initiative in Charleston, South Carolina Dr. Mary Battle, Avery Research Center for African American History and Culture, College of Charleston, Charleston, USA Overview: The author describes the recent launch of a collaborative online exhibitions platform that features underrepresented historic narratives in the South Carolina Lowcountry and the historically interconnected Atlantic World. Theme: Representations A Framework for Mobile Engagement in Museums Megan McNames, Department of Journalism, Ball State University, Muncie, USA Overview: This paper provides a framework for analyzing tasks employed in mobile museum technologies that are likely to support visitor engagement with museum collections. Theme: Visitors Digital Initiatives in a Post-quake Art Museum Tim Jones, Collections Team, Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch, New Zealand Overview: Earthquakes forced the Christchurch Art Gallery to close in 2011. The Gallery's online services became the Gallery's only voice. We consider how a museum can function without real exhibition space. Theme: Representations Room 2 Collection Dynamics and Challenges Treating the Invisibles: An Inclusive Buddhist Approach to Conservation at the Thangka Conservation Center, Bhutan Yuriko Iwata, Tokyo National Museum, Tokyo, Japan Overview: This paper examines conservation approaches to intangible aspects of Buddhist art, observed from a case in Bhutan. Theme: Collections The Involvement of Indigenous People in the Development of Museums Dr. Tilak Bagchi, Zonal Anthropological Museum, GOL Museum-Shilpgram, Anthropological Survey of India, Udaipur, India Overview: This paper discusses the prospects and relevance of indigenous people, especially the tribal population, in the development of anthropological museums. Theme: Collections The Last of the Tattooed Headhunters: The Konyaks H Phejin Konyak, Development of Indigenous Cultures, Don Bosco Centre for Indigenous Cultures, Shillong, India Overview: This paper researches the vanishing tattoo culture/tradition of the Konyak tribe in Nagaland, India by interviewing the few remaining old tattooed people and documenting the tattoo variations and designs. Theme: Collections The Artifacts of Science Galleries: What Are the Objects of the Museum? V S Ramachandran, Regional Science Centre and Planetarium, National Council of Science Museums, Calicut, India Jayant Gangopadhyay, Regional Science Centre and Planetarium, National Council of Science Museums, Calicut, India Overview: This paper discuss the evolution in exhibit design, from a multidimensional perspective, including a balance between visitors' perspectives, objectives of the concept to be displayed, and principles of edutainment. Theme: Collections Theater Representing Social and Cultural Heritage Preserving Difficult History: The 9/11 Museum as a Case Study Alexandra Drakakis, Collections, National 9/11 Memorial Museum, New York, USA Amy Weinstein, Collections, National 9/11 Memorial Museum, New York, USA Overview: This paper explores the challenges that curators face when preserving difficult history. Theme: Collections Museum: A Space for Knowledge, Research, and Heritage Prof. Krishna Rao Sadasivuni, Department of History, School of Humanities, College of Humanities and Social Sciences, University of Dodoma, Dodoma, United Republic of Tanzania Temu Emanuel Lucas, Department of History, School of Humanities, College of Humanities and Social Sciences, University of Dodoma, Dodoma, United Republic of Tanzania Overview: Museums need to be designed to ascertain knowledge, research, and protection of archaeological, historical, and cultural heritage. This paper focuses on Gogo, a Bantu speaking ethnic community in Central Tanzania. Theme: Representations Between the Museum and the Public: Negotiating the “Circuit of Culture” as an Analytical Tool for Researching Museums in China Chui-fun Selina Ho, Asia Institute, University of Melbourne, Hong Kong, China Overview: This paper is a methodological review of museum research in China, and a proposal of the “Circuit of Culture,” as a new strategy for examining museums through a socio-cultural lens. Theme: Representations A Presence Denied: Then and Now Dr. Nalini Moodley, Faculty of the Arts, Tshwane University of Technology, Pretoria, South Africa Overview: This paper focuses on the silence of Indian representation in South Africa. Particular attention will be paid to the representation of fine art. Theme: Representations

