4th / 5th February 2005 Turin, Italy

Conference

“Reader

International Conference Story telling “ in museum contexts. Innovative pedagogies to enhance personnel competence.

Introduction

1 Introduction

3 Programme

Narrating museums is the stimulating and exciting challenge that awaits us in the 4 Abstracts following years. The traditional museum is a container full of precious artefacts with mixed contents. Our task is not only to protect this cultural wealth, to restore buildings and objects and enhance their value, but also, and I would even go so far as to say Case Histories above all, tell and explain the meaning of the works of art inasmuch as they are an INDEX 15 extraordinary testimony to human activity. Behind a painting, a piece of armour, or a scientific instrument there is a man in flesh 24 Reflections and bones. A man that designed it for a precise objective, a man that made it with a Christopher Gordon “refined technique. Through the description of what lies behind a work of art we REGIONE PIEMONTE narrate contemporary history, saying a lot about ourselves, about our times and about Direzione generale the paths - luckily often already beaten - to take or to avoid. dei Beni Culturali Settore Musei 26 Presentations e Patrimonio culturale Narrating museums means criticising, it means undergoing an existential experience in Museo Nazionale del Cinema contact with the objects that accompanied the lives of our ancestors, it means giving Castello di Racconigi FONDAZIONE voice to what today seems mute. The new audiovisual techniques help us in this FITZCARRALDO difficult gamble, without however forgetting the apparently simple art of telling www.fitzcarraldo.it applied to exposition tours, such as the theatrical techniques used in context of a 28 A suggest of narrative museum. HOLDENART HoldenArt The Regione Piemonte really believes in this project that aims at training and giving www.holdenlab.it information to those who work in this delicate field, with the aim of revitalizing and renewing the image of museums and to progressively transform them into open books ENCATC Organizer’s 29 for all those who want to dive into new intellectual adventures. www.encatc.org presentation The two-days conference dedicated to Storytelling in a museum context - organized by the Regione Piemonte, Fondazione Fitzcarraldo and Scuola Holden, and financed by General info: the European Union in collaboration with the Leonardo programme - will be characte- tel. + 39 011 56.83.365 rized by the participation of numerous important speakers, coming from the most [email protected] important European Museums, and in particular from Eastern Europe. It is an honour for us to have them in a region, the Piedmont, that is- as everybody says - at the forefront on themes that regard the management and valorisation of Cultural Heritage. I wish you all Good Work in a fecund field, that is new and subject to great develop- Editing: Gloria Pasetto, Annalisa Regis The project is co-funded by the European Commission - ment and a source of satisfaction for all. Translation: Elvira Raimondi Directorate General for Education and Culture Graphic: P.S.ONE within the framework of the Leonardo da Vinci Programme Giampiero Leo Regional Councillor for Cultural Affairs and Education

Holden h h Art

Friday 4th February 2005

1.00 p.m. Registration 1.00-2.30 p.m. Lunch 2.00 p.m. Welcome: Enzo Ghigo, President Regione Piemonte 2.30-4.30 p.m. WORKSHOP Giampiero Leo, Regional Councillor for Cultural a) Creative use of guided visits through story telling Affairs and Education O Italian Chair: Luca Massimo Barbero, HoldenArt, Turin; The Peggy Ugo Bacchella, President Fondazione Fitzcarraldo English Guggenheim collection, Venice, Italy Lea M. Iandiorio, Executive Director, HoldenArt French Rapporteur: Maaria Linko, University of Helsinki, Finland GiannaLia Cogliandro, Executive Director, ENCATC CASE HISTORIES: The topics of how to access culture and the social function of museums and the cultural 2.15-3.45 p.m. Communicating the cultural heritage: theoretical and methodological approaches from past 1) THE SAVOY RESIDENCE IN RACCONIGI- Italy, Mirella heritage are discussed today by verifying the efficacy of the applied methods used to convey and present Macera, Director the meanings and values associated with them to wide-ranging and strongly differentiated 2) THE CHESTER BEATTY LIBRARY - Dublin, Ireland, Chair: Daniela Formento, Director of the Museum and Jennifer Siung, Education Officer audiences. Cultural Heritage Department, Regione Piemonte, Italy Consequently, the ability to renew the methodologies, professional expertise and skills Speakers: O b) Live performance as a mean of interpreting placed at the service of cultural communications in museums and in the institutions that Francesco Antinucci,Cognitive Processes and New Italian cultural heritage English Chair: Daniele Lupo Jallà, Museum Services Department, safeguard the historical heritage is a necessity that is keenly felt in all European countries. Technologies Dept., Psychology Institute CNR, Italy Peter Howard, Bournemouth University, Great Britain City of Turin, ICOM Italia “At a national and Community level this has led to considerable efforts being made to support Rapporteur: Adam Jagiello Rusilowski, Gdansk Universiy, research, training for operators and the experimentation of innovative solutions. DISCUSSION Poland However, by and large, these assets are not shared by all operators in the various countries; 3.45-4.15 p.m. Coffee break CASE HISTORIES: furthermore, the methodological approaches and visions have been and still are to large 4.15-6.00 p.m. The professional skills required for 1) FORTALEZA DEL SOL - Lorca, Spain, extent separate, as a result of traditions and theories that are rooted to varying degrees interpreting cultural heritage and museum collections: Mari Angeles Liròn Sandoval, Director at a national level. some European examples 2) BIBIANA MUSEUM - Bratislava, Slovakian Republic, Chair: Daniela Formento, Director of the Museum and Katarina Minichova Cultural Heritage Department, Regione Piemonte, Italy 3) CAST- Consulenza Animazione Spettacoli Teatrali Turin, Italy, In the research, documentation and training activities that Fondazione Fitzcarraldo offers Speakers: Claudio Montagna, Art Director to those working in the cultural sector (in particular as part of the multiyear agreement Margherita Sani, IBACN, Emilia Romagna Region, Italy c) The design of multimedia interpretation and David Anderson, Victoria and Albert Museum, London, O with the Cultural Heritage Department of Regione Piemonte for the training of staff English displays in museum and heritage settings working in museums and cultural heritage), emphasis is necessarily laid on the specific Great Britain Chair: Giuliano Gaia, www.musei-it.net, Italy Nico Halbertsma, Reinwardt Akademie, Amsterdam, Holland skills applied to the processes of interpretation and communication for use by the cultural Rapporteur: Stanislav Miler, ICNM Austria FAMU, Prague, heritage. DISCUSSION Czech Republic The occasion offered by this collaboration with Regione Piemonte and HoldenArt within 7.00 p.m. The National Museum of Cinema, Mole CASE HISTORIES: Antonelliana, Visit performed by CAST 1) JÜDISCHES MUSEUM - Berlin, Germany, the framework the European Leonardo da Vinci Programme offers Italian and European Etta Grotrian, Project Manager operators a valuable area of comparison and learning, focused on the contents, the main th d) Ways and means of enhancing individual lines of research and the forms of a renewal of professional expertise in these fields. Saturday 5 February 2005 O Italian museum and heritage visits 9.30-11.00 a.m. Training professionals as interpreters of English Chair: Alessandro Bollo, Fondazione Fitzcarraldo “Story telling in museum contexts” aims to respond to the idea proposed by all sides for cultural heritage in the museum context: Rapporteur: Viv Golding, Leicester University, Great Britain guides, educators, performers a presentation of the cultural heritage that is once again in touch with the day-to-day CASE HISTORIES: Chair: MargheritaSani,IBACN,Emilia RomagnaRegion, Italy experience of its modern users, that re-establishes the link between the “expert” discipli- 1) TATE MODERN - London,Great Britain, Speakers: nary visions and the dynamic, multifaceted passage of History and the stories for which Gillian Wilson, Assistant Curator, Interpretation Alba Trombini, Historian, Project Manager in Museum and objects and places are the signs and witnesses. Story-telling is one of the methods that Heritage Education 4.30-5.00 p.m. Coffee break can be used to involve the most intimate spheres of our affections and sensitivity, and to Janusz Byszewski, Centre for Contemporary Art, Warsaw, 5.00-5.40 p.m. Report back from the workshops foster public participation, drawing on the wealth of values and evocations conjured up Poland by objects and places. 5.40-6.00 p.m. CONCLUSIONS Elisabeth Caillet, Musée de l'Homme, Paris, France Christopher Gordon, Independent consultant Great Britain - Other experiences and reflections by experts on the subject of this theme will enable the DISCUSSION President Fitzcarraldo Advisory Board theoretical implications, methodologies, and the technical and operative possibilities 11.00-11.30 a.m. Coffee break 7.15 p.m. Narrative/story telling visit to the Savoy now available, to be incorporated in order to enrich and further diversify the methods 11.30-1.00 a.m. Communicating through technology: Residence in Racconigi of communicating our cultural heritage. new models of communication, recruitment, team (Reserved for the European participants taking advantage of building and developing professional competences the full or partial reimbursement) Fondazione Fitzcarraldo Chair: Francesco Antinucci, CNR, Italy Speakers: Tamás Madácsy, Terror Haza, Budapest, Hungary Steve Simons, Event Communications Ltd., London, Great Britain Maurizio Forte, Virtual Heritage Lab, CNR-ITABC, Italy DISCUSSION

