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Dear Colleagues,

We are very happy to be in Mexico City, a very special megalopolis, full of social and cultural bustling diversity.

“Museums of Cities and Contested Urban Histories” is CAMOC’s second conference in Latin America following the ICOM 2013 General Conference in Rio de Janeiro, and the first one in Spanish-speaking Latin-America countries.

The conference goal is to promote debate on contested urban histories, past and present, post-colonial identities and re-interpretations of urban history. We view city museums as places of human respect and inclusion, and of peaceful coexistence of all people – including migrants that are present in every city population in the world.

With this conceptual framework in mind, we have organized a two-day conference with sessions about: Museums, Migration and Arrival Cities; Urban Memory, Amnesia and City Museums; Disputed Present: Cities and cultures in conflict; and Saying the Unspeakable in Museums. There will be two extra panels, one on the ICOM Standing Committee for the museum definition, and another about the International Coalition of Sites of Conscience.

Just before the conference, CAMOC will provide the second workshop of the three years ICOM Special Project “Migration:Cities - (im)migration and arrival cities”. The project is led by CAMOC along with ICR (ICOM International Committee for Regional Museums) and CAM (Commonwealth Association of Museums, an ICOM affiliated organisation).

We count on the impressive participation of almost 50 speakers from more than 20 countries and various regions of the world. The keynote speakers, Doug Saunders and Francisco Javier Guerrero, will certainly shed an updated light on the conference most relevant themes.

We are very grateful to our partners: ICOM Mexico, and in particular Yani Herreman, the local organizer; the Museo Nacional de las Culturas del Mundo (National Museum of World Cultures), our venue for the two events; ICOM Disaster Risk Management Committee; ICOM Museum Definition Committee and the International Coalition of Sites of Conscience. We thank also to all speakers and delegates who will certainly make this conference a very good moment for CAMOC and for city museums in the world.

I hope you enjoy your days in Mexico City, in the workshop, the conference, the receptions and tours!

JOANA SOUSA MONTEIRO CAMOC Chair 2016-2019

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Dear Colleagues,

I would like to give you the most cordial at ICOM´s International Committee for the collections and activities of museums of the cities Annual Conference, CAMOC.

It’s for me, a great honor to revive you in this beautiful and emblematic museum because it’s located in one of the most important places. It’s a historical heritage building of Mexico city. The “Antigua Casa de Moneda” from century XVIII where it was established the first museum in Mexico in 1865

I really appreciate the great hospitality of the Anthropologists Gloria Artis who is the director of National Museum of Cultures, and the National Institute of Anthropology and History whose make possible this event.

I recognize to Joanna Sousa and the Directors members CAMOC, for invitations to execute the conference in this city specifically to Yani Herreman, who is Local Organizer, for her invaluable dedication for we are together today.

This conference it’s the second one in America Latina behind of the ICOM 2013 Annual Conference in Rio de Janeiro, Brazil. In this event will encourage discussions and we talk about: the contested urban histories, the post-colonial identities and the re-interpretation of urban history.

In fact, one our principal task as ICOM is to motivate the international reflection about museums, the difficulties of them and how to confront the differents challenges in an active society. We celebrate to create a dialogue space about the dares in the museumsbeside the social responsibilities whit the philosophy that museums are places to promote the human respect, the inclusion and peaceful coexistence the all people.

On the other hand, the mediation and diverse point of view that take place on museum according to ICOM international, the propose tools from social appropriation and to adept the past and finally, to dialogue in favor to reconciled memories*.

I hope that CAMOC’s Annual Conference will be very helpful and through the points of deliberation will answer to promote the Culture and knowledge.

Welcome and congratulations!

Maya Dávalos Murillo,Presidenta, ICOM México

Chair, ICOM Mexico �����!&��"���)ܬ��+��

* http://icom.museum/

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Dear ICOM Friends and Museum colleagues: CAMOC is ICOM´s International Committee for the collections and activities of museums of the cities. It is one of the youngest in our international organization. It is also, by far, one of the most active and dynamic in the International Council of Museums.

Since its creation in Moscow, little over ten years ago, CAMOC has approached and pioneered contemporary Museum issues related with the city and its inhabitants, reinforcing, therefore, the Museum´s social character.

It is with great pleasure and satisfaction that I welcome CAMOC to Mexico in this, its first Conference to be held in North America.

I hope that Mexico´s rich historical and museological background may act as an active discussion stage to deal with a specially painful problem for us and the world at large: Migration and emigration “Museums of Cities and Contested Urban Histories”.

The cities of arrival phenomenon and their role in the acceptance and asimilation of new inhabitants is, but for a few exceptions, a responsability yet to be assumed by museums, specially the City Museums. The problem´s impact, today, has become overwhelming. The quetion is ¿How does the Museum face it?

We hope that in the following two days of intense work, the final conclusions drawn from participants from all over the world, may lead towards a more effective Museum of the City and more efficient Museum of the City as a social instrument in the service of society.

I will take the opportunity to thank CAMOC´s Board for accepting Mexico´s invitation to hold this historic meeting in Mexico City. I also wish to thank Mexico´s National Committee´s Board, the Museo Nacional de las Culturas, Dr. Gloria Artis and her personnel for their support and most specially I would like to thank María Inés Medinaveitia and Patricia de la Fuente.

A todos ustedes, gracias y bienvenidos a México.

Thank- you all for being here and Welcome to Mexico, Bienvenidos.

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Conference Partners and Contributors: ICOM CAMOC | ICOM Mexico | ICOM Disaster Risk Management Committee | Naitonal Museum of Cultures (Museo Nacional de las Culturas del Mundo) | ENCRyM - National School of Conservation, Restoration and Museography, National Institute of Anthropology and History (ENCRyM, Escuela Nacional de Conservación, Restauración y Museografía, Instituto Nacional de Antropologìa e Historia) | ICOM Museum Definition, Prospects and Potentials Committee | International Coalition of Sites of Conscience

CAMOC, ICOM’s International Committee for the Collections and Activities of Museums of Cities, is a forum for people who work in or are interested in museums about the past, present and future of cities, including museum professionals, museologists, urban planners, historians, urban anthropologists, archaeologist, sociologists, researchers, and students.