ELD AT THE ATIONAL CIENCE ENTRE ELHI FOLLOWED BY TRANSPORT BACK TO THE CONFERENCE 19:05-20:35 CONFERENCE DINNER: H N S C , D ( HOTEL)

69 SATURDAY, 08 AUGUST

SATURDAY, 08 AUGUST 9:30-16:30 MUSEUM DAY WORKSHOPS 16:30-17:30 TRANSPORT TO SANSKRITI PRATISTHAN NTERNATIONAL APPORTEURS FROM EACH USEUM AY OPTIONS WILL GIVE FEEDBACK 17:30-18:30 MUSEUM DAY PLENARY SESSION: I R M D DURING THIS SESSION ELD AT ANSKRITI RATISTHAN WITH A VISIT TO THEIR ARTISTS STUDIOS AND ATIONAL ERRACOTTA 18:30-20:30 CONFERENCE DINNER: H S P ’ N T MUSEUM

70 SUNDAY, 09 AUGUST

SUNDAY, 09 AUGUST 8:30-9:15 REGISTRATION DESK OPEN 9:15-9:40 CONFERENCE WELCOME: DIRECTOR GENERAL OF THE NATIONAL MUSEUM OF INDIA 9:40-10:00 PLENARY SESSION: H.E. PROFESSOR SUDHARSHAN SENEVIRATNE, HIGH COMMISSIONER OF SRI LANKA TO INDIA, DELHI ROFESSOR OHIT IGYASU RESIDENT NDIA AND HAIR AT THE ESEARCH ENTER 10:00-10:20 PLENARY SESSION: P R J , P , ICOMOS, I UNESCO C R C FOR DISASTER MITIGATION OF URBAN CULTURAL HERITAGE AT RITSUMEIKAN UNIVERSITY, JAPAN AMA AKSHMI URATOR EMEMBER HOPAL USEUM AND OURNALIST FOR HE ASHINGTON OST 10:20-10:40 PLENARY SESSION: R L , C , R B M J T W P , INDIA 10:40-11:00 PLENARY SESSION: PROFESSOR KAVITA SINGH, JAWAHARLAL NEHRU UNIVERSITY, NEW DELHI, INDIA 11:00-11:15 BREAK 11:15-12:30 PARALLEL SESSIONS Room 1 Museum Education Medical Humanities and Critical Pedagogy in the Art Museum Dr. Margaret Lindauer, Department of Art History, Virginia Commonwealth University, Richmond, USA Overview: This paper recounts the development of the medical humanities course, “The Human Condition: An Arts Perspective,” taught at the Virginia Museum of Fine Arts for students at Virginia Commonwealth University. Theme: Visitors Teaching and Learning with Objects: Ashmolean Museum of Art and Archaeology and the Faculties at the Dr. Mallica Kumbera Landrus, Ashmolean Museum of Art and Archaeology, University of Oxford, Oxford, UK Overview: This paper promotes object-based learning as an integral part of the pedagogical environment at Oxford and stresses the value of the museum’s collections as an academic resource. Theme: Visitors Art Museums for Local and Global Citizenship: Empowerment through Language Education Programs Aya Kinoshita, Foreign Language Center, Tokai University, Hiratsuka, Japan Overview: Art museums can be venues to empower people and provide citizenship in the age of global mobility. Some language programs at art museums give diverse insights to this idea. Theme: 2015 Special Focus: Museums as Civic Spaces Room 2 Forms of Museum Accessibility and Engagement Popularization of the New Site Museum of Sigiriya: Equal Status to the World Heritage Site of Sigiriya