Day 1: SPEAKERS

Thematic Papers Session 2 – Inclusivity

Thematic Papers Session 2 – Inclusivity

Session Time: 3.30pm
Venue: Ngee Ann Auditorium, B1

Museum of National Architecture and Urban Life of Gyumri: Looking at the Museum through the Eyes of the Blind

Mrs Ani Nazaryan
Director, Gyumri Museum of National Architecture and Urban Life

If museums truly want to be more inclusive, they need to understand that not everyone who is classified as “disabled” uses a wheelchair, and their needs do not end at physical entry to the building. For example, some people have trouble hearing, some of them have sensory processing issues. Others have visual impairments, and my topic will focus on this. People with visual impairments deserve to have a unique museum experience just as much as the average person, and the technologies being developed for them to navigate everyday life can also be used in the museum to help with that. The aim of the presented thesis is to observe as comprehensively as possible the museums of National Architecture and Urban life of Gyumri, activities, educational opportunities, the connection with different layers of society, and the development prospects. Even the simplest changes and provisions can make a big difference to the museum experience and education for a person living with visual impairments. Comprehensive audio guides and audio descriptive displays can instantly make works more accessible to those with visual impairments. “Do Not Touch” was once a regular theme within museum walls, but disregarding this mindset can help museums to better cater for those less able to simply view from afar. Many museums around the world provide some accessibility but what happens when a museum looks at the issue in its entirety and sees blind and partially sighted visitors as important as everyone else. Museums are institutions that have the appropriate human, material and cultural resources to create a new, up-to-date offer. Our museum today face a number of challenges. One of them is that the old tools no longer lead to the desired results, and there is no adequate funding and expertise for new tools. The challenges of the time are diverse and museums, as public, cultural and social structures, must meet the requirements of the time. The development of modern technologies has significantly changed the museum sector, contributing to the expansion of functions and possibilities. Today the museum faces a number of problems. the ultimate challenge is to have a modern museum: for everyone.

The Possibilities of Developing Social Prescribing Programmes: The Experience of the National Museum of Taiwan History

Ms Chieh-Chyi Lin
Assistant Curator, National Museum of Taiwan History
Ms Joy Wei-Tung Chiang
Assistant Curator, National Museum of Taiwan History

Social Prescribing has been increasingly recognised by the international community as a means of using non-medical and community resources to improve people’s physical and mental health. This trend has spread to the museum sector, where the concept of DEAI (Diversity, Equity, Accessibility, and Inclusion) has been actively promoted by the international museum community for long-term development. Museums are expressing interest in planning Social Prescribing activities and cooperating with local communities to use their resources to promote visitors’ physical and mental health and well-being.

The National Museum of Taiwan History (NMTH) is responding to this trend by planning activities to serve people with mild to moderate dementia and their caregivers, promoting their physical and mental health and cultural accessibility and engagement. Planning Social Prescribing schemes in museums requires a certain level of human resources, such as facilitators for leading programmes, accompanying participants, and collaborating with local community healthcare centres. Therefore, museum volunteers become the primary candidates for this service. This need has led the NMTH to develop an innovative volunteer training model that transforms the volunteer role from intimate audiences to future “partners” and expands the training content from the complex knowledge of museum exhibitions to strengthening multi-disciplinary training. Gradually building up the diverse professional skills of volunteers is a new model for the future education of museum volunteers. NMTH will provide an innovative training case study to share the new application model for manpower cultivation in museums under the framework of developing the Taiwanese version of Social Prescribing.

Creative Ageing in Museum Practices: A Co-learning Approach

Ms Joy Chih-Ning Hsin
Chief of Education and Extension Division, National Museum of History

Museums as social institutions are embedded in and developed with their societies. In the 21st century with complexity and uncertainty, museums encounter diverse challenges, audiences, and need more reinvented approaches for learning. The key concepts of museum learning nowadays such as adopt more democratic and participatory approach, emphasise collaborative rather than authoritative, and focus on public value for active engagement, being connected and well-being.