“Museums of Cities and Contested Urban Histories” is CAMOC’s second conference in Latin America following the ICOM 2013 General Conference in Rio de Janeiro. It promotes debate and tackles issues like contested histories, past and present, post-colonial identities and re-interpretations of urban history, city museums as places of human respect and inclusion and of peaceful coexistence of all people – including migrants that are present in absolutely every city population in the world.

CONFERENCE ORGANISING COMMITTEE

Afşin Altaylı, CAMOC SecretaryLayla Betti, CAMOC TreasurerJenny (Chun-ni) Chiu, CAMOC Board MemberCatherine C. Cole, CAMOC Vice ChairPatricia de la Fuente, ICOM Local OrganiserYani Herreman, CAMOC Member, Local OrganiserRenée Kistemaker, CAMOC Board MemberJoana Sousa Monteiro, CAMOC ChairMaya Dávalos Murillo, ICOM Mexico ChairMaria Inés Madinaveitia Ramírez, ICOM Mexico CoordinatorJelena Savic, CAMOC Board Member

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14

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ABSTRACT

International migration is central to our civic life, yet its very transience leaves us with blind spots in our understanding of ourselves and our history. Significant parts of our surroundings consist of places, often little-noticed, that have been created by emigrant populations who have departed, immigrant populations who are in the process of creating communities of arrival, or members of migration networks who have settled but are not officially recognised as residents. The urban spaces created by these ‘missing’ populations are crucial to our understanding of ourselves.

This talk will look at three populations. The 200 million Chinese who have migrated to cities but do not officially exist because they can legally only be villagers, forcing them to reside in unmapped and unrecognized enclaves within the largest cities. The 6.2 million Canadians who emigrated for more prosperous countries (mostly the United States) between 1850 and 1950, almost as many as the more than 6.7 million immigrants who arrived during that century, but are largely lost to documentation. And the millions of new Europeans who have arrived from the global south and east during the past half century and who have created new, and often under-documented, communities within cities.

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Doug Saunders is the international-affairs columnist for Canada’s Globe and Mail newspaper and is the author of three books on migration and cities: Arrival City: How the Largest Migration in History is Reshaping Our World; The Myth of the Muslim Tide; and, in 2017, Maximum Canada: Why 35 Million Canadians are Not Enough. In 2016, he co-designed the Germany pavilion for the Venice Architecture Biennale on migration themes that has become a touring international museum exhibition.

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15

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Marco Barrera Bassols is a museologist, museum and exhibition designer, and historian (ENAH, 88). He has 34 years of experience in cultural management, leadership, planning, design, production and installation of more than 160 museums and exhibitions in Mexico, and abroad at MoMA, Smithsonian, Workers’ Palace-Forbidden City (China), White Cube (London), Musée de la civilisation (Québec). He served as Deputy Director of the National Museum of Popular Cultures (1996-1999) and Director of the Natural History Museum (1998-2002), and the National Museums and Exhibitions Coordinator at INAH (2013).

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ABSTRACT

Migration has been addressed in Mexican museology during the past years. Today, it is a matter of analysis and discussion in seminars and conferences. Three examples: the William Bullock Lectures at the National University of Mexico; the “Museos y Fronteras” (Museums and Borders) Congress organised, in Mexico City, by the Werner Gren Foundation in collaboration with the Smithsonian Institute and the Museum of Anthropology at the University of British Colombia, and finally “Borders: Museums in the Mobility Era” that took place in Mexico City, last June.

Curators and artists have presented many proposals for exhibitions on the issue, but they have not been supported by govermental or private institutions except for a couple of examples such as the MONTARlaBestia that was exhibited in Casa Etla, in Oaxaca City in the state of Oaxaca and in the Mexican Trains Museum in the City of Puebla, in 2016.

What role should museums play in the onset of international problems? Which policies are planned for issues of first importance such as migration, borders and the displacement of people due to internal, national or international wars?

MARCO BARRERA BASSOLS

16

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ABSTRACT

Taking as starting point the key questions of session 1 “Museums, Migration and Arrival Cities”, my proposal will attempt to broaden the problematisation by focusing on contemporary human flows in ‘transitional’ cities like Athens (Greece), and the ways we can understand the everyday reality of a new kind of urban heterotopias like ‘refugee camps’ or self-organised housing projects for homeless refugees (like the City Plaza Refugee Accommodation and Solidarity Center in Athens) and of their ‘residents’ as travellers to unknown territories and undefined futures.

Understanding refugee camps or self-organised housing projects as new ‘neighbourhoods’ with varied levels of integration within existing urban entities is a challenge and a greater one is envisaging life in them as a gradually developing ‘normality’.

The proposed presentation will only scratch the surface of this vast and complex issue by approaching it in three ways: 1. Drawing from research data and reports on refugee camps as non-temporary places of living but as rapidly growing settlements, alternative ‘cities of tomorrow’; 2. Reflecting on the potential of creating cultural infrastructures in thecamps as spaces of empowerment for communities that hold unspeakable stories and traumas; 3. Presenting the context and the process for the creation of a small pop-up museum within a campas well as the experience and challenges for co-developing related cultural activities with young members of the community of the Skaramagk as Refugee Camp near Athens.

As the project is only starting and its outcome is as unknown as the unknown future of most refugees in the camps, the presentation does not promise to offer complete answers and results but rather to put together a series of questions for constructive problematisation in a wider international context.

MARLEN MOULIOU

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Marlen Mouliou is a full-time Lecturer in Museology at the National and Kapodistrian University of Athens (Faculty of History and Archaeology) and Scientific Co-ordinator of the Postgraduate Programme in Museums Studies, NKUA. Since 2016, she has been Member of the Panel of Judges for the European Museum of the Year Award and Vice-Chair of the European Academic Heritage Network (UNIVERSEUM). From 2010 to 2016, she served as Secretary and Chair of the International Committee for the Collections and Activities of Museums of Cities (ICOM-CAMOC); currently she is Co-Coordinator of the CAMOC/CAM/ICR project Migration:Cities I (im)migration and arrival cities.

17

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ABSTRACT

Shanty towns have been a shared element of almost all cities in contemporary times, from the early 20th century on, especially after the 1929 crash, and not only in many European and North American cities, but in the whole world when cities began to grow rapidly on all continents after World War II.