Nilmini Manohari Priyadharshika Neththasinge, Conservation Division, Department of National Museums, Colombo, Sri Lanka Overview: This study observes and investigates reasons for lower visitation to the museum site than to the heritage site. Theme: Visitors Digitization to Presentation: Exploring Museums in the Digital Age Abantika Parashar, Indira Gandhi National Centre for the Arts, New Delhi, India Mrinmoy Das, Sanskriti Museums, New Delhi, India Overview: This paper discusses the role of virtual museums in engaging the technology-prone generation. Theme: Visitors Visitor Engagement in Museums and Heritage Sites: A Comparative Analysis of Rashtrapati Bhavan, New Delhi and Heritage Transport Museum, Guragon Pankaj Protim Bordoloi, Rashtrapati Bhavan Museum, New Delhi, India Ragini Bhat, Heritage Transport Museum, New Delhi, India Overview: This paper highlights the various challenges associated with ways of engaging visitors in heritage sites and museums. Theme: Visitors Room 3 Late Additions The Museum in Hyderabad Sanctioned by Mir Osman Ali Khan VIII: Its History and Future Dr. Jayaram Gollapudi, A.P. State Archives and Research Institute, Ministry of Culture, Department of Ancient Indian History and Archaeology, Government of India, Osmania University, Hyderabad, India Overview: In 1922 Mir Osman Ali Khan VII, the sovereign of Hyderabad State in India sanctioned the construction of a museum. This paper discusses the museum's construction and history. Theme: Collections Theater Dynamics of Museums as Civic Spaces The Architecture of Art Museums as Civic Space Ronnie Self, College of Architecture, University of Houston, Houston, USA Overview: Many recent art museums have been conceived as important urban monuments and civic spaces. For many architects the museum must compensate for the decline of true public space. Theme: Representations Collaboration, Negotiation, and Concession: A Curatorial Case Study under the Transaction-cost Theory Siyu Wang, Archaeology and Museology School, Peking University, Beijing, China Overview: Diverse voices, which are necessary for a civic museum, may lead to an ineffective cost process and create results removed from the original purpose. Theme: 2015 Special Focus: Museums as Civic Spaces A University Museum: Istanbul Ex-libris Museum Prof. Hasip Pektas, Faculty of Fine Arts, Isik University, Istanbul, Turkey Overview: There are thirty-eight university museums in Turkey. One of them is Istanbul Ex-libris Museum in the Işık University. Its small but highly functional museum has a collection of great value. Theme: 2015 Special Focus: Museums as Civic Spaces 12:30-13:15 LUNCH AND GARDEN SESSION