The National Museum of History (NMH) located in Taipei, Taiwan was established as an iconic museum in 1955, and has been closed for renovation since 2018. Facing Taiwan phenomenon of becoming an ageing society in 1993, an aged society in 2018, and a super-aged society in 2025, the museum has provided its services for elderly before its closure and been initiating the project “A Story Box of Creative Aging – Impression of Home”, a creative learning resources exclusive to the elderly during its closure to maintain its relevance. The project based-on a perspective of communities of practice (Wenger, 1998) has been taking a co-learning approach with people inside and outside the museum.

Taking “A Story Box of Creative Aging” as a case study, this paper shares the process and the current results of making NMH a hyperconnected museum in a reinvented approach in practice for creative ageing since 2020 till now and for the future. The results of co-learning approach at least indicated two folds: (1) to make the museum become not only a platform but also a hub for creativity and innovation; (2) to transform the learning resources into museum assets for sustainability.

“Matenadaran” Mesrop Mashtots Institute-Museum of Ancient Manuscripts: The Art of Illumination Educational Programme

Ms Sona Baloyan
Senior International Relations Specialist, “Matenadaran” Mesrop Mashtots Institute of Ancient Manuscripts

The Matenadaran is an institute-museum of ancient manuscripts. Initially it was only a depository of manuscripts, archives and a research institute with various scientific departments focusing on medieval studies. The institute had only one hall for exposition.

Later, with the expansion of the building, the museum part became larger and became more accessible to the public at large. Gradually, the Matenadaran started to attract not only researchers, art historians or those who have understanding of medieval manuscripts and the disciplines related to them but people of various interests who admire the art of miniature painting, who want to gain more knowledge of ancient and medieval periods. Currently, the Matenadaran has the largest number of visitors in the Republic of Armenia.

Our aim was to go further and transfer the knowledge kept in the collection of the Matenadaran to children as well. In addition of the fact that it is obligatory for schools to organise visits to the Matenadaran, we decided to design educational programmes aiming at transferring this knowledge in a more profound and interesting way. As a result, an educational programme, entitled The Art of Illumination, has been successfully conducted at the Matenadaran since 2016 up to the present.

Throughout the past years, theoretical and practical classes were conducted for young participants (there were groups for 7-10 years old and 11-15 years old kids). They were taught about illustrated manuscripts, their composition, thematic directions, and during the painting classes they were taught the peculiarities of miniature painting and the Armenian miniature painting in particular which occupies a special place in the Armenian art. Within the framework of this educational programme, the scholars of the Matenadaran also deliver lectures adapting the topics for the particular age groups, moreover, in particular days the participants visit different departments of the institute and get acquainted with the works carried out there.

Throughout the years, different classes were organised with different directions; there were groups for digital painting, groups focusing on graphic design. The aim of the two latter was to show the participants that the miniature painting can be used in other spheres. For instance, the group of digital painting, in addition of learning the basic rules of miniature painting and computer programmes, started to use it in digital formats and as their final work they designed a book and published it. The kids of the graphic design group learnt graphic design programmes and could use their imagination and knowledge of miniature painting by using new technologies and designing different objects. We also tried to experiment with Artificial Intelligence programmes and the results were quite interesting. All these works were exhibited at the completion of each class. Up to now around 10 exhibitions were organised within the framework if this educational programme.

In my paper, I will talk in detail about this educational programme and how it impacted the young generation and helped to share the knowledge kept in the museum in interactive and useful ways, how it is possible to grab interest towards art and ways of using it in everyday life.

Museums: Shaping the Future of Education

Ms Vivian Kathambi Kinoti
Education Officer, National Museums of Kenya
Presented by Mr Samson Malaki

During the 26th ICOM General Conference held in Prague, the ICOM Extraordinary General Assembly approved a new museum definition – “A museum is a not-for-profit, permanent institution in the service of society that researches, collects, conserves, interprets and exhibits tangible and intangible heritage. Open to the public, accessible and inclusive, museums foster diversity and sustainability. They operate and communicate ethically, professionally and with the participation of communities, offering varied experiences for education, enjoyment, reflection and knowledge sharing.”.

According to this definition, museums play active role in shaping knowledge through enabling people to explore collections for inspiration, learning, and enjoyment. They safeguard a wide range of unique collections that are huge part of the communities’ heritage and make them accessible to the public through museum exhibitions. These collections are invaluable because they tell stories that help people to identify with and appreciate their heritage.