ABSTRACT - Friday, 4th February 2005 - session Communicating the cultural heritage: ABSTRACT - Friday, 4th February 2005 - session Communicating the cultural heritage: “ theoretical and methodological approaches from past and present theoretical and methodological approaches from past and present

Who is interpretation for? succeed in establishing intellectual What does “communicate” hegemony over whole areas of the Cultural Heritage mean? heritage. In other words academics This paper comes from the perspe- have a clear agenda in their use of ctive of the outdoor tradition of It is important to say that “com- Peter J. Howard the heritage that is not that of Francesco interpretation, which has frequently municating” the Cultural Heritage other groups. Interpretation can be Peter Howard is a geographer been dated from the work of does not mean to add the commu- Antinucci viewed as the experts’ attempt to and is involved with landscape Tilden in the 1960s, although nication to an object that already Francesco Antinucci is a establish this intellectual control. aesthetics and perception, and guides were active at the Pyramids exists. The specific nature of the cognitive scientist affiliated to in the days of Herodotus. objects that constitute the Cultural especially with the mapping of The ‘old museology’ did this, as did the Institute of Cognitive Science The paper offers a critique of much Heritage make them, first and “ the management of national parks and Technology of the National landscape interest by artists. interpretation practice, taking the foremost, signs that are intrinsical- etc., by keeping the public out by Research Council of Italy. This was the main subject of his view that the minimalist option ly communicative objects. The the use of arcane terminology and PhD and of Landscapes: the should always be considered. author’s communication must be His research interests have been jargon - ‘blinding them with science’. received without a further explana- concentrated on cognitive artists’ vision (Routledge, However, this has now been First there are some occasions on tion. This means to “communi- processes - such as perception, 1991), and some later work. superseded by a new technique which it is entirely appropriate not cate” in an accurate way, even if that carefully constrains access to reasoning, learning -, their This concern for landscape led to to encourage access and visitation, differently. It is necessary to re- the heritage (either by placing development in infancy and their the setting up of heritage to protect the osprey’s eggs, or the establish a severed communication most artefacts into store, or by evolution in phylogeny. courses, and of the International cave paintings, or simply to protect providing the user with those carefully selecting paths of access) In recent years his research Journal of Heritage Studies, Antarctica or Amazonia against tools, currently unavailable, able to and then tells a single, carefully efforts have been concentrated on devoted to working on the tourism predation. decode and understand the mes- selected story to the visitors. The sage. Nowadays we do not com- the interaction between cognitive connections between areas of story is the ‘correct’ story about Second, the reference collection has municate, we invent and come out processes and the new interactive heritage, from nature and this artefact or site, carefully vetted a sound purpose, often destroyed of the silence only to fall into the for authenticity, but it is a story technologies of multimedia, landscape to artefacts, art and when a single story is told. free association of “emotional” that can always be challenged by digital networking, virtual activities. He set up courses in Other stories by other disciplines, ideas, rendering the works of art a other disciplines and by people reality. In this connection, he has Heritage at both undergraduate or outside any disciplinary tradition worst service. with quite different priorities. extensively investigated the and postgraduate level at are ignored, and the visitor’s expe- The purpose of interpreting the problem of communication Plymouth University. rience is often impoverished. architecture of a church for within the museum environment. He teaches regularly on the MA example (or certainly the result of Third some forms of interpretation, He has been associated to the World Heritage Studies at so doing) is to claim the church as especially live interpretation, can part of the architectural discipline, Department of Psychology of the Cottbus (DE); the MA in easily mislead the public into a false not part of the liturgical one, or University of California at Cultural Management at Vilnius understanding of history - though it the musical one, and certainly not Berkeley and to the Xerox (LT) and the University of can also enliven and inspire. Research Laboratory of PARC Zaragoza (ES). part of the local people’s social fabric. So the option of minimal inter- (Palo Alto Research Center) in pretation is one to be considered, California. Presently, he teaches So this paper is a ‘word of caution’ especially because interpretation “Museum Communication” at about interpretation and inter- can easily be viewed as a means by preters, whether the methods the Università della Tuscia in which the academic and expert used are old or new. Viterbo. Last publication is community advances its intellec- Comunicare nel museo tual control over collections, over (Laterza, 2004). designated lands and monuments.

Heritage is bought by the rich- though sometimes the rich might be the government. This process in the built heritage sector is known as gentrification, but is well known in all sectors. But there is a similar process by which those with cultural capital (academics, curators etc)

ABSTRACT - Friday, 4th February 2005 - session The professional skills required for interpreting ABSTRACT - Friday, 4th February 2005 - session The professional skills required for interpreting “ cultural heritage and museum collections: some European examples cultural heritage and museum collections: some European examples

The professional skills Is it possible to draw an overall pic- The professional skills V & A as a whole has gone through required for interpreting ture at European level? (patchy pic- required for interpreting many stages over the last 15 years. cultural heritage and ture, attempt - and failure - to cultural heritage and To which philosophical museum develop a European curriculum for Museum collections: “family” does it belong? On the Margherita Sani museum collections: cultural mediators, funded by a EU one hand, it is an art museum like David Anderson some European examples some european examples Margherita Sani, BA in Litera- Socrates project). the National Gallery and the Tate. David Anderson was born in ture and Philosophy at the But unlike them, the V & A gives Belfast and studied Irish history However common trends in the educators a strong role in gallery The theme will be examined from Each museum in the United University of Bologna, MA in profession emerging from field design and development suppor- at Edinburgh University. After two viewpoints: Kingdom has followed its own Museums and Galleries Admi- research (carried out within some ted by visitor research, something working as a history teacher in a evolutionary path, but we are also “ EU funded projects): that is almost unthinkable in nistration at the City University, one relating to the situation in Italy, part of an ecosystem which shapes state school, he became Educa- - in most cases lack of a sense of almost every other major London London, works at the Istituto our development. This is tion Officer at the Royal Pavilion belonging to a professional com- art museum. In this respect, it is Beni Culturali of the Region the other to a wider European particularly true for educators who Art Gallery and Museum, munity (see CECA) more closely related to our near scene explored through the partic- work in museums in our country, Emilia Romagna where she is in - need for recognition within one’s neighbours in South Kensington, Brighton (1979) then Head of ipation in several European proj- because of the wide range of charge of several innovative and own institution the Science Museum and the Education at the National ects dealing with museum educa- initiatives taken by Government in - need for networking Natural History Museum. And we special projects, EU funded tion/lifelong learning in museums, order to improve the provision Maritime Museum in Greenwich - common training needs. have our own educational tradi- projects, training programmes the development of curricula for offered to visitors for education (1985). He joined the V&A, tion from our foundation after the for museum personnel, both at museum educators, the design of and access. This provision includes: London as Head of Education in The development and growth of Great Exhibition in London of training. publication of numerous reports regional and international level. the profession closely linked to the 1851. 1990. As Director of Learning identifying good practice and The last publication recently labour market (recruitment: public and Interpretation at the V&A The presentation will touch on the making recommendations for competitions in some countries vs What will our role be in future? We edited: “Musei e lifelong learning. following points: change; funding for a series of he is now manager of the V&A’s looser ways of hiring; contracting can only guess… Esperienze educative rivolte agli (usually short term) educational online services, learning services, out of educational services in many adulti nei musei europei” (Bolo- denomination of the professional initiatives by regional and national community programmes, and Italian museums). gna, 2004). figure (variety and newness of museums; and changes to the audience research and gallery tasks reflected in job titles, particu- infrastructure of the sector with If difficult to draw a picture of the interpretation, as well as the larly in some EU countries). the new education and access profession at a European level, units in regional Museums, Bethnal Green Museum of existence of a European frame- Description of professional profiles Libraries and Archives Councils. Childhood. He is currently a through competencies (also look- work encouraging mobility of per- member of several Government sonnel, a resource which must be ing at European Directive n. 51/92, At the V & A, the role of education exploited and points to the way working groups, including the to encourage the mobility of per- and access staff, and the ahead in the future. Steering Group for Culture sonnel). Department/Division to which they belong, has changed beyond all Online, and is a member of the What are professional profiles and recognition since the early 1990s. Council of the Arts and what is their use/ are they useful? In 1990, we provided no services Humanities Research Board. Who uses them? for schools, offered no community programmes, conducted no Examples of existing professional research or evaluation of the profiles in the field of museum impact of our work on audiences, education/cultural mediation. and had no role in the design and development of new galleries. - ICOM tree of competencies Needless to say, we made no use - CHNTO UK of digital interactive technologies. - Italy: Regione Lombardia All of this has changed. - Italy: Regione Emilia-Romagna - France The evolution of the structure of - Others our Division is interesting from another perspective. To a large extent it is a physical manifestation of the philosophy of audience development in the institution concerned. The philosophy of the

ABSTRACT - Friday, 4th February 2005 - session The professional skills required for interpreting cultural ABSTRACT - Saturday, 5th February 2005 - session Training professionals as interpreters of cultural “ heritage and museum collections: some European examples heritage in the museum context: guides, educators, performers