71 SUNDAY, 09 AUGUST 13:15-14:30 PARALLEL SESSIONS Room 1 Expanding Museum Influence and Purpose Representing Delhi’s History through the "Heritage Corridor" Dr. Noopur Singh, Popularizing Local History Project, Cultural Exchange Program, Foreign Travel Grant Department, Public Relations, Indian Council of Historical Research, Delhi, India Overview: This paper highlights the outcome and the challenges faced during the Museum for the Common Man at Metro Stations project, an initiative to popularize local history. Theme: Visitors Interpreting Intangible Art Heritage through the Tangible Art of Amaravati Dr. Jyoti Rohilla Rana, Department of History of Art, Banaras Hindu University, Varanasi, India Overview: The remains of Amaravati stupa housed in different museums represents tangible art which helps us interpret intangible heritage. Theme: Collections A Critical Anatomy of the Therapeutic Art Museum Dr. Antoinette McKane, Faculty of Arts and Humanities, Liverpool Hope University, Liverpool, UK Overview: This paper introduces Tate Liverpool as a case study of the therapeutic art museum, critically examining the training, outreach, and in- house programming intended to promote mental health and wellbeing. Theme: Visitors Room 2 Workshops Museum as Community Representation: Engaging Local Community Ananya Bhattacharya, Banglanatak Dot Com, Kolkata, India Overview: This workshop will orient participants on ways of engaging local communities for inventorying intangible cultural heritage resources and heritage education. Theme: 2015 Special Focus: Museums as Civic Spaces Room 3 Attracting Nontraditional Visitors Reaching Out to the Unreached: The Mobile Science Exhibition Dr. Neelima Jerath, Pushpa Gujral Science City, Chandigarh, India Dr. Rajesh Grover, Pushpa Gujral Science City, Kapurthala, India Sheeraj Batish, Planning, Marketing, Pushpa Gujral Science City, Chandigarh, India Overview: This paper discusses a Mobile Science Exhibition, which introduces science to rural populations and impresses upon them the significance of science and technology, as well as sustainable development. Theme: Visitors Engaging Nontraditional Audiences Mr. Rama Sarma Dhulipati, National Council of Science Museums, Kolkata, India Overview: This paper focuses on the efforts made by the National Science Centre to mitigate barriers of several disadvantaged groups and nontraditional audiences by carefully designing programs and strategies. Theme: Visitors Engaging Visitors: Fostering Innovation Mr. Rama Sarma Dhulipati, National Science Centre, New Delhi, India Overview: Innovation and a culture of innovation is the hallmark of progress of any nation. Realizing this need, science centers embarked to create an ecosystem to support innovation in society. Theme: Visitors Theater Exhibition and Collections Didactics: Dynamics of Visitor Learning See Change: Search for a Twenty-first Century Diorama Chitra Chandrashekhar, New Delhi, India Overview: This paper discusses "See Change," an academic project that explores whether dioramas can go beyond glass cased replicas of sceneries to an evolved medium of interpretive communication. Theme: Representations Anecdotal Recapitulation on Ethnographic Specimen Collection Dr. Kripasindhu Dey, Directorate of Research, Government of Arunachal Pradesh, District Museum, Bomdila, Bomdila, India Overview: The challenging nature of experiences on the front of ethnographic specimen collection is revisited to understand the gravity of the assignment with personal anecdotes. Theme: Collections 14:30-14:45 BREAK 14:45-16:00 PARALLEL SESSIONS Room 1 Collections, Conservation, Heritage Showcasing the Sir Sayyid Ahmad Khan Collection: A Unique Example of India’s Pluralistic Heritage Dr. Gulfishan Khan, Department of History, Aligarh Muslim University, Aligarh, India Overview: This paper describes the significance of some of the rare art pieces and antiquities belonging to the Sayyid Ahmad Khan collection. Theme: Collections Contemporary Conservation Theory for Sustainable Development of Cultural Heritage Objects Lisa Edgren, Department of Conservation, University of Gothenburg, Gothenburg, Sweden Overview: An object becomes a heritage because of its social meanings among the stakeholders. Investigating those meanings is the key issue for sustainable conservation. Theme: Collections Survey of Disaster Control Planning for Libraries and Archives in India: The Need for Institutional Commitment and Training Dr. Jyotsna Arora, Library cum Documentation Centre, Indian Council of Historical Research, Delhi, India Overview: This paper explores and identifies the needs and lacunae in the progress made towards disaster prevention and planning in the libraries and archives of the capital city of India Theme: Collections

