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DAY 2: SPEAKERS

Market of Ideas Presentation Session 2 – Inclusivity and Partnerships

Market of Ideas Presentation Session 2 – Inclusivity and Partnerships

Session Time: 4.00pm
Venue: Ngee Ann Auditorium, B1 | River Room, Level 2

Museum as a Dialogue Platform: Integrating Social Issues into Guided Tours

Ms Wenhsing Hsieh
Educator, National Museum of Natural Science, Taiwan
Ms Ssu-Ting Lin
Educator, National Museum of Natural Science, Taiwan
Dr Tak-Cheung Lau
Curator of Science Education (Retired), National Museum of Natural Science, Taiwan

Museums play a crucial role in addressing social issues, such as climate change, healthcare, and gender equality. Through exhibitions and educational programmes, museums could raise public awareness and promote dialogue on important social issues. This article shares the experience of implementing themed guided tours that discuss social issues at the National Museum of
National Science (NMNS).

Unlike traditional guided tours which are designed based on exhibition context, themed guided tours break the original context and focus on selected collections related to specific issues. For instance, our LGBTQI-themed tour “Sexual Diversity in Nature” discusses the concept of gender and sexual diversity in human society by introducing various animal sexual behaviors and sex-change strategies. From the homosexual parenting behaviour of penguins in the Evolution Gallery to the sex-role change of coral reef fish in the Global Ecosystem Gallery to the same-sex marriage of humans illustrated by queer arts in the special exhibition, Journey into Contemporary Marriage, the tour connects scattered objects in various galleries, guiding visitors to explore relevant exhibits with new perspectives.

To the NMNS, these guided tours have not only encouraged visitors to engage in social issue dialogues but also created new interactions with the audience: attracting new visitors who are interested in the topics and bringing new experiences to the regular visitors. In the presentation, we aim to share the design concept, development process, execution, and lessons learned from our experience.

Making the Museum the Ideal Venue for Learning and Well-Being: The Vision of the National Museum of Taiwan History

Ms Chia-Yi Lin
Research Assistant, National Museum of Taiwan History
Lung-Chin Chang
Director, National Museum of Taiwan History

The National Museum of Taiwan History (NMTH) aims to become an intellectual treasure house of collective history and knowledge. Since the opening of the museum in 2011, we have noticed how underprivileged students face difficulties in visiting the museum. Therefore, we started expanding community engagement and, established the privately-funded “Inclusion Access Financial Support Project” to give financially or otherwise disadvantaged students the opportunity to visit the museum.

Since the project launched in 2013, we have designed various learning programmes for students. During the tour, students not only learn about history but also develop their sense of camaraderie, as we aim to facilitate intergenerational dialogue with props and objects, provide diverse historical perspectives, and transform the museum into a fun and lively environment. Through games, conversations, and quizzes, we hope students can reflect on and experience Taiwan’s rich history, and provide them with an opportunity to leave their comfort zone and engage with a wider society. We also aim to make the NMTH a more diverse venue, where provide students a showcase for their talents in flash mob performances, which can help boost their confidence. After the museum tours, students reported that they gained a better understanding of their family’s story, developed a stronger sense of personal identity, and changed their views on museums and history learning. They were also glad to have the opportunity to perform and be seen on stage.

This study shares how the NMTH’ project through community engagement creates a culturally diverse, equitable, accessible, and inclusive learning environment.

Methods for Communicating “How Our Museum and Exhibition Were Created”: A Case Study of “Chapter 3” of the Exhibition “uaynukor kotan a=kar – Ainu Language and History of the National Ainu Museum and Park”

Mr Kazuyoshi Sasaki
Senior Fellow, National Ainu Museum
Mr Hideto Okuyama
Senior Fellow, National Ainu Museum
Ms Rie Nagaishi
Educator, National Ainu Museum

The Seasonal Exhibition “uaynukor kotan a=kar – Ainu language and history of the National Ainu Museum and Park”, held at the National Ainu Museum from December 2022 to February 2023, covered the following topics: The museum, which opened in July 2020 – presenting the history of the National Ainu Museum and Park and the history of the site (Chapter 1), the Ainu language at Upopoy as the facility’s first language (Chapter 2) and the activities carried out in the museum preparatory office (Chapter 3). This paper will focus on the exhibition methods developed in the exhibition in Chapter 3, “The Efforts of the Museum Preparatory Office”, which conveyed to audiences ‘how the new national museum and its permanent exhibition focusing on indigenous culture were created’.