This is a crucial issue particularly in periods of intensive migration in different historical moments and in arrival cities such as Paris, New York, Boston, Barcelona, Buenos Aires, México, Rio de Janeiro, Mumbay or Seoul. But this crucial issue in urban contemporary history around the world is often poorly represented in city museums, which means not only a lack of explanations but also a lack of social representativity. And when it is in the museum, often it is exclusively related to urban poverty, forgetting that, after all, people living in shanties have been crucial for urban economies and national development in many countries, also in Barcelona and Catalonia.

To address this topic, the MUHBA (Barcelona History Museum) decided to incorporate a former shanty town, which was active from the 1940s to the 1990s, as one of its museal sites. It has been dug as any other archaeological site, showing how a very rational and planned behavior allowed its inhabitants to create a small village.

This is also the place where we can talk about the informal city worldwide, crossing the border from occasional and ephemeral shanties to permanent settings improved in the last decades by urban policies trying to incorporate these areas as fully as possible to urban life. From Istanbul gecekondu to many favelas in Brasil or... some ancient coreas in Barcelona.

How could a city museum be a city museum leaving out a substantial part of its historical periphery and its inhabitants? That’s the question we will approach in our paper.

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Joan Roca i Albert was trained as an urban geographer at the Universitat de Barcelona, and carried out postgraduate studies in Barcelona and Copenhagen. He has been doing research in the field of urban history and heritage, in connection with city archives, and worked as a teacher at Institut Barri Besòs (a secondary education centre in the periphery of Barcelona), at the Educational Science Institute of the Universitat Autònoma de Barcelona and at the Hochschule für Gestaltung und Kust of Zurich. After a period as the director of Aula Barcelona (Universitat de Barcelona) and of the Urban Majorities Project in Fundació Antoni Tàpies, in 2007 he was appointed director of the Barcelona History Museum.

JOAN ROCA I ALBERT

18

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ABSTRACT

In prehistoric times, about 3,000 BC, the Austronesian peoples on the island of Taiwan mastered the art of long-distance canoe travel and spread themselves and their languages south, southeast, and east towards Polynesia. They arrived in Vanuatu around 1,500 BC, then to Fiji before 900 BC, and Samoa. After 300 AD, they started their next migrations to Tahiti, Hawaii and afterwards New Zealand.

In the year 1521, the eastern Pacific was sighted by Portuguese explorer Ferdinand Magellan who named it Mar Pacífico, which means “peaceful sea”. After this time, new human migrations occurred in the region. During the age of colonialism, Christian missionaries first spread to the South Pacific islands in 19th century, and then several European countries later occupied them by military force.

Western Samoa was occupied by Germany from 1899 for sugar cane and coconut palm plantations by Chinese workers, governed by New Zealand after 1919, and eventually achieved independence in 1962. Vanuatu was governed by both France and Britain, since 1906, and became independent in 1980. Fiji became a British colony in 1874. Many Indians were brought from Madras (Chennai) or Calcutta (Kolkata) as slave workers for Fijian sugar cane plantations. Fiji achieved independence in 1970, but the 57% native Fijian population has encountered political and military strife with the 38% Indo-Fijian minority.

The national museums in the capital cities of these three countries differ with regards to collection and presentation, reflecting their unique histories and societies. The Museum of Samoa is situated in a historic wooden building of a former German School, and the presentation covers both native culture and the European colonial period. The Vanuatu Museum belongs to Vanuatu Cultural Centre is housed in a contemporary architectural building, and the main presentations are native arts and crafts, not showing any European colonial influences. Meanwhile, the Fiji Museum is in a beautiful, historic botanical garden, and presents native, British and Indian cultures. Some comparative studies on migration cultures may be desirable among these museums to better reflect their national or regional identity.

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Dr. Kanefusa Masuda is an ICOM-CAMOC member, and also an ICOMOS-ICORP Member, now working for the establishment of a Blue Shield National Committee in Japan. He served as the first UNESCO-Chair Professor for the International Training Program of Cultural Heritage Risk Management at Ritsumeikan University Kyoto Japan, based on his long experience as a specialist officer for architectural heritage conservation and risk management at local and central governments of Japan.

19

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ABSTRACT

Mexico City is a destiny for multiple groups pertaining to the vast cultural diversity of Indigenous peoples in the country. In their new settings, migrants endeavour to keep their colective and members’ unity. Nevertheless in many cases they do not have proper spaces to reproduce their culture and ensure its manifestations, neither do they have proper spaces to preserve and show their most representative objects. Should existing museums receive those elements that allow these groups´s visibility? We ask ourselves if the need for a museum project has been addressed by these social actors following the community museums’ model formerly created in their original regions and communities.

The recently promulgated Mexico City´s Constitution could offer the proper field for the development of immaterial cultural processes and manifestations. It could also enhance museological references that would enhance the cultural rights of these collective subjects. It would not only preserve their original culture but it would also account for resulting transformations from new conditions and challenges. Finally it would enhance their identity before others.

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Jesús Antonio Machuca Ramírez is a sociologist from UNAM, a researcher in the Ethnology and Social Anthropology Direction of the National Institute of Anthropology and History of Mexico (DEAS-INAH), and coordinator of several certificates delivered by the INAH on Cultural Analysis. He is the coordinator of several seminars such as Anthropology and Tourism (with Dr. Alicia Castellanos UAM-Iztapalapa), Multidisciplinary Approach to the Study of Memory (with Dr. Anne Warren Johnson-UIA), and Cultural Heritage.

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20

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ABSTRACT

At the end of the civil war, a massive immigration was produced from the whole Spain to the capital. The shortage of housing at accessible costs in his historical downtown, motivated that many of the immigrants were established in the villages on the other side to the river Manzanares, which had been practically destroyed after the contest, occupying wide zones before uninhabited or of rural character.

The reconstruction of these territories and assimilation of new inhabitants happened with precarious resources (premade houses, streets without asphalt and infrastructure). The immigrants had expected a better future on Madrid, but the reality was that they found a bad way of life, poverty, and economic instability. This situation made possible the trust in the network between neighbors instead of trust in government offices because they were not able to resolve, fast and effective, the problems.