72 SUNDAY, 09 AUGUST 14:45-16:00 PARALLEL SESSIONS Room 2 Museum Access Museum Access: The Need of the Hour Dr. Venugopal Bhargaviamma, Indian Museum, Ministry of Culture, Kolkata, India Overview: Most museums in India seldom give importance to the requirements of persons with disabilities. This paper describes the efforts of NMNH in making museums relevant to persons with disabilities. Theme: Visitors Museum Accessibility in Retrospect: A Case Study from Kolkata Dr. Baisakhi Mitra, Department of Museology, Rabindra Bharati University, Kolkata, India Overview: This paper analyses the outcomes of a seminar-cum-workshop on museum access in Kolkata and tries to suggest a more comprehensive plan of action for these institutions to be truly accessible. Theme: Visitors Physical and Intellectual Access to Museums Mrinalini Venkateswaran, Eka Archiving Services, Commonwealth Association of Museums, New Delhi, India Overview: Recognizing the inadequate emphasis on universal access, this paper seeks to understand the issues and potential areas for action, discussing any available case studies and approaches and identifying training gaps. Theme: Visitors Room 3 Late Additions Chinese Museums as Civic Spaces: Perspectives on “Intangible Heritage” and Literary “World Memory” Asst. Prof. Vincent Wai-kit Ho, Department of History, University of Macau, Macau, China Overview: Museums’ major functions include collection, research, exhibition, and education, but they also function as a civic space for presenting a nations’ past to visitors and tourists. Theme: Representations A Bridge, a Wormhole, and a Palimpsest: Meditations on the Future of Looking Backwards Prathima Muniyapppa, Abha Narain Lambah Associates, Mumbai, India Overview: This paper discusses built heritage which is at risk due to the failure of the discipline of conservation to act as a bridging force between people and their legacy. Theme: Representations Museums as an Effective Arbiter for Social Inclusion: Dynamics and Paradoxes Sayan Bhattacharya, Indian Museum Kolkata, Ministry of Culture, Government of India, Kolkata, India Overview: This paper focuses on the problems and prospects of promoting "social inclusion" with a case study of the Indian Museum, Kolkata. Theme: Visitors Theater Diversity, Multiculturalism, and Engagement Micro-examination of Personnel Diversity and Interactions in an Art Museum: Its Impact on Overall Practices and Community Engagement Dr. Yuha Jung, Arts Administration, College of Fine Arts, The University of Kentucky, Lexington, USA Overview: By investigating the work culture of an art museum using ethnography, this paper examines the interconnection between the museum’s work culture and its overall success as a community civic place. Theme: 2015 Special Focus: Museums as Civic Spaces Curating Creativity and Gender Dari Yoo, Art Smart Seoul, Seoul, South Korea Overview: This paper addresses understanding multiculturalism and its role in promoting social inclusion through creativity and how cultural borders can be crossed through the arts and crafts in Korean society. Theme: Collections Nagoya University Project Gallery [clas]: An Experimental Space for People of Various Backgrounds Hitomi Mizutani, Graduate School of Information Science, Nagoya University, Nagoya, Japan Prof. Kiyofumi Motoyama, Graduate School of Information Science, Nagoya University, Nagoya, Japan Overview: Nagoya University gallery [clas] is an experimental space for people of various backgrounds. We focus on student staffs' activity, considering their potential role as mediators between knowledge and the public. Theme: 2015 Special Focus: Museums as Civic Spaces

