Day 3: SPEAKERS

Research 1B – Partnerships and Inclusivity

Research 1B – Partnerships and Inclusivity

Session Time: 9.30am
Venue: River Room, Level 2

Museums and Education: Views of Key Stakeholders on Partnership (Moscow Experience)

Dr Ivan Grinko
Leading Researcher, Moscow City University

The basis for diversity in education is full-fledged communication, but this is often a problem zone. It leads to a decrease of the effectiveness of educational projects and conflicts between the stakeholders and participants of the educational process.

In this work we analyse the views of different stakeholders on the role of museums in contemporary education ecosystem. In the modern world, the role of the museum is constantly being transformed and rethought (Dalle Nogare, Murzyn-Kupisz, 2021; Castillo et all, 2021). Nowadays the key trend in European countries is building interaction between the spheres of culture and education, especially Universities, to create a common space for the generation of meanings (Poce et al., 2022; Ippoliti, Casale, 2021). This question is so actual that The Network of European museum organisations created special group The Learning Museum (LEM) to develop partnership between museums and education (NEMO, 2022). Simultaneously museums create its own projects from adaptation of permanent exposition to national educational standards (Stone, 2017) to special boxes with museum materials for history teachers (Dragonetti, 2022).

Most often, the interaction between museums and schools is built within the framework of the so-called “museum pedagogy” the direction of scientific and practical interdisciplinary activity of museums, aimed at the transfer of cultural experience and knowledge through the pedagogical means of the museum exhibition (Ng-He, 2015). Currently, museum pedagogy is based on a number of principles involving the placement of the learner in the focus of the process. Particular attention is paid to the ideas of lifelong learning, active communication with the visitor of any age, and the formation of the museum environment as “their” space (Peltzer, 2020).

Museum pedagogy is setting the trend for the museum-school contact, in which both museums trying to more fully implement their own cultural and educational mission and teachers wishing to use the museum for a variety of classes. According to E. Hooper-Greenhill 48% of the surveyed American educators see the value of a museum not only in transferring knowledge, but also in increasing motivation and 87% talk about the possibility of developing communicative skills of students (Hooper-Greenhill, 2007).

This is largely due to the fact that modern educational standards, such as the learner-centred and applied nature of knowledge, are easier to implement in cooperation with museums. Naturally, the success of cooperative educational programmes mainly depends on the quality of communication between the parties. Although there have been several recent works describing experiences of interaction between schools and museums (Pavlenko, Vilkhova, Topchii, 2019; Cabała, Grzelak, 2020; Gómez-Hurtado, Cuenca-López, Borghi, 2020), but no comparative studies on the positions of key stakeholders have been published yet.

The goal of the study was to compare the perceptions of teachers, museum workers and school students’ parents about the educational potential of museum spaces in the city in order to identify opportunities to improve the effectiveness of cooperation between schools and museums.

Who Can Perform Collections’ Stories? The Co-Creation Practice Between University Students and a Literary Museum

Ms Chiao-Mei Lin
Research Assistant, National Museum of Taiwan Literature

Contemporary museums aim to provide various perspectives for collections through the framework for research, collecting, display and public service to respond to the need for inclusion and diversity in society. Following this trend, the National Museum of Taiwan Literature has attempted to use different approaches to develop more opportunities for communication, such as digitalisation, thematic database systems and game software. However, the public’s unfamiliarity with literature and the lack of motivation to visit a literary museum made it more challenging. To promote rich literature-based collections and make more connections between the public and collections, the Museum and a local university collaborated on a project combined with performing arts and museum collections in order to shape a new relationship among students, literary materials and museum space.

This study investigates the methods and challenges in empowering museum visitors to weave the storylines of collections by applying performing arts. Firstly, it focuses on the formation of the collaboration project, such as integrating the lectures on performing arts, workshops on collection use and performances as the final presentation. Secondly, it looks into the transformation of the students. From passive receivers of knowledge to active interpreters of collections, how the new storytellers identified themselves through the presentation and the differences between how local and international students responded to the presentation. Lastly, the process that the social impact and shared values emerge from this project will be addressed. This project demonstrates that a contemporary literary museum not only diversifies its collection interpretation through visitor empowerment but also enhances the communication between the public and artefacts. In addition, the creative uses of collections could deepen people’s understanding of literature and cultural identity.