Between 1947 and 1954, these boroughs, in the face of their massive growth and situation, asked to belong to Madrid, so they became on precariousness and marginal shanties. Nowadays, these are Latina, Carabanchel, Usera y Vallecas.

On the sixties was established a reintegration plan to include the shanties, but instead of these shelters, it appeared the UVA (initials in Spanish) or neighborhood units unidades vecinales de absorción, so again they were poor quality houses because the government was thinking to substitute very fast, but it never happened, in most of the cases. The areas remained as houses under standards; even in the seventies to our days it has made a great effort to disappear these constructions to give dignity to the urban and social tissue on theses shanties.

The Museum of the History of Madrid and the exhibition Slums Memory are collecting, confirming and studying this process. The new technologies make easier to reunite very important oral and graphic testimonies with traditional documentary sources, about who lived by itself the situation, so it becomes the citizens in part of cultural governmental institutions.

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Hortensia Barderas (Madrid, 1968), has a degree in Modern History by Complutense University, she studied for a period in the University Della Sapienza, Roma. She has managed the Library of Doñana Biology station, the Municipal Libraries from La Chata and Vargas Llosa on Madrid, currently she is Director of The Museum of the History of Madrid.

Hortensia Barderas alvarez

21

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ABSTRACT

I would like to present a research project about migrations that was developed in Museum of Warsaw. The object was to approach, in an interdisciplinary way and in a broad chronological perspective (from the founding of the town to the present times), the migration and origins of the inhabitants of Warsaw, as well as the social, economic and cultural consequences of this phenomenon. Two members of the team (Dr Katarzyna Wagner and Krzysztof Zwierz) focused on historic perspectives, while others (Dr Magdalena Wróblewska, Prof. Maria Lewicka and Przemysław Piechocki) developed research on contemporary Warsaw inhabitants. The idea was to address the crucial caesura in 1945, after which society of Warsaw became extremely homogenous in terms of nationality and confession.

In research on contemporary varsovians we decided not to focus on immigrants only, in order to discover relations between different groups, as well as their relations to the city. We have applied classic social and anthropological research techniques, quantitative and qualitative. The goal was to answer certain questions, including: What is the identity of Warsaw and its inhabitants? Are the space of flows and the space of place really irreconcilable? Can mobile people, immigrants from other cities, form a bond with their new place of residence? What is Warsaw residents’ experience of Warsaw?

After describing the results of this research, I would like to present the way we would like to develop the project in the future and apply its results in our exhibitions, publications and education programmes.

Research group: Dr Magdalena Wróblewska (leader), Prof. Maria Lewicka, Przemysław Piechocki, Dr Katarzyna Wanger, and Krzysztof ZwierzThe project was a part of “The Modernisation, Conservation and Digitisation of Historical Facilities of the Museum of Warsaw’s Principal Seat at the Old Market Square [Rynek Starego Miasta] in Warsaw” and benefits from funding under the European Economic Area Financial Mechanism and the Norwegian Financial Mechanism in “The Conservation and Revitalisation of Cultural Heritage” programme area.

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Magdalena Wróblewska studied art history and philosophy at the University of Warsaw, where since 2014 she has held the position of assistant professor. Since 2015 she has been the Head of Research at the Museum of Warsaw. She received her PhD in 2013 with the thesis “Images of knowledge and memory. Photographic reproductions in archives and narrations of art history”. She has published articles and books including Fotografie ruin. Ruiny fotografii. 1944-2014/ Ruins in Photographs. Photographs in ruins. 1944-2014, Warsaw 2014, which was awarded by the National Institute for Museums and Public Collections in 2015). She leads the research project on migrations in Warsaw (awarded the Sybilla prize by the National Institute for Museums and Public Collections in 2017).

Magdalena WróBleWska

22

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ABSTRACT

The Museum of Lisbon recently started some communitarian projects by means of participatory methodologies towards the mapping of Lisbon inhabitants of today. Following the remodelling of the museum, that started three years ago, one of our goals is to better know the current city population, a long term multifocal project to be developed in partnership with universities, community associations and researchers. In 2015, around 50.000 immigrants were living in the city of Lisbon, and about 170.000 in Lisbon district. The most represented immigrants come from Brazil, China, Nepal and Cap-Vert (Africa), bringing a multitude of social and cultural issues, including conflicts and appropriations of Portuguese cultural habits to better fit their own needs.

The presentation goal is to present and question two of the Museum of Lisbon’s ongoing first projects involving migrants and local NGOs. The first relates to the ways popular devotions to Saint Anthony of Lisbon, or profane practices associated with these devotions, like the hand-made “Thrones of St. Anthony” or the selling of ethnic food, mainly during the City Festivities in June, can be a means to integrate migrant people living or working in some of Lisbon’s neighbourhoods, bringing new perspectives to the old traditions.

The second regards the city increasing urban gardens, focusing on some that are being taken care of by migrant populations, including internal migrants from rural areas to the city, populations from former African Portuguese colonies, and recent immigrants from Brazil and East European and Asian countries. People are moving, seeds are circulating and new agricultural and feeding practices are coming to town, challenging our own habits.

As the Museum of Lisbon approaches the city’s current population that includes various types of migrants, our perspectives on the Lisbon urban cultural landscape are being broadened to embrace surprise, paradox, conflictual values and cultural enrichment. Trying to get a wider picture of the human urban reality without prejudice-making is one of the museum’s aims.

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Joana Sousa Monteiro has been director of the Museum of Lisbon since 2015. Before this appointment she was a museum and heritage adviser to the Lisbon Councillor for Culture (2010-2014) and Assistant Coordinator of the Portuguese Museums Network at the National Institute of Museums (2000-2010). Previously, she worked at the Institute of Contemporary Art and at the National Museum of Contemporary Art. She holds a degree in Art History (Nova University), an MA in Museology (Lusófona University), and an MA in Arts Management (ISCTE). She has been the Chair of CAMOC since 2016.

JOANA SOUSA MONTEIRO

23

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ABSTRACT

The Totoras city Museum, Santa Fe, Argentina, it’s a completely new place managed by Totoras Municipality, it was built and opened at 2013. The objects of its collection –made by many materials and they reflected wide mentalities and expressed rural and urban daily life local- were donated before 2013 so that they could be part of heritage museum.