In addition to the actual exhibits, such as the process of studying the exhibition graphics, models of the exhibition rooms and mock-ups of the exhibits, a method was used to prepare a ‘take-home message’ for the audience of what the staff involved in the establishment of the museum had in mind and with what ideas they were preparing for the opening of the museum.

This paper also describes the information design of the exhibition captions, the linkage to the realized permanent exhibition through educational programs such as worksheets and gallery tours, and the visualization of the examination process during the preparation phase.

Gender Issues in the Permanent Exhibitions of National Museum of Singapore and National Museum of Taiwan History

Ms Weiying Liu
Assistant Researcher, National Museum of Taiwan History
Ms Yu-Ting Chen
Assistant Researcher, National Museum of Taiwan History

In recent years, Taiwan and Singapore have emerged as two of the most gender-equal countries in East Asia, with clear cultural policies that align with their respective governments’ stances on gender issues. As museums are a part of the state system that uses history and culture to represent gender, I am interested in exploring the role and function of gender issues in national museums.

The National Museum of Singapore completed a major update to its permanent exhibition in 2015, which included significant changes to the Singapore History Gallery and Living Galleries based on audience feedback and contemporary exhibition methods. The History Gallery underwent a complete overhaul, abandoning its previous complicated layout that juxtaposed grand and minor narratives. Instead, modern technology is utilised to tell the “Story of Singapore” from a fresh perspective. On the other hand, the Living Gallery replaced its four theme-based exhibition rooms with a more chronological approach to history. The new “Modern Colony” section continues from the previous “Fashion” section, which focused on clothing, but now includes men’s clothing alongside women’s clothing to provide a more comprehensive view of popular clothing styles in the early 20th century.

The National Museum of Taiwan History, which opened in 2011, also renovated its permanent exhibition “Our Land Our People: The Story of Taiwan” in 2022. The new exhibition is divided into seven main sections based on different historical periods, including (1) Taiwan, An Island on the Crossroads, (2) Initial Arrivals, (3) An Island and People Relying on the Oceans for Livelihood, (4) Coexistence and Competition amid Mountains and Oceans, (5) Depression and Dreams under the New Order, (6) Striding Towards Democracy, and (7) Museum for Everyone. From prehistoric times to the present day, each section highlights women’s roles in relation to historical issues. The museum not only incorporates women’s issues into the exhibition but also collects oral histories from women, which are shared publicly online. Recently, these oral histories have been adapted into theatre performances by the museum as well.

This study aims to explore the representation of women in the permanent exhibitions of the National Museum of Singapore and the National Museum of Taiwan History. By examining the ways and strategies used to represent women in these exhibitions, this study seeks to understand the historical and social context in which women are situated within the narrative of the exhibitions. This study also aims to compare the ways in which women are represented in the two exhibitions and the positive implications that can be derived from them.

Using the Easy-to-Read of Manual to Practice Citizen Participation Mechanisms for People with Disabilities: A Case Study of the National Palace Museum

Mr Zhou, Yu-Hong
Graduate Student, Graduate Institute of Museum Studies, Taipei National University of the Arts
Mr Su, Tzu-Lun
Graduate Student, Graduate Institute of Museum Studies, Taipei National University of the Arts

In recent years, with the emergence of cultural equality in Taiwan, museums have begun to pay attention to the cultural participation of disadvantaged groups, lower the threshold and visit restrictions, and care about whether diverse audience groups can get closer to culture, which is regarded as one of the service objects. In 2018, the National Palace Museum cooperated with the Taipei City Yangming Home for the Disabled to launch an easy-to-read guidebook, starting from the permanent exhibition, and empowering people with disabilities to easily obtain information. This study will take this case as the research subjects, through literature review, focus groups, to further understand how the easy-to-read handbook implements the CRPD for people with disabilities.

The study found that the easy-to-read manual is one of the methods for museums to adopt social inclusion. It reinterprets objects so that audiences can easily understand the museum and are willing to visit museum. Based on the audience’s experience, it gives objects new contemporary value and meaning.

In addition, the production process of the easy-to-read of manual is very complicated, and the museum needs continuous consultation and communication with external cooperative communities. Modify to meet their needs, implement citizen participation.