In Kenya, museums are one of the most sort-after educational resource especially in the education sector. The Kenyan education system known as the Competence-Based Curriculum (CBC) incorporated heritage studies as part of the school syllabus. The syllabus also makes it mandatory for learners to visit museums, sites and monuments as an extension of their classwork. The curriculum identifies the museum as an educational centre that can shape the future of education through the hands-on and interactivity aspect of museum’s education programmes which is highly observed in the competence-based learning.

The museum education department is mandated to develop education programmes and interactives. These programmes which are both curriculum-based and non-curriculum-based are designed to communicate to audiences of all ages. Interesting and interactive modes of information transmission are used in interpreting exhibitions which enhance and deepen visitors’ interactions and create more understanding and connection with the objects.

Museums as research institutions also place them as a major contributor in shaping the future of education. In Kenya for example, numerous discoveries have been made especially on the area of palaeontology and archaeology. The numerous unique heritage collections and exceptional stories make Kenya to stand out as the ultimate education hub. For instance, the discovery of Turkana boy, Homo erectus, who is the only almost complete hominid fossil to ever be found, sets Kenya on the world map. Turkana Boy together with more than 350,000 fossils, about 700 of which belong to ancient humans are preserved at the National Museums of Kenya. These spectacular discoveries earned Kenya the title Cradle of Mankind.

The education department works with researchers from various research departments. The education officers, then translate research findings into interactive teaching and public programmes at appropriate levels of learning. Many primary, secondary schools and colleges as well as any other interested member of public continue to benefit from these research findings and education programmes. These programmes therefore create a link between learners and industry experts which promotes access to trusted sources of knowledge and not relying too much on the internet

Museum education provides examples of how schools can widen their approach beyond focusing on academic work which promotes competency-based learning. It encourages learners to participate in activities that encourage them to use and develop social and interpersonal skills and be inspired to make connections to programmes that serve the community.

The future of education is to create a safe space for learners to discuss pertinent and sensitive issues and participate in educational activities related to these issues. Museums provide these spaces.

Museum education programmes promotes experiential learning which on top of equipping the learners with various knowledge and skills, they also promote creativity, critical thinking and problem-solving skills. For instance, many of the education programmes offered at the National Museums of Kenya use the learner-centred approach where they are exposed in immersive situations that requires them to interpret museum exhibitions.

It is through museum education and interaction with various museum fields that learners are exposed to various career choices at an early age. By participating in education programmes, they get exposed to real-life experiences of museum activities and careers.

In order to reach to a wider audience, the National Museums of Kenya has adopted new technologies of digitising all museum objects, a programme that is still at its formative stage. However, more methods have been adopted to ensure that the education programmes reach more people including, conducting zoom lessons especially with the learners who are not able to reach the museum, outreach programmes to schools that are in areas that find it a challenge to visit the museum and teachers’ workshops that demonstrate the various ways of engaging learners interactively, among others.

Inclusive Education in Museum for Individuals with Special Needs: A Case Study of Indian Museums

Dr Shashi Bala
Curator, National Gallery of Modern Art, Ministry of Culture, Government of India

This paper emphasises education in museums for individuals with special needs such as those with leaning difficulties or hearing disabilities etc. Education is a crucial tool for personal and professional success, but it is not always accessible to all learners due to their unique needs and abilities. This paper focuses on how museums and cultural institutions in India have adapted their educational programmes to cater to diverse learners.

The paper presents a case study of Indian museums and cultural institutions, highlighting the challenges that learners with special needs face when accessing educational opportunities. The study demonstrates how these institutions have designed learner-centered programmes and interventions that accommodate diverse learning styles, abilities, and needs. These programmes aim to enhance learners’ social, emotional, and creative development, providing a rich and stimulating learning environment for all learners.

The paper concludes by emphasising the importance of inclusive educational models, practices, and programmes that recognise and respect learners’ differences, providing them with equitable opportunities to succeed in their educational pursuits. The case study of Indian museums and cultural institutions serves as a valuable example of how museums can provide inclusive education for individuals with special needs.