The Museum was planned and opened without a previous museum plan.

The work team is integrated by a Director, the charge competed at the same time to the opening Museum; two professors who were hidden before the Museum was opened, and they are on Educative and Investigation Area, and temporary.

In the beginning, we agreed that collections objects are valuable not only by their materials, manufacturing or design, but –and over – the stories around them, the memories are not the same, so will it be possible to draft a typology which related these objects with a mnemic process that they inspired? Will it be possible to create meanings and points of view about the objects, which go farther than the traditional classifications with coordinates and typologies that we give them inside the reservoir, helpful to the structuring and safety goals, but without collective memory? Or, even better, is it credible the challenges about the citizens themselves are the one who registers and/or experience these senses?

The innovation of the Museum in the city invites us to believe that we have an advantage over other Museums to achieve the change in the conception of the same and its objects. By not dragging traditions inherited, we trust in the potential of the museum to break the stereotypes that lead us to think in itself and its samples as static and immutable, without contact with the present. But until what point is this really possible?Four years after starting our task, these are some of our concerns.

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Since 2013, she is Museum of the City of Totoras Director. She was cultural gestor in the ARTEFE Virtual Museum, Santa Fe´s people defender of (2011-2015). She has a degree on Anthropology, specialized on Archeology, in Rosario Nacional University, Argentina (1997-2003). She gained a scholarship about “Laws around Cultural property, Ancient Art History and Classic Archeology in 2009.

LAURA ACCETTA

24

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ABSTRACT

Whose memory and life experience should be represented by a city museum? When establishing a city museum’s historical narrative, should we prioritise academic research or people’s memories and life experiences? Reexamining historical narratives has become an important issue for city museums. How do they collect individual memories and develop the narrative history? How do the differing agendas of remembering and forgetting coexist in city museum? City museums need to be flexible by design – building dialogue and negotiation into their systems in order to become an institution capable of reflecting rapid societal change.

In recent years, Taiwan has become increasingly concerned with the protection of cultural heritage and resources relating to the history of its cities, and is leading the way on the subject of cultural identity. There is a tendency to pay close attention to the history and culture of the ‘self ’. By allocating priority to this issue, city museums have started to transform and reflect the way people think about cities; identifying and investigating the multiplicity of histories and cultures they hold rather than relying on standard interpretations and values.

This paper uses case studies in Taiwan to explore how city museums work with local residents to create exhibits that reflect people’s lives in the city, their actions, intentions and emotional responses. The author also interviews local residents, aiming to shed light on museum-community relations in the city, and to explore opportunities to invite people into the museum interpretive processes.

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Chunni Chiu (Jenny) received her MA in Art Management from the National Taipei University of Education, Taiwan in 2009. She is a PhD candidate in the Department of Comparative Studies, School of Cultural and Social Studies, in The Graduate University for Advanced Studies of Japan, working on her research and studying at the National Ethnology Museum. Her main research interest is in city museums and cultural heritage, and the relationship between city museums and communities. She is currently working with ICOM Japan to organise the ICOM Kyoto 2019 General Conference.

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25

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ABSTRACT

The Canadian Museum for Human Rights is a new national museum in Canada. It opened in September 2014 with the mandate to “explore the subject of human rights, with special but not exclusive reference to Canada, in order to enhance the public’s un-derstanding of human rights, to promote respect for others and to encourage reflection and dialogue.” The journey through the museum spirals through ten permanent and two temporary galleries on the way to the tower of hope at the top, addressing Canadian and global human rights themes.

The location of the museum is in the city of Winnipeg, at the forks of two primary rivers: the Red River, which flows south to north; and the Assiniboine River, which flows west to east. The juncture of the two rivers has been a traditional meeting place for Indigenous peoples for thousands of years, and continues to be so today. How can a new museum properly acknowledge the layers of significance attached to the land upon which it stands?

Through an extensive process of dialogue with diverse Indigenous leaders, elders and community organisations, the museum’s installation, “Acknowledgement of Ancestral Lands,” was brought to life. Its purpose is to acknowledge, in a good way, the location of the museum on ancestral lands and the significance of all that goes with it.

In light of the fact that the project is a significant part of the arrival experience for visitors to the museum, the need for a high level broad inclusive approach to the introduction was identified. While the acknowledgement includes First Nations and Métis – we learned through our engagement process that a high level approach and use of supportive language was critical to ensure inclusivity in the broadest sense. Ultimately, the text and artwork that makes up the installation is intended to be inclusive of all Indigenous peoples for whom this land has meaning, to those who travelled across the continent to this loca-tion for various reasons, and to those who lived here past and present and future. It also serves as a reminder to everyone who comes to the museum that they are standing on land that has been the site of negotiation, exchange and peace-making for thousands of years.

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Clint Curle is currently a Senior Advisor to the President at the Canadian Museum for Human Rights. He first joined the Museum in 2010 as a researcher and curator. Prior to entering the museum world, Clint was, in turns, a university professor, an executive director of an NGO, a parish pastor and a lawyer. His educational background includes a PhD in political theory, Masters degrees in law and theology, and a law degree.Jennefer Nepinak is currently a Senior Advisor with the Canadian Museum for Human Rights, where she is responsible for developing strategies for Indigenous engagement in the museum. Nepinak is a former executive director of the Treaty Relations Commission of Manitoba, where she served in the role from 2005 to 2013.

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26

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ABSTRACT

Brasília, the Brazilian capital, built from scratch in the 20th Century, was the first modern city to be inscribed on UNESCO’s World Heritage List. Its construction was a colossal endeavor, requiring thousands of workers who expected to build a better life along with the new capital.

Today, three public museums are responsible for the preservation and communication of those early memories. The City Museum displays the reasoning behind moving the capital from Rio de Janeiro to Central Brazil; the Catetinho conserves Brasília’s first Presidential House; and the Living Museum of Candango Memory exhibits the point of view of pioneer workers, the candangos.

Having three city museums presents an opportunity to approach a wide range of topics such as city planning, ecology, poverty, race and gender from different perspectives. Despite their potential, the museums epitomise a nationalist museology, offering a fairly homogeneous and harmonic narrative about the capital’s origins.