HARLES ANDRY IRECTOR OMEDIA AND NVENTOR REATIVE ITY AND REATIVE ITY NDEX 16:00-17:00 FINAL PLENARY SESSION: C L , D , C I C C C C I , UK; AND BOSE KRISHNAMACHARI, PRESIDENT, KOCHI-MUZIRIS BIENNALE, INDIA UIGI ARIA ICORATO RGANIZING OMMITTEE OF ILANO AND NDOWMENT UND 17:00-17:30 WELCOME TO MILAN: L M D , O C ICOM M 2016 ICOM E F - REPRESENTING THE PRESIDENT OF ICOM, PROFESSOR HANS-MARTIN HINZ 17:30-18:00 TRANSPORT TO FAREWELL RECEPTION AT AUSTRALIAN HIGH COMMISSION, NEW DELHI 18:00-19:30 FAREWELL RECEPTION: HOSTED BY H.E. PATRICK SUCKLING, AUSTRALIAN HIGH COMMISSIONER TO INDIA

73 The Inclusive Museum List of Participants

Anil Ahuja Heritage Commons India Archana Saad Akhtar Aga Khan Trust for Culture India Jyotsna Arora Indian Council of Historical Research India Tilak Bagchi Anthropological Survey of India India Prashant Banerjee Aga Khan Trust for Culture India Shubha Banerji India Sheeraj Batish Pushpa Gujral Science City India Mary Battle College of Charleston USA Venugopal Bhargaviamma Ministry of Culture India Neeraj Bhasin Heritage Commons India Ragini Bhat Heritage Transport Museum India Ananya Bhattacharya Banglanatak dot com India Sayan Bhattacharya Ministry of Culture India June Bianchi Bath Spa University UK Mikkel Bogh Statens Museum for Kunst Denmark Pankaj Protim Bordoloi Rashtrapati Bhavan India Derek Bryce University of Strathclyde UK Anwesha Chakraborty University of Bologna Italy Chitra Chandrashekhar IIT Bombay & Mographies India Moushumi Chatterji Museologist India Shu-ching Chen National Science and Technology Museum Taiwan Bill Cope University of Illinois Urbana-Champaign USA Shiju Daniel Heritage Keepers India Shruti Das The Maharaja Sayajirao University of Baroda India N Dasgupta Central Research & Training Laboratory, Kolkata India Shri Vishwanath Daulakhandi British Council India Arnaud Dechelle University of Lincoln UK Reena Dewan Museum of Bengal Modern Art India Kripasindhu Dey Government of Arunachal Pradesh India Rama Sarma Dhulipati National Science Centre, Delhi India Luigi Maria Dicorato Fondazione Brescia Musei Italy Alexandra Drakakis National 9/11 Memorial Museum USA ARIJIT Dutta Choudhury Science City India Lisa Edgren University of Gothenburg Sweden Jasmin Eppert Francke-Foundations Halle Germany Karen Exell UCL Qatar Qatar Amareswar Galla Institute of the Inclusive Museum Australia Marina George The Manipal Centre for Philosophy and Humanities India Saroj Ghose President’s Senior Adviser India Subha Shankar Ghosh District Science Centre, Digha India Shivani Goel National Museum Institute India Jayaram Gollapudi Ministry of Culture India K Madan Gopal Visvesvaraya Industrial and Technological Museum India

74 The Inclusive Museum List of Participants

Sudha Gopalakrishnan India Neeraja Gopi Parliament Museum India Rajesh Grover Pushpa Gujral Science City India Pramod Grover Regional Science Centre, Guwahati India Samarjit Guha British Council India Narayani Gupta Aga Khan Trust for Culture India Niharika Gupta Aga Khan Trust for Culture India Vincent Wai-kit Ho University of Macau China Chui-fun Selina Ho University of Melbourne China Jim Hollington British Council India Takuya Inagaki Nagoya University of arts and sciences Japan E. Islam British Council India Yuriko Iwata Tokyo National Museum Japan Palaniapillai Iyamperumal Tamilnadu Science and Technology Centre India N Ramdas Iyer Regional Science Centre, Nagpur India Amit Kumar Jain India R.C. Jain National Museum India Ritu Jain Parliament Museum India Sandeep Jain President’s Secretariat India Kunal Jalali Orient Blackswan Private Limite India Jacob Thorek Jensen Aga Khan Trust for Culture India Neelima Jerath Pushpa Gujral Science City India Shri Bageshwar Jha Sulabh International Museum of Toilets India Rohit Jigyasu UNESCO Chair Japan Tim Jones Christchurch Art Gallery Te Puna o Waiwhetu New Zealand Yuha Jung The University of Kentucky USA Tanishka Kachru National Institute of Design India Himanshu Kadam Dr. Bhau Daji Lad Mumbai City Museum India Yamuna Kadolkar Jakkannavar Third Space Studio Architects India Teresa Kamsuan India Theofanis Karafotias UCLQatar Qatar Jyotika Karve Dr. Bhau Daji Lad Museum India Gulfishan Khan Aligarh Muslim University India Ritika Khanna India N Khatua Anthropological Survey of India India Aya Kinoshita Tokai University Japan Johan Kjærulff Rasmussen Aarhus University/ Museum of Copenhagen Denmark H Phejin Konyak Don Bosco Centre for Indigenous Cultures, Shillong India Bose Krishnamachari Kochi-Muziris Biennale Foundation India Vijay Kumar Antoropological Survey of India India Deepak Kumar Government of Uttarakhand India Anurag Kumar National Science Centre, Delhi India Samarendra Kumar National Science Centre, Delhi India