The Reinwardt Academy: Daily medi(t)ations and the external daily life, falls, then the the training of cultural gates open for a new form of attendance heritage educators in What questions does a visitor ask a guide, and perception of the museum environ- animator or museum educator today? ment. If we take, for example, the numer- Nico the changing field of What technological support for his expe- ous philosophical, scientific, literary, and, Alba Trombini Halbertsma learning & interpretation rience of fruition? What does he need so more recently, historical, mental, creative Alba Trombini is an historian in Holland/Europe that he feels that he has added value to and even medicinal festivals organised in and expert of cultural heritage Nico Halbertsma is a trained this own knowledge and interior growth? Italy, we see how they have attracted hun- projects. She is graduated in teacher audio-visual media and The museological parameters of dreds of thousands of people. They gath- And more, consequentially, what are the Ancient History at Bologna Univer- has a BA & MA in Cultural the Reinwardt Academy and their additional skills that the cultural mediator er in historical centres to listen, debate and “ consequences for our view on of a museum must possess? Even though confront cultural themes apparently “intel- sity and has a specialisation in Pedagogy. He produced docu- learning & interpretation (& visitor lectual or difficult”, but knowingly set in museology and psichology of mentary a.v. productions on it is not very familiar with terms such as services) in cultural heritage mediation and interpretation, that which is an everyday context. While the turnout to communication. She is consultant youth unemployment and art institutions/sites will be addressed. generally termed the vast public of Italian exhibitions in museums has slightly less- for different Local Boards and education activities in deprived We will see which professional ened, here, in an apparently contrary trend, museums is beginning to experience the Cultural Institutions (Modena neighbourhoods of The Hague. competences are involved and pleasure and value of a different kind of we find that the number of people who Province, Ravenna Province, IBC, He was co-ordinator of the art how the Reinwardt Academy deals participation, more active and more per- meet in town squares to discuss complex with them in her Bachelor course. sonalized. This quest for understanding is questions, such as urban anthropology or Universities), for which she education office of the city The training in using different pushing institutions and curators to a quantum physics, has grown. Why is this? organizes and coordinates meetings council of The Hague, and interpretation methods will be growing attention towards the modalities Is it easier to speak about philosophy than and training activities, training became director of a regional explained as well as more specific and motivations of a more specific and art? I don’t think so. The reason for the courses for cultural operators, centre for art education in the workshops focussing on different more conscious form of learning. Numerous renewed interest in these “intellectual” disciplines is probably to be found in the updating courses for teachers and central part of Holland. Before aspects of ‘storytelling’, which in studies conducted by museums and cul- our opinion is more then tural institutions in Italy - compliant stud- possibility of sharing a piece of knowledge, Masters. She teaches education, joining the Reinwardt Academy storytelling sec. Aspects like the ies, research on visitors and non-visitors, which is usually open to few and necessarily museum communication and full time he was for many years changing way of looking at questionnaires on appreciation - and my elitist, in environments that invite an cultural heritage didactics in visitors, the role we have to play in immediate and active participation, and a senior member of staff on art own personal experience of formation Museums, Public and Private education of the County Art society, the possibilities in co- (teaching curators, teachers, students, freedom of expression which is indepen- dent from any social and/or cultural back- Training Boards, Schools and Council of Zuid-Holland. From operation with other institutions adolescents, the aged and an adult public) will be looked after. Examples from have brought out some aspects which can ground. Having said this, as “mediators Universities for the Permanent 1990 on he is senior lecturer on the Netherlands and abroad will be supply useful indications for answering the and interpreters” of the reality of muse- Training. She has been editing the what was first called 'museum given. questions asked above. From a social point ums what can we do to support this new bimonthly Il Colibrì, Appunti e collective necessity of sharing? The task communications' and now of view one unequivocal sign is that peo- spunti di didattica museale, 'learning and visitor services'. ple are evermore appreciating the pleasure that requires the largest effort is the cre- in sharing thoughts and in listening toge- ation of structured moments of communi- since May 2002. He published in several Dutch ther, in sharing visions and knowledge, cation within the pre-existent educational educators/animators the “transversal” skills and European journals (on art creativity and the aesthetic experience. opportunities - such as guided visits, semi- required to sustain them. Learning to listen education and museum edu- That it happens with family, friends, col- nars or animations - so that the visitor can leagues, or equals, matters little; the ulti- re-elaborate the experience and the newly and how to favour discussion, managing cation) and wrote chapters on the full and empty portions of debate and both subjects for some books. mate goal seems to have become the very acquired knowledge through sharing. act of sharing more than the intellectual Mediation, therefore, neither expresses the group dynamics, knowing how to appropriation of the object that is shared. itself solely anymore through a renewed gauge the sharing times so as to give each The co participation of a cultural event attention to language, or the individual participant the necessary amount of time, has, therefore, great value on its own, requirements for learning nor through the not being afraid of the silence necessary which grows exponentially when the simplification of exhibition codes or com- for personal elaboration and individual word, dialogue, or any other form of non- plicated contents, but it searches for new restitution…we are dealing with skills that verbal communication reflects itself in the methods of expression through the availa- have thus far been left to the individual very experience of a museum. From this bility for dialogue and to listening. operator’s discretion, but which – for a perspective it is important to experience Mediation, therefore, becomes a collective better usage and so that they might cultural events because it increases your meditation, with different people each become standard educational practice – awareness when words, dialogue or any time, who everyday come to visit the from a formative point of view should be other form of people’s non-verbal commu- museum. The universities and institutions structured with the help of instruments nication expresses itself through the muse- that offer training courses for the museum and methods coming from behavioural, um experience. When the traditional phys- personnel, should, in my opinion, dedicate social and environmental psychology, from ical and emotive separation between the more time to the study of these emerging anthropological studies or the most recent visit to the museum, what ensues from it, socio-cultural requirements and give the researches in the field of continuous training.

ABSTRACT - Saturday, 5th February 2005 - session Training professionals as interpreters of cultural ABSTRACT - Saturday, 5th February 2005 - session Training professionals as interpreters of cultural “ heritage in the museum context: guides, educators, performers heritage in the museum context: guides, educators, performers

Public That is one of our aims. But, at the Professional skills rement is of a diploma, plus two or same time, it's about knowing and training for three years of completed university 1. An exhibition is " an empty sign" oneself, learning how to express the interpretation courses. which starts working at the one's opinions, speaking with of Cultural Heritage If it is a private institution people Janusz moment of perception. one's own voice. This is what our are hired by agreement. Elisabeth Caillet Byszewski Thus comes the question about workshops are for. Cultural mediation is the product Elisabeth Caillet graduated in the idea of the presence of a per- of the functions relative to the Some universities have organised Education is professor of philo- Janusz Byszewski is co-organizer courses for the preparation for son in a museum or an art gallery. relationship between the works of sophy, she is also expert of of group “pARTner” (1983-1990); Should he be just a passive visitor art exposed in the museums and these competitions. cultural mediation. since1990 curator of Laboratory as in traditional proposals or an the population, that is to say the These parameters for this university “ education are based on a series of She is currently working for the of Creative Education at the active co-creator of the "sign of different types of public: actual exhibition" as "The Other Museum" and potential. It determines the abilities set by the Ministry of Department of Exhibitions and Centre for Contemporary Art in suggests? place, the time and modes for the Cultural Heritage during the Events at Musée de l’Homme and Warsaw; art-educator, art- meeting of the works of art and eighties. for University of Paris1 as therapist, creator. 2. A new situation in a museum their receivers. Mediation concerns This kind of education allows the responsible of cultural media- acquisition of the basic compe- Some International projects: requires a new situation for a visi- different jobs; the diversity depends tion courses. Touch of Memory - Memory of tor. New creative situations in on the size of the museum inside tencies required for the job, both specific and continuous. I will talk Among her works: A l’approche Touch, Boskovice, Czech museums. which it is being applied and the artistic and cultural context within about the different skills identified du musée: la médiation cul- Republic, 2004; The House –My 3. We arrive once more at the which it is being done. and one of the course of studies of turelle (PUL, 1995); Musées et Centre of the World, Supra_l, question about the inherent nature the University of Provence called expositions: métiers et forma- 2002 –3; Talk to me about me, of museum: Are they temples or Cultural mediators are in charge of “Organisation and realisation of tions en 2001 (Chroniques de art and important issue in forums? This question is also about defining planning and putting in Cultural Projects” available both l’AFAA, n°30); Médiateurs pour traditionally taught and through Polish, Swedish and Finnish, a space that can be filled with the action the parameters for the l’art contemporain: répertoire reflections of those who have for satisfaction of different publics: distance learning. Poland, Sweden, Finland 2002- des compétences (La Documen- 2003; Art-mediator (Samara, the most part remained silent until students, tourists, workers and now, who have been treated as those who far from works of art tation Française, 2000); Stra- 2001); Blue Words (Samara passive viewers rather than co - for various reasons be they tégies pour l’action culturelle 2002); Street Art Festival authors of meaning. geographic (for example rural (L’ Harmattan, 2004). (Warsaw 2002, 2001, 2000). Dick Higgins formulated as very environments), cultural (the youth Collaboration with: significant idea that briefly describes of “disadvantaged” areas), or University of Warsaw, Polish the new situation of the viewer: circumstance (sick or incarcerated). Culture Institute; Museums and "The artists provides a structure Mediators work according to galleries in Sweden, Gavle, that you can fill in yourself". national agreements promulgated Active visitors. by the Ministry of Cultural Heritage Falkenberg, Stockholm, together with other Ministries or Finland, Voipaala, Art School 4. The question we asked our- Institutions (Education, Agriculture, in Helsinki; Polish Radio; selves related to our methods: Tourism and Leisure, Job, Social Ministry of Culture; Ministry How do we put our assumptions Affairs, Sport, Justice, Board of of Education. into practice? With whom, where Trade…) and how do we engage in this exchange of meanings? At the Professional skills required to Centre for Contemporary Art, how cultural mediators vary according do we supplement or even replace to the different legal nature of the words with gestures that are them- institutions. If they are State-run selves creative, with artistic expres- organisations people are hired sion? both through a public competition and/or an interview. These are 5. The Laboratory of Creative situations dealing with official Education offers a space for cre- positions (engineers, assistant ative activity. Our guiding light is engineers, regular professors). what Jerzy Grotowski called If they are territorially run, the "active culture". We are offering recruitment is solely by public the chance to search for creative competition. To participate in the activity - to those we are willing to above-said competition the requi- accept the risk.