The museums’ exhibitions, over 20 years old, challenge museum workers to deliver a critical interpretation of the facts while maintaining their celebrative essence. This task proves itself arduous when collections are roughly organised, staged objects are regarded as authentic, and there is little control over official documentation. This presentation emphasises the importance of research as a means to understand and improve museums, their collections and exhibitions.

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Águeda Oliveira is a graduate student in the Information Science Program at the University of Brasília where she researches museum history and politics of memory. She has a Bachelor in Museology from the University of Brasília. Ana Gomes is a professor and researcher of the Information Science Faculty at University of Brasília, where she leads the research group Museology, Heritage and Memory. She has a PhD in Cultural History from the University of Brasília, an MA in Social History from the Federal University of Rio de Janeiro and a BA in History from the Federal Fluminense University.

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27

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ABSTRACT

Since the 1990s the Amsterdam Museum (formerly Amsterdam Historical Museum) has made extensive use of personal stories in highlighting the diverse and often contested history of the Dutch capital. This biographical lens has allowed for the experiences and views of individual Amsterdammers. Inevitably this focus brought conflict and contest to the foreground, in the context of the ‘general’ history of the city. The lens also helped visitors to relate to history/histories on a more emotional level.

A room full of children, of successive generations, presented a history of Amsterdam at the eye level of children, from the son of a Chinese restaurant owner growing up in the Jewish neighbourhood in the 1930s, to the girl who was in an anti-authoritarian kindergarten in the 1970s. Without actually using these words in the exhibition texts, categories like race, gender, class and religion nevertheless were the criteria the curator used to find and select the children, in the museum collection and among the Amsterdam population. In a 1995 exhibition about WWII and the liberation, the story was presented like a street, with cabinets, like rooms, inviting the visitors to peek in and meet a diversity of people. Thus we invited visitors to explore the wartime borders between ‘good’ and ‘bad’: From a Jewish family in hiding, to a member of the fascist youth movement, to an Amsterdam civil servant who assisted in the deportation of the Jews. In 2013 we had an exhibition about the ‘Golden Age’, when Amsterdam’s merchants explored and exploited the world. In this exhibition we created a visually striking ‘slavery trail’, co-created with descendants of the enslaved, in which their present-day views on Amsterdam’s colonial past were expressed.

With examples (and many visuals) from various important exhibitions I will trace and show how the Amsterdam Museum has used the biographical perspective to tell not just the story of the city, but a plurality of stories. With many images I intend to show the delegates the way in which the Amsterdam Museum has dealt with contested histories of colonialism, the holocaust, migration and sex labour. I will also mention how internet 2.0 has had an impact on the way we find and tell personal stories.

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Annemarie de Wildt is a historian and curator at the Amsterdam Museum. She has (co)curated many exhibitions, with a variety of objects, often a mix of ‘high’ and ‘low’ culture and with a strong input of human stories and a focus on difficult and uneasy subjects. She has presented and written about city museums, practices and dilemmas of curating and (contemporary) collecting, prostitution, and Amsterdam’s connection to slavery, as well as protest movements.

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28

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ABSTRACT

The presentation will address the problem of authority in historical museums.

One of the most heated debates of the historical discipline is the one that refers to two often opposing visions: on the one hand, history as a unique narrative (the most plausible within the resources allowed by historical methodology), and on the other hand, history as a series of possible versions or interpretations about the past.

Historical museums are a privileged setting for analyzing this debate. Often, these institutions are presented as reliable references that present a true vision of the history-the version. Towards the end of the twentieth century, however, it began to consolidate a slope of dissent and questioning to the univocal narratives in museums as well as to its supposed halo of objectivity. This has resulted in various phenomena, for example: in the creation of other parallel museums or outside the “official”; in updating and changing the contents of permanent exhibitions; or in the complementation (or offering of alternative readings) to the permanent script through temporary expositions. In all these cases, political and even ethical decisions have had to be made that have to do with issues such as the distribution of power, the role and place of the historian, and the right of communities to determine their stories. In addition to framing this discussion, the presentation will suggest possible alternatives to consider regarding the difficult balance between the presentation of historical events and of the various versions that may exist on them.

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PhD in Museum Studies from the University of Leicester, United Kingdom. Graduated in History (UNAM) and Museology (ENCRyM). She has worked as a teacher at a higher level, a museum practitioner in areas of education and linkage, curatorship and interpretation, and consultant. She has published in journals such as Intervention and Museum Management and Curatorship. In 2011 and 2016 won the Miguel Covarrubias national award for best thesis in museum research.

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29

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In her role as Director of Programmes and Partnerships of the International Council of Museums (ICOM), France Desmarais leads the global organisation’s actions in strategic museum- and heritage-related matters concerning the protection of cultural heritage in danger, most notably ICOM’s international fight against illicit traffic in cultural goods, which includes the well-known Red Lists of Cultural Objects at Risk. France is Permanent Secretary to ICOM’s Disaster Risk Management Committee (DRMC) and an active board member of the Blue Shield. She was recently named to the Advisory Group of the British Council’s Cultural Protection Fund and the Scientific Committee of the International Alliance for the Protection of Heritage in Conflict Areas (ALIPH). Prior to joining ICOM, France has lived in Central Africa, in the Middle East, lecturing at Lebanese University, as well as in Montreal, where she was Head of Strategic Initiatives at the McCord Museum. France Desmarais edited the book Countering Illicit Traffic in Cultural Goods: The Global Challenge of Protecting the World’s Heritage (2016), and wrote several articles.

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ABSTRACT

Over the course of the past six years, we have witnessed a rise in armed conflicts around the world that have spurred a dramatic increase in the looting and damage to our common scientific, historical and cultural heritage.

The International Council of Museums (ICOM) has been active for years in working to protect the world’s cultural objects, including through setting ethical practice for museums and professionals. For decades, ICOM has been a pillar in the fight against illicit traffic in cultural goods. It is also one of the founders and leaders of the Blue Shield, and the first international heritage body to have created a disaster relief task force to help museums in times of emergency. But when the recent geopolitical situation started threatening the survival of large parts of the material remains of past cultures, the world heritage community was faced with a whole new set of challenges.