75 The Inclusive Museum List of Participants

Umesh Kumar Regional Science City, India Savita Kumari National Museum Institute India Mallica Kumbera Landrus University of Oxford UK Rama Lakshmi Remember Bhopal Museum India Jyotsna Lall Aga Khan Trust for Culture India Charles Landry Comedia, and Global thinker on Creative Cities UK Wioletta Laskowska--Smoczynska Museum of Japanese Art and Technology Poland Jean-Gabriel Leturcq Abu Dhabi - Agence France Museums Margaret Lindauer Virginia Commonwealth University USA Rajeev Lochan India Yuancheng Lu Peking University China Vicky Madangeng Ifugao State University Philippines Anil Manekar National Science Centre, Delhi India Vivek Mansukhani British Council India V.K. Mathur National Museum India Ai Matsuda University of Toyama Japan Antoinette McKane Liverpool Hope University UK Megan McNames Ball State University USA Ujwala Menon Aga Khan Trust for Culture India Baisakhi Mitra Rabindra Bharati University India Hitomi Mizutani Nagoya University Japan Nerupama Y. Modwel India Nalini Moodley Tshwane University of Technology South Africa Sabyasachi Mukherjee India Prathima Muniyapppa Abha Narain Lambah Associates India K Muralidharan Mahaswami India C. B. Nagpal Parliament Museum India P.K. Nagta National Museum India Ratish Nanda India Shri Subhash Negi UCOST India Nilmini Manohari Neththasinge Department of National Museums Sri Lanka Priyadharshika Katarzyna Nowak Museum of Japanese art and Technology Poland Takuji Okagawa Hiroshima Kokusai Gakuin university Japan Sandra O’Malley Australian High Commission Australia Priya Pall Artsinsights India Satish Pandey National Museum Institute India Abantika Parashar Indira Gandhi National Centre for the Arts India James Pardoe University of Chester UK Dean Paton Big Heritage UK Hasip Pektas Işik University Turkey Bernard Philip Australian High Commission Australia Emily Pringle Tate UK

76 The Inclusive Museum List of Participants

Shri Joseph Puthenpurakal Don Bosco Centre for Indigenous Cultures India Manuel RabatÈ Louvre Abu Dhabi - Agence France Museums United Arab Emirates Abdu Raheem K. Aligarh Muslim University India V S Ramachandran National Council of Science Museums, India India Hema Rance Australian High Commission Australia Shri G. S. Rautela National Council of Science Museums India Shri Pankaj Rawat UCOST India Deeti Ray Aga Khan Trust for Culture India Venkata Ramana Rayaprolu The Maharaja Sayajirao University of Baroda India Naaz Rizvi National Museum of Natural History, New Delhi India Jyoti Rohilla Rana Banaras Hindu University India Stephanie Rotem Tel Aviv University Israel Krishna Rao Sadasivuni University of Dodoma United Republic of Tanzania Surajit Sarkar Ambedkar University Delhi India R. P. Savita National Museum India Ronnie Self University of Houston USA Sujata Sen British Council India Manvi Seth National Museum Institute India Nikita Sharma Aga Khan Trust for Culture India Deepakshi Sharma National Museum Institute India Siddhartha Shit Anthropological Survey of India India Kavita Singh India Kanika Singh Ambedkar University Delhi India Noopur Singh Indian Council of Historical Research India Tej Pal Singh National Museum India Georgia Sivri UCLQatar Qatar Shanmugam Soundararajaperumal Tamilnadu Science and Technology Centre India Ramasamy Srinivasan Tamilnadu Science and Technology Centre India Patrick Suckling Australian High Commission Australia Sarita Sundar University of Leicester India Kelly Swain India Nayana Tadvalkar Cotton Association of India India Giles Tillotson Maharaja Sawai Man Singh II Museum India Pooja Varma British Council India Venu Vasudevan IAS India K Venkatasubramaniyan Mahaswami India Mrinalini Venkateswaran Commonwealth Association of Museums India Madhura Wairkar Dr. Bhau Daji Lad Museum India Siyu Wang Peking University China Amy Weinstein National 9/11 Memorial Museum USA Ko Yamada Nagoya Zokei University Japan Dari Yoo Art Smart Seoul South Korea

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85 | Conference Calendar 2015-2016

Fifth International Conference on Health, Wellness, and Society Universidad de Alcalá | Madrid, Spain | 3–4 September 2015 www.healthandsociety.com/the-conference

Fifth International Conference on Food Studies Virginia Polytechnic Institute and State University | Blacksburg, USA | 18–19 September 2015 www.food–studies.com/the-conference