ABSTRACT - Saturday, 5th February 2005 - session Communicating through technology: ABSTRACT - Saturday, 5th February 2005 - session Communicating through technology: “ new models of communication, recruitment, team building and developing professional competences new models of communication, recruitment, team building and developing professional competences

Interpretive design The Multimedia Room 2001, to the Padua city council to and storytelling of the Scrovegni Chapel: start up a specific research project in contemporary museums a critical analysis of the on the Scrovegni chapel, due to its own fruitful experience in the field Steve Simons project and its design of virtual reality applied to National Maurizio Forte Steve trained at Epsom and Heritage. This research had as its Maurizio Forte is an archeologist Kingston College of Art and Steve Simons will outline the key The Scrovegni chapel, whose cycle objective a new form of fruition for and First Researcher at the differences between traditional and of frescoes was painted by Giotto Design. In 1971 he joined the large number of visitors to the Institute for Applied Tecnologies narrative museums. He will discuss between 1303 and 1305, is a mo- Paduan building complex. George Freeman Design Consul- the communication potential of the nument in danger of dilapidation. of NRC (National Research tants and then went on to The aim of the application of Centre) in Rome. He graduated “ latter and the various media tools The recent important restorations Virtual Reality is not to substitute become a Director of the Design that can be used in their realisation. performed by the ICR have the physical visit to the Scrovegni at Bologna University and has a Research Unit in 1975. His paper will be illustrated with allowed it to be reopened to the chapel, but prepare, integrate and specialization in archeology For many years he was the examples of both genres and will general public, but with a series of repropose it in a different context, (Etruscan studies) from La creative director and production illuminate the design team’s strict restrictions: fifteen minutes to give the visitors a basic alphabet Sapienza University in Rome. responsibilities in the interpretation (for groups of twenty people at a designer for The Prudential Arts composed of a new visual and He is Virtual Heritage Network of the past. It will explore the time) for the admiration of one of immersive grammar with a high Awards, The Ivor Novello sometimes difficult partnership the greatest masterpieces in the vice-president and member of the Awards and The Pop and Rock percentage of interactivity in three international scientific board between designer and architect and history of Art are, without doubt, dimensions and in real time. The Awards. In 1979 Steve was how best their individual roles can not enough. virtual preparation to the visit - WORLD HERITAGE IN THE elected a Fellow of the Chartered be exploited to achieve the most Besides these restrictions there are then the physical visit - then the DIGITAL AGE. He is currently Society of Designers. satisfactory result for their joint also the problems of difficult return to the virtual world and a working for UNESCO as expert For three years he was consul- client. access and visualisation of the re-alphabetisation: this sequence is of training activities about digital cycle of frescoes: this means that it tant to the European Community the outline for a circular course applications in the archeological is impossible for the visitors to which we intend to suggest to the on its participation in interna- study in detail the complexity of field since he is interested in the tional exhibitions visitors and a new form of computational applications in the framed stories, in particular on “consumption” of National Heritage In 1986 Steve formed Event the upper levels and on the vaulted and cultural activities in expressly archeology: GIS (Geographical Communications Ltd. Steve has roof. provided expositive areas. The big Informative Systems) telesurvey, developed a specialist form of The discouraging consequence of challenge of this research and virtual reality and multimedia. interpretation that involves this is that, for many visitors, an communication project is the He is professor and coordinator overlapping between an ecstatic- disciplines not often associated growth of the cognitive flow of a of the Masters “Cultural aesthetic contemplation and a knowledge of monuments and a with mainstream design. sense of bewilderment occurs, a Heritage in GIS” in the These expert areas of research, historical - artistic background in archeological field for Scuola contrast between wonder and museums, through the use of education, film, television and loss, the monument and its advanced instrumentation such as Normale Superiore of Pisa theatre form a common theme appraisal; we could define this three dimensional interaction in for creative staff and shape their contrast a “fruitio interrupta”. real time and the hundreds of approach to design problems. Because of this situation, the “virtual behaviours” foreseen in its Padua City Council has created, Event is now one of Europe’s application (more than 500 next to the entrance of the interactive areas, 100 menus, and largest creative groups and has Eremitani museum where there is directed over eighty major 4GB of data). the entrance to the Giottesque The following contribution will projects since it formed in 1986. chapel, a large multimedia centre discuss in detail the relationship dedicated to the Scrovegni chapel. between planning and execution The room is equipped with seven in respect to roles and to the interactive multimedia workstations professional figures used during and the visitor can personally the course of the project and the modulate his own tour setting by impact in the public’s visual himself the time which he finds dynamics, communication and necessary for the visit. In the fruition of the virtual museum. context of this project the Virtual Heritage Lab of the CNR for the application of technology to National Heritage proposed, in

ABSTRACT - Saturday, 5th February 2005 - session Communicating through technology: CASE HISTORY - THE SAVOY RESIDENCE IN RACCONIGI - Saturday, 5th, February 2005 “ new models of communication, recruitment, team building and developing professional competences Workshop A Creative use of guided visits through story telling