The content of the easy-to-read manual pays attention to the functionality of objects and the relevance of life, which can easily arouse the resonance of the audience’s life experience, so as to open a friendly dialogue with audiences with disabilities. On the whole, the manual takes care of the diversity of audiences, takes into account the needs of diverse audiences, emphasises citizen participation, and promotes museums to think about more inclusive interpretation and communication.

From “Image Interpretation” to “Stereoscopic Reproduction”: The Research on the Inclusive Technology Interpreted Application and Education of Black and White Photographic Images in the Museum Collection for the Visually Impaired

Ms Hsin-Yi Chao
Assistant Professor, National Chung Hsing University

Taiwan Ministry of Culture has been promoting the “A plan of Rescuing National Photographic Assets and Establishing a Center of Photography and Images” since 2015. By 2021, The National Center of Photography and Images (NCPI) was officially inaugurated, which indicates that Taiwan government pays more attention to photographic collections. However, for visually impaired audiences, the photography collections cannot put cultural accessibility into practice. Comparing to other media, photography is difficult to be the targets of multi-sensory interpretation because the real image from physical environment often has diverse viewpoints. This study aims to develop how to transfer two-dimensional image into the realistic three-dimensional reproduction with specific angle of view and explore the deeper thinking and skills of photographers by using inclusive technology methods such as reverse engineering scanning, 3D printing, and colour restoration. The research objects are three photographic works collected in the National Taiwan Museum of Fine Arts as the research objects, Lang Ching-Shan’s “Deers in Forest”, Chen Shih-An’s “Ball Throw Competition”, and Shen Chao-Liang’s “Reflections of Nan-fang-ao 2”. The results presented that there are obvious differences in the theme characteristics, spatial structure, and object attributes of the three works. The curator based on the principles of the photographer’s point of view, image projection point of view, and imaging method to carry out as the selection criteria and formed three three-dimensional reproduction interpreting design methods of realistic photographic images, 2D relief interaction, 3D full-stereo simplification, 3D perspective ratio restoration. Some visually impaired audiences were interviewed and responded that the three-dimensional reproduction of the two-dimensional image with audio descriptions (AD) is more effective than only the AD guide information, or the raised-line tactile pictures with AD. In sum, the methods of imagery in multisensory interpretation can be the design principles for museums or art galleries to promote inclusive education and application.

The Innovation Lab at the Montreal Museum of Fine Arts: A Strategy to Promote Knowledge Transfer from Research to Practice

Ms Laura Delfino
Manager of Educational Programs (Research, Innovation and Digital Mediation), Montreal Museum of Fine Arts

Over the past 20 years, the Montreal Museum of Fine Arts (MMFA) has developed a rich programme of activities for audiences with special needs. These activities promoting accessibility and inclusion have been a source of inspiration for many museums around the world (cf. ICOM & OECD, 2019).

During this period, the MBAM collaborated with researchers from various backgrounds (museology, art therapy, education, digital, medicine, etc.) who produced a significant number of publications and scientific papers. In spite of this period of intense research, it is regrettable that the educational activities have benefitted very little from the knowledge generated by the research, since few formal exchanges have been orchestrated between the research teams and the museum teams. Faced with this observation, the MBAM has included in its strategic plan the objective of increasing the proportion of activities integrating research results by 15% each year and has created a new laboratory dedicated to research, development and innovation (RDI).

For the past three years, the lab team has been exploring innovation strategies that involve cross-sector collaborations, human-centred design principles and action research. It monitors and calls for projects in order to create new and fruitful collaborations between the museum, community actors and universities. Researchers must demonstrate that their projects deal with questions relevant for the field and that the results are likely to improve the services offered to the public.

Knowledge transfer is fostered through facilitation activities led by the lab team, in which researchers and field professionals work together to address challenges inspired by design thinking approaches.

In this presentation, we will illustrate with concrete examples this new museum-university-community dynamic, which offers researchers the opportunity to formulate research questions deeply rooted in practice and to generate knowledge that is mobilised for the benefit of audiences.

Insights on the Educational Role of Assam State Museum Through the Prism of Innovation and Creativity

Mr Mrinmoy Das
District Museum Officer, Directorate of Museums, Government of Assam

The Assam State Museum under the Government of Assam is one of the premier institutions of non-formal education and edutainment envisioned by the late founders in the 20th century, who advocated and organised, raised funds and donated artefacts so that the story of the history of the land of Assam, its traditional and cultural values get enshrined here.