Seventh International Conference on Science in Society University Center | Chicago, USA | 1–2 October 2015 www.science–society.com/the-conference

Spaces and Flows: Sixth International Conference on Urban and ExtraUrban Studies University Center Chicago | Chicago, USA | 15–16 October 2015 www.spacesandflows.com/the-conference

Thirteenth International Conference on Books, Publishing, and Libraries University of British Columbia at Robson Square | Vancouver, Canada | 19–20 October 2015 www.booksandpublishing.com/the-conference

Sixth International Conference on the Image University of California at Berkeley | Berkeley, USA | 29–30 October 2015 www.ontheimage.com/the-conference

The Eighth International Conference on e–Learning and Innovative Pedagogies University of California, Santa Cruz | Santa Cruz, USA | 2–3 November 2015 www.ubi–learn.com/the-conference

Aging and Society: Fifth Interdisciplinary Conference The Catholic University of America | Washington D.C. USA | 5–6 November 2015 www.agingandsociety.com/the-conference

Twelfth International Conference on Environmental, Cultural, Economic, and Social Sustainability Portland State University | Portland, USA | 21–23 January 2016 www.onsustainability.com/the-conference

Twelfth International Conference on Technology, Knowledge, and Society Universidad de Buenos Aires | Buenos Aires, Argentina | 18–19 February 2016 www.techandsoc.com/the-conference

86 | Conference Calendar 2015-2016

Tenth International Conference on Design Principles and Practices Pontifical Catholic University of Rio de Janeiro (PUC–Rio) | Rio de Janeiro, Brazil | 25–27 February 2016 www.designprinciplesandpractices.com/the-conference

Sixth International Conference on Religion and Spirituality in Society The Catholic University of America | Washington D.C., USA | 22–23 March 2016 www.religioninsociety.com/the-conference

Sixth International Conference on the Constructed Environment The University of Arizona | Tucson, USA | 2–4 April 2016 www.constructedenvironment.com/the-conference

Sixteenth International Conference on Knowledge, Culture, and Change in Organizations University of Hawaii at Manoa | Honolulu, USA | 19–20 April 2016 www.ontheorganization.com/the-conference

Eighth International Conference on Climate Change: Impacts and Responses VNU University of Science (HUS) and Vietnam National University, Hanoi (VNU) | Hanoi, Vietnam | 21-22 April 2016 www.on-climate.com/the-conference

Inaugural International Conference on Tourism and Leisure Studies University of Hawaii at Manoa | Honolulu, USA | 22-23 April 2016 www.tourismandleisurestudies.com/the-conference

Seventh International Conference on Sport and Society University of Hawaii at Manoa | Honolulu, USA | 2-3 June 2016 www.sportandsociety.com/the-conference-2016

Fourteenth International Conference on New Directions in the Humanities University of Illinois at Chicago, Student Center East | Chicago, USA | 8-11 June 2016 www.thehumanities.com/the-conference

Ninth Global Studies Conference University of California, Los Angeles | Los Angeles, USA | 30 June-1 July 2016 www.onglobalization.com/the-conference-2016

Twenty-third International Conference on Learning University of British Columbia | Vancouver, British Columbia, Canada |13-15 July 2016 www.thelearner.com/the-conference

87 NCSM NATIONWIDE

TRAINING

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NCSM Head Quarters, Kolkata, India

NINTH INTERNATIONAL CONFERENCE ON THE INCLUSIVE MUSEUM

CALL FOR PAPERS

16-19 September 2016 National Underground Railroad Freedom Center Cincinnati, USA

Urbanism, Inclusion, and Cultural Freedoms

CALL FOR PAPERS AND CONFERENCE DETAILS To learn more about the conference, including speakers, session formats, venue, and registration visit the conference website at www.onmuseums.com/the-conference.

RETURNING MEMBER REGISTRATION RATE We are pleased to offer a Returning Member Registration Discount to delegates who have attended the Inclusive Museum Conference in the past. Returning community members will receive a discount off the full conference registration rate. Please visit the registration page for details at www.onmuseums.com/the-conference/registration.