simply to call the 1956 revolution war documentaries, Hitler’s as revolution was strictly shouting speech, pictures of the forbidden. In the middle of the Holocaust, Soviet tanks and 1990s’ education still barely distruction so the visitor can not Tamás Madácsy expanded to this era even in high keep aloof from the scenery. Four Mirella Macera schools. There was a big need to screens are used as a big digital Mirella Macera graduated in Tamás Madácsy was born in give young people an explanation map shown how the Hungarians Szeged, Hungary. on their questions related on facts borders changed, 2/3 of the Architecture in Florence in 1975. He is graduated at History of nazism and communism. They country’s territories cut off and She has been working as officer for department of Gáspár Károli could not find answers in the how the new dictatoric empires The Castle of Racconigi the Cultural Heritage and “ media because as a result of the emerged. All of this indicated with The Castle of Racconigi is not only one of the Savoy Royal Family Landscape Superintendence of University in Budapest in 2001. so-called “Peaceful transition” data and dates. It is a dinamic way He started working for the XX. which allowed no suit brought of telling the story why Hungary residences or a beautiful garden, part of UNESCO cultural heritage Regione Piemonte since 1983. She against any former communist slipped and participated in the superintended the restoration of: Century’s Institute which since 1999, it is also the perfect scene for cultural events, exhibitions, established the House of Terror leader who was in charge in the World War II. We beleive that the Sant’Eusebio’s Church (XVcentury) oppressive communist state. In our best, the most authentic way of concerts, life performances. Never ending conversation between past Museum in 2001. He took an exhibition we put out the pictures story telling is by playing interviews in Casteldelfino, Madonna del active part in the creation of the and names of many former state with those who were there, who and present resound in its rooms and boulevards giving life to Salice’s Church(XIV-XIX centuries) museum and in many other police chiefs, communist politcians, survived. experiences that catch adult’s and children’s attention in a vital in Fossano, one of the XVIII temporary exhibitions. Mostly judges who sentensed political This mixed with documentaries victims to death. We show them can really take the viewer back in atmosphere that conjures up cultural contents and pleasant emotions. century chapel of Saint Frances’ he deal with the communist among Hungarian nazis who time. We have 24 hours movie Church in Cuneo, the Romanesque The Castle is the seat of original exhibitions during the winter that propaganda. commited crimes against Jews or material running in the exhibition, Bell Tower of Pietraporzio, the politicians who organized the all converted in black and white to narrate the residence following a path full of emotions and sensations sighting tower of Perletto deportations. According to our make this effect even stronger. Making a museum. firm belief it is not acceptable to that go beyond the simple historical and artistic meaning of the place, (XV century), the Cathedral façade Purposes and circumstances make any difference between It was a new museum and we and that represent the link between life performance and museum in Saluzzo, the frescos of the The House of Terror Museum those who served one or the other were able to use the newest refectory and the Cavassa chapel in opened on February 24 in 2002. dictatorial state. That is the reason technology available in order to exhibition. The cultural events will increase during Spring season, why we have been attacked in the give the most information to our Saint John’s Church in Saluzzo, the The museum deals with the nazi with the opening of the Royal Park, the development of events that and communist dictatorship in media long before we opened the visitors. We have 28 exhibition Madonna degli Alteni’s Church (XV Hungary (1944-1989) and the museum. Still we are being rooms where we installed 41 big put together cultural and naturalistic beauty, the flowering variety century) in Centallo, the rectory of attacked by the post-communist plasma screens, 55 pc monitors, foreign invaders (the Germans and Villanova Solaro, the Abbey of San the Soviets) who controlled the left side and the media under their 10 touch screens, 10 tv screens and the activities that involve kids and their families. country from 1944 to 1991. influence. On the other hand we and 6 projectors. On the screen we Costanzo al Monte and the have seen many history teachers have documentaries, interviews Sanctuary of Vicoforte in Mondovì. Our building, our address Andrassy who brought their pupils here with survivors, each well chosen to She entrusted with the restoration saying you need to see this the rooms. In the way of the street 60. is an infamous one. This and exploitation of the Castle of particular building was used as because it is a good presentation exhibition we have space with 16 headquarters for both dictatorships of the era. Unfortunatelly we chairs where we show longer Racconigi in 1994, and thanks to where thousands of people had know some who lost their jobs due propaganda movies from the her work and interest the Castle to the words above. 1950s’. been tortured and killed. It is not has been re-opened to the public, only a museum but a memorial place as well. Our aim was not only One of our basic conception was In Hungary our museum became the restoration of the gardens of the to create an exhibition which leads to create a museum which charms one of the most visited in the last Royal Palace of Turin and since young people most of all. We three years. Since the opening the visitor through the inhumanity 2003 the restoration of the gardens years of the recent Central- knew that the youth growing up date we had more than 750.000 European past, but to establish a nowdays watch TV a lot and visitors. As frequently said by our of Venaria Royal Palace. She joined place where the descendants can therefore if we want to keep their director, Mrs. Maria Schmidt the numerous conferences about her remember their late relatives and attention we have to give them an museum was not ready yet. She activities, thought in different extraordinary spectacle that can be asked the people to come and tell loved ones. Our museum is the universities, published articles and first of this kind in Hungary. provided by plasma screens and us their stories. It is our common This past, these stories never been and well arrenged sound effects. past and we all should put this works about the history of the told to the people before. It is For example in our very first room together. architecture, the historical gardens which is about the World War II. enough to say that the Hungarian and techniques of restoration. people lived under a regime until and Hungary’s double occupation 1989 led by János Kádár, where we set 10 big screens filled with

CASE HISTORY - THE CHESTER BEATTY LIBRARY - Saturday, 5th February 2005 CASE HISTORY - FORTALEZA DEL SOL - Saturday, 5th February 2005 “ Workshop A Creative use of guided visits through story telling Workshop B Live performance as a mean of interpreting cultural heritage

Jennifer Siung Mari Angeles A qualified museum/gallery Liròn Sandoval educator, art historian & administrator, a special interest Mª de los Angeles Liròn The Chester Beatty Library Stories from The Fortress of the sun “in Asian art, with varied Sandoval graduated experience in multi-cultural the Silk Road pilot audio cd The Fortress of the Sun is much more than a magnificent castle in Economics at the University issues, adult & community and an impressive history-laden monument. of Murcia (Spain). Above all, it is a new tourist venture which Lorca Workshop of Time learning, computer systems, During the course of three years, the Chester Beatty Library She has taken part in training embarked for the first time on a sponsored programme of engaging places at the disposal of its visitors to efficiently combine leisure managerial & linguistic skills. children from local Dublin schools with the collection of Asian, East with culture, learning with enjoyment, the rigour of history with courses specific to the Current Employment Asian, Middle Eastern and European works. The generosity of the the passion of surprise and entertainment. preservation and valorisation 2000 to date Education Officer, Paul Hamlyn and Calouste Gulbenkian Foundations enabled pupils of Cultural and Tourist of a mixed ethnicity and religious background to meet and express The castle of Lorca is the perfect stage for an unforgettable tourist the Chester Beatty Library, ideas inspired by the collection. To mark the end of this three year experience whose justification and base are to be found in history. Heritage in Spain Dublin. Established and sponsored programme it was decided to create and present a token and Portugal. A defensive fortress, an observation post and sign of identity developed the first of thanks to both schools and sponsors in the form of an audio cd. She is the director of the of the people of Lorca throughout time, the castle has been multi/inter-cultural education From November 2002 to June 2003 four Dublin primary schools occupied and reinvented by different civilisations “Consorcio para el Desarrollo programme in an Irish participated in a storytelling project. They met a number of figures from the Argaric period to the 19th century. Turístico y Cultural de Lorca y museum including organising from countries of the Silk Road including Marco Polo, Alexander the su comarca” from 1998. Great, Scheherazade, Lady Murasaki Shikubu, Ibn Battuta and King As an efficient defence fortress, the castle marked out the frontier workshops, liaising with Mansa Musa. The storytellers were sourced from the ever increasing between the Christian and Moslem kingdoms during many years, the Director, curators, and changing local community of Dublin hailing from Europe, the and it was home to events and legends involving characters whose lives tell us of the historical complexity of everyday life. staff & volunteers. Middle East and East Asia. The children followed their travels through the collection of the Library and in turn returned to school to create their own log books based on their favourite figure. The After centuries of development, history gave Lorca an impressive books are based on models found in the Library such as fan books, monument (recognised as the most outstanding Asset of Cultural scrolls and so on. Interest in the Region of Murcia) whose walls, dungeons, parade grounds, barracks and kitchens accompany the two powerful towers The stories reflect the marvels of travel on the Silk Road. It provides that are the protagonists of the castle: the Alfonsina, whose an insight to the history, religion, culture, and so on, of the great construction was ordered by Alphonso X the Wise, and El Espolón, path linking East to West. The aim of the audio cd is to provide which has imposed its elegance since the 13th century. children with an insight to subjects they cover in school ranging from language, history, geography, science, culture, religion and art. A true Fortress of the Sun, which Lorca Workshop of Time has Stories are a great way to address these areas. It also will help to converted, after a process of adaptation and refurbishment, enhance the collection and encourage children and teachers to into a thematic space aimed at providing its visitors with approach it in an exciting and interesting way. It is hoped the cd will an intense cultural experience through the times of history. serve as the basis of an education pack for schools in the near future. THE TIME MACHINE Special thanks to the Muslim NS, Star of the Sea Boys PS, St Brigid’s Integrated into the reception area itself, this new multimedia system NS and Scoil Mobhi, the Paul Hamlyn Foundation, Calouste is the beginning of your journey back in history. Gulbenkian Foundation, Lugard Ogwokhademhe, Louis Lovett, Clare Years fly past in tenths of a second, images and movement follow Barman, Johanna Varghese, Sami Moukaddem, Niall O’ Sullivan, the on one after the other… We travel into the interior of the fortress, Director and Staff of the Chester Beatty Library. to the Middle Ages, to a space and time in which all adventures are possible.

Get ready to live an experience of sensations back in time.

CASE HISTORY - BIBIANA MUSEUM - Saturday, 5th February 2005 CASE HISTORY - CAST - Saturday, 5th February 2005 “ Workshop B Live performance as a mean of interpreting cultural heritage Workshop B Live performance as a mean of interpreting cultural heritage

Katarina Claudio Minichova Montagna Doctor of Philosophy, Claudio Montagna has been degree at Academy of Music Museum BIBIANA, working as director, actor and “and Dramatic Arts in Bratislava, International House of Art for Children theatre animator since 1971. 1983. Doctor of Arts, He is among the founder of degree at Academy of Music - We have expositions but BIBIANA is not museum. Teatro dell°ØAngolo in Turin and Dramatic Arts in - We have performances but BIBIANA is not theatre. where he worked until 1984. - We have a big amount of children’s books from over the world in Bratislava, 2001. our Documentation Centre but BIBIANA is not library. From 1978 to 1994 he worked Journalist, Film critic, - We publish quarterly revue of art for children and catalogues but as consultant for the City of Editor in Research Department BIBIANA is not publishers. Turin as coordinator of the and Programme Department, BIBIANA is the institution of professional art for children and following departments: Slovak Television, Script Editor, organizes: Animation and Meeting Points, Executive Producer, Deputy - the Biennial of Illustrations Bratislava – BIB - from 1967, now is Professional Theatrical Review, prepared for 2005 jubilee 20th event of BIB [40 years tradition], Head in Children and Youth - the Biennial of Animation Bratislava - BAB – international festival of Amateur Theatre, First and Department, Slovak Television, animated films for children especially films made by illustrator of Second Tournament of Founder of first children’s book, theatrical improvisation, - the exhibitions – artistic and interactive – with workshops and Childrens’ Film Club, animated programs for children connected with theme of exhibitions Teenagers Project. Methodics of Film Aesthetic / for ex. In November 2004 we have 3 exhibitions: artistic photos, He has been the Art Director Education for Children, interactive about music of C.A.S.T (Consultancy, - From Orfeo till Orff, and African dolls and puppets [collection of 1974-1984. 700 original dolls from many African countries], Animation, Live Performances) In cooperation with Bibiana - the theatre performances – dramatization of tales, stories, since 1994. Intenational house for children, children’s books etc. the moving interactive BIBIANA has no educational department only 2 dramaturges and exhibition round Slovakia - production section - they prepare all activities – exhibitions, galleries and museums programs, workshops, performances etc. Our password is: Art is a game. We educate through game. “The bedtime story, or come BIB 2003 exhibition - not in our area – visited cca 40 000 visitors. into a fairy- tale!”, Exhibitions and performances in our house during the year 2003 2001-2004. visited 52 729 especially children from 5 till 12 years. C.A.S.T. Languages, processes, theatrical products