Engagement in Museums Dealing with Difficult Pasts: A Focus on Conflictorium, Partition Museum and ESMA Museo Sitio de Memoria

Ms Aakanksha Tated
Consultant, Cipla Archives

In 2022, we celebrated – Azaadi ka Amrit Mahotsav (75 years of Independence and creation of India and Pakistan), remembering, honouring the struggle, the social movement, the people and most importantly the building of an independent nation. For years however, celebrations around the Independence movement seemed to silence, forget or ignore the narratives of the ‘Great Divide’ or the Partition which became the turning point for this nation-building. Years, later the need arose, to acknowledge the cultural memory of those times – to memorialise them and learn from them. A similar need for memorialisation was felt across oceans in Argentina as well, albeit for a different context. While the atrocities and the difficulties of the past were different, the need to address the violence, the pain and the sufferings was similar. In a society focused on forgetting the past, social movements have become symbolic reminders for remembrance and reconciliation. It is with this fervour to address, interpret and engage with difficult pasts- that memory institutions are built around the world.

This research attempts to understand what are the roles these museums concerned with difficult pasts take up in society? Through a conceptual overview of memory, heritage (difficult), and identity– it attempts to understand their representation in museums and memory institutions. With a focus on cultural memory related to difficult heritage it studies the interpretation that takes place through displays, collections and outreach programmes in museums. To limit the scope of study yet indulging in substantial inquiry- the research undertakes a comparative study of three different memory institutions. These museums are ESMA Museum and Site of Memory, Buenos Aires, Argentina; Partition Museum, Amritsar, India and Conflictorium, Ahmedabad, India.

This research through the cases throws light on and critically approaches the museum’s modes of portrayal of difficult heritage. It draws insights from the museums curation and programming to understand how it focuses on remembrance and reconciliation and as a result serves as a pedagogical tool to foster dialogue. With different museums, different approaches of representation are studied and similarities in these case studies are enumerated. The underlying messages of these remain – remember our history, remember the stories of the past and learn from it, lest history gets repeated.”

The Role of Ethnographic Museum as Educational Mediator in Decolonisation- Musée du Quai Branly as a Case Study

Ms Pin-Hua, Chou 
PhD student, UCLA History Department

The Musée du Quai Branly (MQB) is a significant ethnographic art museum in France that faces challenges in adapting to rapidly changing social and cultural environments.

To address themes related to decolonisation, MQB not only hosts exhibitions and colloquiums, but also seeks to educate the public of all ages about its colonial history and the importance of its non-European collections. This paper explores MQB’s exhibitions, collections, and practices with the aim of making visitors aware of the historical and aesthetic value of the objects on display. Initially, MQB was criticised for presenting its collections solely in terms of their aesthetic value, neglecting their historical context and colonial past. However, under the leadership of the new director, Emmanuel Kasarhérou, who is half French and half
Kanak, the museum aims to present both the historical and aesthetic value of its
collections.

But how does MQB put this intention into practice? What strategies or methods does it adopt to enhance public understanding of colonial history through its exhibitions and collections? Decolonising an ethnographic art museum in Europe requires examining the acquisition and journey of its collections, and finding ways to interpret and represent provocative themes. The discussion in this paper begins with the premise that MQB’s initiative offers a new vision for understanding how a ethnographic art museum can connect art (or artefact) with colonial history and stimulate decolonisation awareness in France.

This paper employs case study, exhibition analysis and document analysis. Last but not least, the paper intends to contribute toward the narrative of MQB’s exhibition “Photographs – An Early Album of the World (1842-1911).” It seeks to decode both the successes and failures of MQB’s decolonisation efforts, as well as the potential for 
raising visitors’ historical consciousness through a variety of public programmes.