The Museum opened on April 21, 1940, and was established to enrich and invigorate our diverse and significant cultural life which shaped the history and the contours of this region. Today, the Assam State Museum has a rich repository of 14,000 cultural artefacts of different types. It has been envisaging its mission by striving and rendering vigorous and committed service to the public in a vibrant way over the year. To strengthen the creative effort and sharing of ideas and best practices, the museums perform manifold activities regularly by organising several exhibitions, workshops, academic sessions, etc. The Museum has been catering to the needs of all categories of esteemed visitors irrespective of age, gender and socio-economic and educational background. Over the years, the Assam State Museum has laid extraordinary efforts in delivering its educational role by organising different programmes, workshops, creative activities and special exhibitions for people from all walks of life. The Museum space provides an opportunity for the enrichment of our region through our tribal communities as well.

The Assam State Museum can be termed as a cultural gateway of Northeast India which collects, preserves, protects and disseminates knowledge about the material cultural heritage of this diverse and incredible land of India.

The artefacts on display at the Assam State Museum are creating historical contexts and trajectories with its detailed associated documentation incorporating multiple perspectives.

Through the invaluable record of Assam’s cultural and natural history, the Museum offers a platform for visitors to connect to the past and the present, and to imagine the future, an experience that exceeds one’s expectations.

Bridging Knowledge and Creativity: The Transformative Role of Artists in Museum-School Partnerships 

Mrs Tzu-Chi Chan
Arts in Education Manager, Hide and Seek Audiovisual Art Variety Inc.

To provide educational opportunities for students of all grade levels and abilities, museums and schools can benefit from forming a partnership. But what if the topic we want to teach students still lacks adequate educational resources? Due to the complex political situation in Taiwan, we did not have a National Museum of Taiwan History until 2011. The island’s many more stories and history are still waiting to be discovered and told.

This article presents two museum-school partnerships involving The Chiayi Art Museum (Chiayi, Taiwan) and The National Human Rights Museum (Taipei, Taiwan). Both museums have invited artists as co-creators in their museum-school educational programmes, developing lesson plans and museum learning kits to deliver Taiwan’s arts and stories that still need to be better known.

Engaging Stakeholders for Children’s Museum Singapore as a Dynamic Classroom

Ms Chan Sock Mun
Head (Audience Engagement), Children’s Museum Singapore

Children’s Museum Singapore (CMSG) is the first and only children’s museum in Singapore which opened in December 2022. Its vision is to be “A place of wonder and joyful learning for all children to engage with Singapore and the world”. A key focus area therefore is for the museum to engage with stakeholders, especially the pre-school sector, to extend children’s learning from the classroom into the museum, and from the museum into the classroom. This is only possible if we adopted the approach of a museum as a dynamic classroom, which draws on the experience and expertise of researchers, teachers who work with children, as well as listening to and honouring the voices of children as they participate in the museum’s specially curated school programmes. The process is an iterative one, entailing prototyping, refining and field testing before rolling out to a wider audience. Preliminary feedback has indicated the success of the programmes, but this is still work in progress. This presentation documents the journey thus far and invites participants to share in a post-presentation conversation to interrogate the processes adopted and make suggestions on the way forward.

An Ecosystem of Partnerships synergizing Museum Student Guide Training Programme

Ms Ng Kia Hui
Senior Manager (Education & Outreach), Sun Yat Sen Nanyang Memorial Hall, National Heritage Board

To prepare students to face the challenges and seize new opportunities presented in the 21st century, Singapore schools have been actively engaging with relevant industries partners to seek opportunities for students to immerse in an authentic learning environment beyond classrooms.

Guided by our educational strategy of EMPOWERMENT for teenage students (secondary school and tertiary levels), SYSNMH worked with several schools to co-create the Student Guide Training Programme.  The programme aimed to enhance students’ bilingual competencies and their confidence in public speaking while empowering them to take initiative to gain a deeper appreciation of their own cultures and heritage in an engaging museum setting.

Under the guidance of SYSNMH’s museum docents, students first learned about the museum’s gallery content coupled with training on guiding concepts and skills.  Their newly acquired skills and knowledge would then be put to practice through peer guiding, to familiarise them with actual experience of guiding before they progress to guide for the public on special museum occasions.

Since its inception, this unique programme had reached out to more than 1,500 students and has become very well sought after by educators, primarily due to the fact that there weren’t many similar programmes that offer this specific area of learning experience for the students.  This presentation aims to share with participants the development of the programme and learnings during the different stages of its implementation, with a special discussion about the challenges faced during the COVID-19 years.