C.A.S.T. “offers theatre”. It is an Art and Entertainment Company that works in Turin and organizes events and live performances that go beyond the show itself. This concerns different fields: strategic or cultural projects, educational or recreational activities, socio-cultural and rehabilitation projects. The theatre is considered as a good mean to communicate or learn, think or make people think, recollect events, start up knowledge paths and community events.

CASE HISTORY - JÜDISCHES MUSEUM - Saturday, 5th February 2005 CASE HISTORY - TATE MODERN - Saturday, 5th February 2005 “ Workshop C The design of multimedia interpretation and displays in museum and heritage settings Workshop D Ways and means of enhancing individual museum and heritage visits

Etta Grotian Gillian Wilson Etta Grotrian, M.A. in History Gillian Wilson is a curator in and Law Science 2001 at Freie the Interpretation and Education department at Tate Universität, Berlin, Project Modern, London. Since the “Manager for Information and Tate Modern Multimedia gallery opened in May 2000, New Media at the Jewish Tour programme she has developed a wide range Museum Berlin. of learning resources for Tate Modern has been piloting handheld computer tours of the visitors such as interactive gallery for the last two and a half years. The Multimedia Tour programme provides interpretive tours of the Collections Displays, games for families and object- presenting multimedia content such as audio, text, image, film, and based resources for teachers, interactive games, stored on a central server, which is delivered to as well as writing for the PDAs through a wireless network. Developed with Antenna Audio, we have run two pilot tours to test out this new system of various audiences. gallery interpretation, and will launch a more fully-fledged tour She also project manages the covering the whole of the Collections Displays in January 2005. Multimedia Tour programme This case study will describe the current Multimedia Tour in more at Tate Modern: a series of detail, showing demos of some of the different type of content that interpretive tours on handheld is available to visitors who take part. It will also discuss our computers that evaluation findings from the two pilot projects and will begin to draw some conclusions on the types of content and approaches that the gallery has been piloting are successful in this new interpretive media. since 2002.

Jüdisches Museum Berlin

Since opening the doors in 2001, the Jewish Museum Berlin has joined the ranks of European’s leading institutions. Its exhibitions and permanent collection, educational activities, and diverse program of events make the museum a vibrant centre for German-Jewish history and culture. It is dedicated to serving as a forum for research, discussion, and the exchange of ideas-as a museum for everyone: young and old, Germans and non-Germans, Jews and non-Jews.

An architectural masterpiece, Daniel Libeskind’s spectacular structure has firmly established itself as one of Berlin’s most recognizable landmarks.

The museum’s permanent historical exhibition extends over 3000 square meters and invites visitors to journey through two thousand years of German-Jewish history.

Francesco Antinucci e Lucania, from 2002 he is groups to develop community Department of History and Viv Golding Academy for Arts Is a cognitive scientist affiliated Associate Curator for the programmes (Leader +, Interreg Didactics of University of Turin is lecturer in Museum Studies management. to the Institute Guggenheim Collection. 3A, Interreg 3B) and developing research about and Education at Leicester He participated to many of Cognitive Science and He has been collaborating international programmes museology and museography. He University. She holds a BA European art’s projects like Technology of the National as scientific consultant with financed by the Regione published many articles (hons) degree in Art and ISCAPE – in 2004 starts close Research Council of Italy. HoldenArt since 2000. Piemonte with France and and essays and the book Design from West Surrey, cooperation with ICNM in His research interests have been In 2004 he organised the Switzerland. Il museo contemporaneo. an ATC (Art Teachers Salzburg on developing tools concentrated on cognitive exhibition, Action Painting. Introduzione al nuovo sistema Certificate with Art Therapy) for interactive storytelling, processes - such as perception, Arte americana 1940-1970: Giuliano Gaia museale italiano from Goldsmiths, an MA in or INYOP – leader of EC reasoning, learning -, their dal disegno all'opera, about the Giuliano Gaia is the co-founder (Utetlibreria 2000). Modern Philosophy from Media training project. development in infancy and American Art for Fondazione of www.invisiblestudio.it, a web Greenwich, an MA in Women’s In June and September 2004 s biography their evolution in phylogeny. Cassa di Risparmio di Modena agency specialized in cultural Margherita Sani s biography Studies from Westminster and he organized 2 courses on In recent years his research websites and online BA in Literature and Philosophy a PhD in Museum Studies Interactive storytelling, film, efforts have been concentrated Alessandro Bollo communities. He is also at the University of Bologna, from Leicester. Before taking games and documentary. on the interaction between One of the Founder of consultant and researcher MA in Museums and Galleries up her post at Leicester in

cognitive processes and the new Fondazione Fitzcarraldo - for different universities and Administration at the City teur’ 2001 she had 10 years Adam Jagiello-Rusilowski interactive technologies international independent cultural institutions. University, London, works at the experience developing is an assitant professor of multimedia, digital centre for research, training, He coordinates www.musei-it.net, Istituto Beni Culturali of the Region educational opportunities at of drama at Institute of networking, virtual reality. planning, and documentation a virtual community that Emilia Romagna where she is the Horniman Museum in Education, University of In this connection, he has on cultural, arts and media counts more than 500 members in charge of several innovative and London and a further 12 years Gdansk, Poland. He studied extensively investigated the management, economics and among Italian museum special projects, EU funded projects, developing Arts Education business, English literature problem of communication policies based in Turin, fre lancers and researchers. training programmes for museum Programmes in London. and drama and non-for profit Moderator’

within the museum Italy - where he now He worked as webmaster personnel, both at regional and Rappor She is currently working on a management (University of environment. He has been coordinates the Research Unit. of Museum of Science and international level. monograph, Learning at the Columbia, New York). associated to the Department of Since 2002 he is Coordinator Tecnology of Milan from 1997 The last publication recently edited: Museum Frontiers: Identity, He founded an English Psychology of the University of for the Cultural Observatory to 2002, and has been awarded Musei e lifelong learning. Race, Power. Her last medium student theatre California at Berkeley and to of Piedmont. different International prizes. Esperienze educative rivolte agli forthcoming publication “Maybe Theatre Company” the Xerox Research Laboratory Professor of marketing and adulti nei musei europei is Carnival Connections: and “Wybrzezak” Theatre of PARC (Palo Alto Research communication of cultural Daniele Lupo Jallà (Bologna, 2004). challenging racism as the in Education. He is Head of Center) in California. Presently, heritage and activities is coordinator and Director of unsaid at the museum/school Education at State Theatre he teaches “Museum at Polytechnic of Turin the Museum Department frontiers with feminist- in Gdansk and expert of Communication” at the - II Faculty of Architecture of the City of Turin since 1994. hermeneutics in Anim-Addo, Art for Social Change Università della Tuscia in and lecturer at the various From 1980 to 1992 he worked J (ed) Swinging her Breasts at program of European Cultural Viterbo. Last publication is courses for cultural operators for the Regione Piemonte, History, Whiting and Birch, Foundation in Amsterdam. Comunicare nel museo organised by Fondazione holding the office of Manager London. (Laterza, 2004). Fitzcarraldo. of the Exhibition Museum Since 2000 he is promoter Department (1992-1994). Maaria Linko Luca Massimo Barbero of the Marketing department His job dealt with historic and has a PhD in Sociology from was born in Turin and at AISM, Italian Association on ethnographic museums, the University of Helsinki, graduated from University Marketing Studies, Milan, Italy. the organization of meetings Finland where she works as Ca’ Foscari, Venice. After the and the planning of Lecturer. She has specialized collaboration with the archive Daniela Formento bibliographic, ethnographic, in the reception of diffents of the Solomon R. Guggenheim graduated in Philosophy linguistic and historical fields of art, especially visual Museum of New York, in Turin in 1974. research in collaboration art and literature using he established and developed She works for the Regione with the University of Turin. qualitative methods. the exhibition Peter Greenaway Piemonte and has held different He is currently holding the - Watching Waters at Palazzo offices in many administrative office of President of the Italian Stanislav Miler Fortuny for the Art Biennial councils such as the Training Board of ICOM (2004-2006). is a teacher and a trainer of Venice. Professional one, the He was responsible for the for multimedia courses to In May 1998 the former mayor Department of Regional relationship with local Czech and foreign students. of Venice Massimo Cacciari Planning (1998) and since State-run organisations in He organized and lead many invited him to be the Chair 1999 the Museum and Cultural the Executive Council in the international workshops and of the Fondazione Bevilacqua Heritage Department, where previous three-years period. courses focused on exploring La Masa, where he organized she also holds the office of Hi is adjunct professor in new creative possibilities very important cultural events: Representative of the region at different universities among of digital media. Tempesta Gotica: Austria e the Committee for Institutional which the II Faculty of Since fall 2002 he teaches Germania, pittura dagli anni Programme Agreement Architecture at Politecnico multimedia production to MA ‘80; Emblemi d’Arte, Government/Region; di Torino and the Faculty of students at ICCM International da Boccioni a Tancredi e she collaborated to the Education at Università degli Center for Culture and Basquiat a Venezia. planning of the Agreement Studi del Piemonte Orientale Management in Salzburg. Art Director of Fondazione for Cultural Heritage. “Amedeo Avogadro”. In July 2002 he taught at the Cassa di Risparmio di Calabria She joined different work He also collaborated with the ISAC – International Summer