After having successfully managed, over many millennia, to preserve the traces of diverse ancient cultures and societies, will our generation witness –and tolerate– the obliteration of important parts of history? What can the international heritage community do in the face of the newest threats to culture? Can civil society help prevent destructions and loss of heritage?

Through an overview of the evolving role and actions of the world museum community in the face of such dramatic events, as well as through specific case studies, France Desmarais will explore some of the solutions that can make a difference when we aim to protect cultural heritage at risk in shifting circumstances.

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30

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ABSTRACT

The Museum of the City of New York’s mission includes a commitment to connect the past, present, and future of the five boroughs of New York City. This emphasis on analysing the city’s present as well as its past is manifest in multiple initiatives, including exhibitions and public, community, family, and school programming. This presentation will focus on two of the most ambitious and most innovative of these initiatives: the Future City Lab – a major new permanent space designed to promote civic participation, dialogue, and public engagement with where New York is now and where it is headed in the future; and Activist New York – a long-term exhibition and accompanying programming series that focuses on how New Yorkers have sought to change and influence their city.

Conflict is at the heart of each of these spaces, but so is dialogue. The presentation will explore how inherently contentious topics – race, gender, inequality, citizenship, gentrification, urban development, and others – are made accessible, concrete, and debatable, as the museum offers information, provides multiple perspectives, and acts as a neutral forum within which to carry forward conversation.

The Future City Lab is the culminating gallery of MCNY’s award-winning new permanent exhibition, New York at Its Core. The decision to devote the largest space in the building to a consideration of the present and the future, rather than to the past, marks the importance of MCNY’s commitment to this topic. The presentation will focus on the uses of data, interactive design games, video, and a dialogic installation called the “What If? Table” to promote engagement on five key and contentious issues facing the city today: Making a Living, Living Together, Getting Around, Living with Nature, and Housing a Growing Population.

The presentation will also include a brief discussion of Activist New York to show how contemporary activism and activists are put in dialogue with the historical content of the gallery. Central to this is a series of interviews with current-day activists, and associated programming that invites multiple perspectives on the past, present, and future of movements for social change.

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Dr. Sarah M. Henry has worked at the Museum of the City of New York since 2001. As Deputy Director and Chief Curator, Dr. Henry has overseen all museum programmes, including exhibitions (over 100 to date), public programs, publications, and school programmes. She is responsible for the exhibition department’s programme strategy, long-range planning, and budgeting, and she led the curatorial team for the museum’s acclaimed new three-gallery signature exhibition, New York at Its Core.

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31

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ABSTRACT

Museums and monuments – when these are well preserved and evocative – are important tools for reflecting on the present through evidence of the past; they are powerful weapons against those who have deliberately destroyed beauty, who plan to kill people and eliminate all examples of human and cultural sharing, and to erase the memories present in our society – which is made up of many aspects, cultures and components.

With regard to the works of art housed in our museums and artistic monuments, we must listen carefully the memories they have to recount – which go beyond merely technical and art-historical aspects – and seek to comprehend the many tales they have to tell. If we want to counter those who destroy, we need to understand exactly what they are destroying and defend ourselves by focussing on the incredible objects that mankind has been able to produce in every age, at every latitude – by learning, observing carefully, asking questions, and being receptive to every nuance.

We can of course describe the painting Saint Mark in Alexandria in Egypt by the Bellini family (kept in the Brera in Milan) with respect to its exceptional artistic qualities, but we can also make it the subject of a historical study of the relationship between the Christian and Islamic religions. We may consider the acts of destruction carried out by ISIS at Palmyra brutal and incivil, or reflect on the fact that this was part of a carefully planned project, in which ISIS intentionally set out to destroy a city which was symbolic of the extraordinary development that is possible when East and West meet and respect one another.

The only way we have to gain a direct understanding of our heterogeneous and multi-ethnic roots is to identify them in diverse periods of our history through works of art which conserve the memory of them; the only weapon we have against those who demolish monuments is therefore the enhancement of memory, and the protection of historic places and objects, and museums. The more sites that are destroyed, the more funds should be given to the museums, sites and artworks that recount our history. We need to talk about monuments and works of art, and to show their evocative power, to allow them to tell our human story, to narrate our essence, our nature as hopelessly – and wonderfully – unique and mixed-up beings.

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Cristina Miedico has a research degree in classical archaeology, and is conservator of Angera’s Civic Archaeology Museum and Open-Air Museum, and an ambassador of GARIWO. In recent years she has worked on the archaeology of migration, artworks as expressions of memory, and developed the three-year project The Museum and the ‘Others’ which considers’ foreign’ cultures in the museum’s hinterland by means of an original approach to the objects on display.

32

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ABSTRACT

The seepage of politics into lower levels was a norm in most South African cities. This went on to affect institutions which were designed to preserve heritage. The overall image which culminated from this was negative as it alienated patrons who subscribed to opposing political viewpoints. Prior to 1994 the National Party government in South Africa strictly captivated itself in documenting Settler’s heritage whilst influencing museums to erect exhibitions echoing sentiments of the oppressive ruling party. Conversely, South Africa’s post 1994 witnessed the unrelenting drive by the Democratic government to use museums as institutions designed to redress past injustices. This drive is apt as it responds to the International Council Of Museum’s (ICOM) definition of museums as “Institutions in the service of society and its development. Of course, museum programmes and exhibitions that are designed to redress past imbalances are directly responding to the development of our societies. The author of this paper accentuates and underscore the fact that social cohesion in South Africa will only come to fruition if museum programmes are designed as memory builders and conciliators at the same time.

Without a doubt, South Africa’s post 1994 must not become exclusive once again, where a reversed kind of exclusivity is practised. In this fashion, museums can be accused of marginalizing and neglecting the non-indigenous South African population in much the same way as they did the indigenous groups in the past. Certainly, the country’s non-indigenous members are still part of the nation’s history and have a fundamental right to be represented. Indeed, the past 23 years saw South Africa captivating itself in trying to create a socially cohesive society. However, social cohesion requires a united nation as a pre-requisite. South Africa has a mammoth task ahead wherein she is required to bridge cultural gaps, whilst harnessing some semblance of cohesion.