quick-change costumes and theatrical props. Then for the next two and a half hours or so they would walk to ten or Christopher Gordon twelve historic sites in each city, stopping for (mostly) open air performances illustrating episodes in the important mar- itime history of each city ranging from Mediaeval times to the Second World War. Christopher Gordon is vice-President of the European Diploma in Cultural Management and Chair of the 5. Castle Howard (1699-1702) in Yorkshire, Northern England, is one of the two English Baroque masterpieces (the Advisory Board of the Fondazione Fitzcarraldo (Turin); associate Fellowships in Cultural Policy at the other being Blenheim Palace in Oxfordshire) of the architect and dramatist Sir John Vanbrugh (1664-1726). Visitors to Universities of Warwick and Northumbria in the UK, and Visiting Professor at the Universities of Bologna the house, when they reach the spot under the famous dome, are confronted at regular intervals by costumed charac- and Turin in Italy. He has worked professionally in arts policy and management for well over 30 years. ters - including the bewigged architect - who proceed to relate episodes from the history of the house and its family. Freelance in cultural policy and management since 2001. He has worked extensively in continental Western Europe and in Eastern Europe for the Council of Europe, My list above contains both ‘natural’ and ‘contrived’ attractions, with some of them containing a mixture of both. “ Museums, of course, though they collect authentic objects of cultural, historical or ethnic significance, usually display on cultural projects for the European Union and UNESCO, and on two projects in the Balkans and former Jugoslavia for the European Cultural Foundation. them in artificially contrived settings. Possibly the best-known emblem of the ‘contrived’ attraction is Disneyland and its derivatives. Yet the original California Disneyland is now of an age and iconic cultural landmark status almost to be regarded by some as ‘authentic’. Confusing. When a few summers ago the British Queen opened the Buckingham Innovative communication methods and changing public expectations Palace Royal Collection of paintings and drawings to the public, some American tourists were interviewed by a London Let me start with a confession. Technology for technology’s sake doesn’t interest me. I much prefer reality to virtual real- newspaper on the opening day. Had they been impressed? ‘No’, came the answer, ‘we expected to get to have a cup ity. About ten years ago I saw an exhibition in Rome which claimed to offer a radical and exciting reinterpretation of of tea with the Queen afterwards - when you visit Disneyland at least you get to meet Mickey Mouse’. But then these Pompeii, heavily sponsored by a well-known computer multi-national company. There were no ‘original’ objects - only are probably the people who also enjoy being photographed with Julius Caesar in plastic armour outside the Flavian computer-based graphics and displays - and all I can now remember is how boring and meaningless it all was. In the- Colosseum. ory, therefore, I should be much more responsive to a human and story-telling approach to interpretation, although I This confusion between the real and unreal can even extend unhelpfully to interpretation and story-telling also in nat- find my personal reactions are mixed. Thinking about why this should be, I can only conclude that the key factor is ural sites. Amongst the tourist complex attractions on the island of Sentosa just off Singapore are a ‘Nature Walk’ (gen- something to do with ‘authenticity’, on which individual perceptions can be extremely variable. So far as visitors to his- uine secondary rain forest) and a ‘Dragon Walk’ (including fake monuments from a ‘lost’ civilisation). The interpreta- toric sites and museums are concerned, there is often rather a fine line to be drawn between successful and effective tion markers along both walks are formulated in the same matter-of-fact language so that any child or unsuspecting presentation and uncomfortable embarrassment. visitor might go away under the impression that dragons actually existed. There may, of course, in certain circumstances, In respect of styles and quality of display and interpretation cultural attractions do, necessarily, have to take full account be a perfectly legitimate justification for creating ‘contrived’ attractions if that takes the pressure off genuine or natural of the changing expectations of the public. It is often alleged that young people brought up on a diet TV, Hollywood sites which are being despoiled through excessive use. film production values and spectacularly staged rock concerts will find anything less expensively produced boring and The proliferation over recent years of ‘contrived’ historical attractions - which may exist half-way between the natural unable to hold their attention for long. Maybe, but I suspect that a genuine experience over-hyped and over-produced and imaginary - raises rather important issues about what constitutes ‘authenticity’, and how the trend may unwitting- beyond any ‘appropriate’ limit will also pall pretty rapidly. ly be encroaching damagingly upon the genuine. The paradox is that on the one hand they are obviously and openly From personal experience, I cite a few memorable examples of ‘story telling’ in order to try and rationalise my own sub- ‘staged’ attractions, but there is also some claim to legitimacy that they are ‘correct’ reproductions of the past, with jective reactions, or what I recall of them. They are drawn from New England and old England. consequential aspirations to some authenticity. However, such ‘stagings’ can never actually be neutral, and will tend to incorporate the cultural values, ideological perspectives and often commercial interests of their creators. 1. Plimoth Plantation in Massachusetts USA is a ‘living museum’, an impressive reconstruction of the original 1627 set- tlement just three miles from Plymouth Rock where the Pilgrim Fathers are believed first to have set foot in the New In a post-modern context it may be perfectly possible for the contrived reconstruction to have some appeal simultane- World seven years earlier. The village is inhabited by interpreters set on their various tasks and dressed in period cos- ously for the genuine ‘cultural’ tourist and a purely entertainment-seeking one. Returning to my own examples, I con- tumes, whom visitors are encouraged to engage in conversation. The ‘villagers’ speak as if they actually were pilgrims, clude by asking myself why the first (Plimoth Plantation) was so illuminating and satisfying, and why the last (Castle not tourist guides, in carefully researched 17th English century accents. The basis of any conversation is necessarily con- Howard) was so frustrating and infuriating. I suspect this is about achieving an ‘appropriate balance’ in contrived situ- strained by the knowledge of the world that the original pilgrims would have had. Even the chickens scratching around ations. Plimoth though in fact a ‘fake’ is a patently genuine and serious exercise in contemporary research and inter- have been specially bred to resemble those the settlers would actually have had. These ‘interpreters’ are not profession- pretation into the period, and furthermore visitors are free to choose whatever level of active engagement they want al actors, but are drawn from historians and serious students of the period, with a profound knowledge and interest in with the ‘villagers’. Castle Howard is genuine, and one primarily visits to experience its superb architecture and gardens. the period. What I do not, therefore, welcome is to have my personal route through the building blocked at the key crossing-point by some bombastic actor giving an impromptu, overblown and third-rate ‘performance’ to an unsuspecting captive 2. Hancock Shaker Village, also in Massachusetts, is preserved for posterity (the Shakers were a 1774 persecuted off- public. The balance here seems to me to be severely distorted, generalises about and misjudges people’s different moti- shoot of the Quakers in England, originating in Manchester). By day, the village and its famous Shaker crafts, agricul- vations for visiting, and actually detracts from an authentic experience, in so far as this can ever be neutral (which of tural, community and religious activities are sensitively explained and interpreted by guides. In the summer and autumn course it can’t). evenings visitors are able to stay on for a candlelit dinner, with dishes derived from extant Shaker cookbooks. Although the Shaker practices of total silence during meals and segregating the sexes are not enforced at the simple long tables, Professional actors in my examples (3) and (4) seemed to help illuminate culture and history in an instructive way since the atmosphere is underlined by readings from rulebooks and simple Shaker music and dance (which has become the balance between their role and the heritage (archive film in the first case, historic sites, ships and buildings in the renowned through Aaron Copland’s dance music for Martha Graham’s Appalachian Spring). It all feels pretty respect- other) did not constitute an over-distortion in relation to the primary objects. Actors working in the ‘correct’ formulation ful and reasonably ‘authentic’. can do a superb job in interpretation. In the UK they are now used by some hospitals in training doctors how to relate to patients (doctors and surgeons never seem to understand that most normal people don’t actually like hospitals). 3. At the Museum of the Moving Image (MoMI) in London – now closed – there used to be a reconstructed carriage of an early Soviet ‘Agitprop Train’ where actors costumed as Red Army soldiers with rifles would force visitors to board Having admitted at the outset that perceptions around the subject of ‘authenticity’ and ‘appropriate balance’ are bound and watch short propaganda films from the period. It was slightly ‘knockabout’ stuff, but the films were the genuine to be subjective, it is difficult to draw any clear conclusions in respect of training possibilities. Nevertheless, it does seem article, and the atmosphere created by the actors certainly did add something interesting to the experience. to me that from closer analysis of good and less satisfactory practice within the sector, it should be possible to come to broad conclusions about guidelines for when different kinds of interpretation are, or may not be, appropriate and valuable. 4. Solent Peoples Theatre, Southampton and Portsmouth. For several summers this community-based theatre compa- ny offered evening peripatetic performances in these two English cities (designed for both local people and tourists). Christopher Gordon The ‘audience’ would assemble at a designated starting point to meet the actors accompanied by a handcart full of Chair, Advisory Board, Fondazione Fitzcarraldo.

THE THOUSAND FACES OF THE CASTLE CINEMA LIVES AT THE MOLE ANTONELLIANA

The Castle of Racconigi was one of the favourite residence of the House of Savoy. Even The only one of its kind in Italy and among the most important museums in the world, if it dates back to the Middle Ages, the Castle, near Cuneo, became a nobiliary residence the National Cinema Museum is housed inside the Mole Antonelliana, the symbol of the during the reign of Carlo Alberto, King of Sardinia. The sovereign really loved the Castle city of Turin. Opened in July 2000, in 4 years the Museum has recorded 1.500.000 visi- and he chose it as his favourite summer holiday residence moving there with the rest of tors: quite a considerable result for such a peculiar museum that aims at charming and the court, transforming the Castle in the temporary capital of the Kingdom between drawing the public to the enchanting world of the Seventh Art. 1831 and 1849. The restoration of the Castle started during Emanuele Filiberto’s time, The fascinating layout, planned by the Swiss architect François Confino, covers an area of Tommaso di Carignano’s son, who entrusted important architects and gardeners with the 3.200 sq.m. The permanent exhibition is divided into five levels, illustrating the history of works: from Guarino Guarini to André La Notre at the end of XVII century to Giovan cinema through the museum’s rich collections (over 11.000 films, 9.000 machines and art Battista Borra and Bolina in the middle of XVIII century. The Castle was chosen as a “Royal objects, 200.000 photo documents, 26.000 volumes and about 341.000 posters and Court Holiday Resort” and Carlo Alberto further enlarged it according to a project by advertising leaflets). Ernesto Melano, Pelagio Pelagi and Xavier Kurten. Some important recent acquisitions have enriched the remarkable Collections of the This is the place where King Umberto II was born, King Vittorio Emanuele married Maria National Cinema Museum: among them the acquisition of the Fondo Francesco Rosi and Adelaide of Habsburg - Lorraine and Princess Mafalda married Filippo of Assia. the donation of some of Oscar Prize Carlo Rambaldi’s productions. It became King Vittorio Emanuele II private property in 1870 and it still radiates a sense Visitors enter the Museum on street level, where the newly computerized ticket office and TIONAL CINEMA MUSEUM AL CASTLE OF RACCONIGI of living atmosphere thanks to the usual visiting of the family until 1946: very intimate the new welcoming areas are located and the entrance is free. The new areas have been and sophisticated rooms, they suggest to walk on tiptoe, as if the members of the fami- designed by François Confino. ly who lived here and still embellish the rooms walls could walk in. Whoever visits the The visit to the museum begins on the floor assigned to the Archaeology of Cinema Castle feels the same sense of intimacy that Carlo Alberto felt two hundred years ago. where you can admire an impressive collection of machines and devices that anticipated “I can’t leave this beloved countryside, I love it more everyday” and laid the bases for the great magic of cinema. Visitors move onto the Movie Factory, That’s the way Carlo Alberto talked about his beloved Racconigi, his holiday resort where a fascinating tour showing the main stages of film-making and film production through he spent joyful days far away from the court’s etiquette and protocol. stage devices, sketches, costumes, sceneries, photos and videotapes. THE NA THE ROY Even today, after two hundred years, the visitor thinks the Castle and the Royal Park are On the upper floor, the Poster Gallery illustrates the history of cinema through its most amazing places where time goes by slowly, but where everything changes offering always beautiful posters, while the Spiral Stairway, definitely one of the most fascinating sections something new and exciting. of the museum, houses temporary exhibitions. Finally you reach the Temple Hall, the very heart of the Mole, where visitors can sit down and relax on unusual chaises longues to The visit will be performed by Artemista. watch the projection of 35mm movies and admire the images animating the interior of the dome. The ten chapels surrounding the Hall are dedicated to the cult of cinema and highlight the history of the Seventh Art through the recurring movie genres and themes in a spectacular layout that matches the vertical structure of the Mole.

CASTELLO DI RACCONIGI MUSEO NAZIONALE DEL CINEMA ALLA MOLE ANTONELLIANA Piazza Carlo Alberto, 1 Via Montebello, 20 12035 Racconigi (Cuneo) - Italy 10124 Torino - Italy tel. 0039 0172. 84 005 Tel. 0039 011.8125 658 www.ambienteto.arti.beniculturali.it www.museonazionaledelcinema.it

A SUGGEST OF NARRATIVE REGIONE PIEMONTE Assessorato alla Cultura - It rarely happens to meet people able to narrate something in the right way: and it is Direzione Beni culturali Settore Musei e Patrimonio Culturale more and more embarrassing when someone in a company expresses the desire to hear The Piedmont Region, through its departments, carries out a wide range of activities someone telling a story. It is like being deprived of that ancient faculty that seemed in the field of museums: grant-giving in support of museum sites restoration, displays, inalienable, certain and true: the ability to share experiences. cataloguing and collections valorisation as well as initiatives supporting the implemen- Walter Benjamin, Angelus Novus tation of cultural integrated projects aimed at promoting the local development. In addition the Piedmont Region has started a wide training programme for professionals “If someone, be he grandfather or teacher, museum guide or writer, tells us a tale, and as working in museums and in the field of cultural heritage. we listen we feel satisfied, we feel fine, we feel different and yet closer to ourselves and to others, and if we feel richer in knowledge and in life, that means that something has happened that we can call narrative. FONDAZIONE FITZCARRALDO That’s why, as Benjamin writes, being human, the desire to hear someone tell a story arises, Fondazione Fitzcarraldo is an independent center for planning, research, training and a story that is a real narrative. documentation on cultural, arts and media management, economics and policies, at the The desire to listen to a narrative comes from the need to draw upon a precious treasure, service of those who create, practice, take part in, produce, promote and support the arts perhaps the most precious one, one that derives from a meditated, sedimented experience and culture. The Foundation aims at contributing to the development, diffusion and so articulated as to be crystallized in a piece of knowledge, which manages to remain part promotion of innovation and experimentation in the aforesaid fields of activity, also of that life from which it comes. through the systematic search for collaboration agreements and synergies with local, This is what we seem to perceive: that the greatest pieces of narrative, novels or classic regional, national and international partners, public as well as private. fairy tales, but also visits to places or meetings with a work of art or of nature, all have It covers 4 main, independent fields of action: research, training, documentation and new something in common: in them life and knowledge go arm in arm, and we can call this media. Its action takes place through integrated planning with a strong international orien- union wisdom. tation. It is an active member of several cultural networks and is co-promoter of the Let’s take a look at the beginning, today, the future. European Laboratory for Cultural Cooperation (LAB). At the beginning there were the great narratives: the Bible, the Iliad, the Odyssey. They can be called narratives because they were the reconstruction, in the form of a tale, of what people had learned through the course of time; knowledge used to be woven into HOLDENART a story from which whoever listened could learn how to cook, or how to moor a boat, HoldenArt is a one of the branches of Scuola Holden. It is a creative, dynamic and or why people go to war and what betrayal is. interdisciplinary laboratory that promotes the development of the cultural heritage Nowadays, in the various places and mediums by which the transmission of knowledge through new narrative techniques. It organizes training courses for museums guides and occurs, we have many representations (on television, in newspapers), with emotion but the planning of narrative paths. without knowledge and without life; and we have a scientific or an academic knowledge full of truth (schools, museums) but without any ties to life and without a complex meditation on life. And the majority of them don’t occur in a company, in a community of storytellers ENCATC that later form a society. And the need that we feel is the same as Benjamin’s: the exchange of experiences The European Network of Cultural Administartion Training Centers is an independent through narrative. umbrella organisation, and the only European network of training institutions and And there is a task that we would like to take on: to investigate the reasons, the basis of individuales professionally involved in arts management and cultural administration training narrative, its links with the development of society, with the transmission of wisdom and related sectors. The Network gathers leading European experts, lectures and (knowledge and life) in centres of education, in media, anywhere where there is somebody consultants in cultural management and administration, cultural policies and funding. who feels that he/she has an experience, full of life and knowledge, to share. Currently it is formed by 111 members from 33 countries.

By HoldenArt

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