The author of this paper locates South African cities’ museums within the context where they need to heed ICOMs definition of museums. If they do not do that the question will arise over the extent to which conceived museum programmes and exhibitions appeal to all visitors, without alienating patrons who subscribe to opposing political viewpoints. It must come to pass that museums need to be afforded their space as databanks of history and custodians of heritage. And not to be mouthpieces of political parties at the helm of government.

BIOGRAPHY

Bonginkosi Zuma is researcher within the Durban Local History Museums. He participates in curatorial discussions that involve both permanent and temporary exhibitions, making museum collections available to the public. Local History Museums preserve history and heritage of communities of the City of Durban for posterity. Zuma has presented internationally at the ICOM Conference in Milan in 2016 as well as nationally at the South African Museums Association (SAMA) annual conferences.

BOnGInkOSI ZumA

33

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Defining the identity of a place, we have to define and describe, individually, specific or recognisable features, characteristic and typical for the region and society. Residential or religious buildings, infrastructure and even the way of economy and society functioning or its hierarchy of standards, build the picture and individual features of a space or a region.

The aim of the paper is to analyse whether and to what degree Syria’s civil war, that started in 2011, has influenced the Armenian community in Aleppo based on historical sources, google maps, photographs from private collections, eye witnesses accounts, and interviews with former members of the Armenian community – now refugees. Before the civil war Aleppo was home to a community of about 60,000 Armenian Christians, who preserved the Armenian language and traditions These elements will be examined and compared in two periods: before the war and in the period when the research was conducted, in January-May 2017.

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Dr Katarzyna Jarosz has Master in French and Spanish linguistics and PhD in archaeology. She defended her PhD in 2013 with a specialisation in the history of archaeology. Her research interests cover the issues of relationships between science and society, archaeology and politics and mechanisms of cultural heritage protection. Currently she is working on a project whose aim is to analyse the process and the elements of shaping national identity in post-Soviet countries, former republics of the USSR. She is an author of about 30 publications on relationships between archaeology and society, science tabloidisation, national identity in Central Asia and museums in Central Asian countries.

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34

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ABSTRACT

Armed conflict is a phenomenon that reconfigures social reality, leaving bleak and mostly irreversible consequences not only humanitarian but also cultural and of identity. Systematic destruction and plunder during the armed conflict has recognized museums as targets for looting and a reliable source of supply for the black market, where illicit pieces continue to enrich private collectors and fragmenting through their loss the memory of the peoples, as of humanity itself.

Despite the incessant attacks and threats against national museums in the main cities of the Middle East and Africa, there is a theoretical gap on the part of international museology as a discipline responsible for the museum’s work to generate lines of action that start from the study of “hostage museums”, these being living testimonies that see through their loss of new paradigms and solutions to a growing problem. Little has been written about their potential as study entities and their transition towards rehabilitation as institutions that transform themselves, legitimizing processes of identity construction, promoters of preventive policies, activation of memory, cultural resignification and restoration of the social fabric during one of the most critical and poorly understood periods of potential change in a nation: the postwar period.

Established this period as the cornerstone on which it is created, or once again the social function of the museum is rebuilt as an institution linked to the memory to be exercised, From now on it must be more than a container of cultural symbols, facing new challenges, emergencies and needs that its dynamic environment demands, particularly in countries of the Middle East and Africa whose practice of museum has been a legacy of colonialism and occupation, a vast subject that allows to reflect on the crucial role of “hostage museums” and the rehabilitation processes in a region whose territory has been fragmented, not only geographically.

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Ana Karina Puebla Degree in Communication Sciences, has collaborated with the National Museum of Cultures, the National Institute of Anthropology and History and the Sub-Directorate of Underwater Archeology. She has independently managed ethnographic and documentary research projects for the conservation of the intangible cultural heritage. She currently specializes in issues of cultural heritage at risk, illicit trafficking in antiquities, museums victims of armed conflict and Iraqi identity and memory.

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35

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ABSTRACT

Sebat Building, located in one of the main avenues of Istanbul, has held a significance in the memory of the city and the collective memory of Turkey since January 19, 2007.

Agos weekly, the first newspaper in the Republican period to be published both in Turkish and Armenian, moved into one of the apartments in the Sebat building in late 1990s. Through Agos and the work of Hrant Dink who was the editor in chief and founder of the newspaper, the so-called ’Armenian Question‘ became a part of the public agenda with its different dimensions of genocide, minority rights and Turkey-Armenia relations. Over the course of time, the past was being unsilenced, the unspeakable became speakable and the invisible became visible. Hrant Dink was touching hearts and inspiring minds with his peaceful language and frank approach, to the extent that he became a threat to the official narrative of state.

Sebat Building, which represented a site of transformation and hope through this work, was turned into a site of tragedy on January 19, 2007, when Hrant Dink was assassinated in front of the building. His assassination evoked people’s conscience and sparked mass protests transforming Sebat Building into a site of conscience. A project is being carried out to turn the building into a site of memory. The preliminary project has three principles: exploring and learning from the experiences of other countries, raising awareness about the role that sites of memory, museums and memorialisation projects play in dealing with the past, mutual understanding and peace, and lastly conducting an inclusive, democratic and transparent process.

The Hrant Dink Site of Memory is envisaged to be a site of truth, memory, dialogue, discovery, comprehension, questioning, debate and hope. It will enable society to understand better that we can break the silence and taboos in order to act for a better future. Moreover it will have a reparative and healing aspect through creating space for people to interact, imagine, create and learn from each other’s experiences. This presentation will touch upon the significance of Hrant Dink Site of Memory and its future endeavors.

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Nayat Karaköse received her BA in Sociology from Galatasaray University. She completed her MA in Theory and Practice of Human Rights at the University of Essex. In Fall 2014, she became one of the fellows of the Alliance for Historical Dialogue and Accountability fellowship programme of the Institute for the Study of Human Rights at Columbia University. She has worked for the Hrant Dink Foundation since January 2015 where she coordinates the Hrant Dink Site of Memory project.

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36

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ABSTRACT

New museums – whether from the 19th, 20th or 21st century – are often initiated by a group of people finding core areas of their lives un-represented or under-represented in existing museums. Local history and art museums spring up when a region feels its specific characteristics are insufficiently covered by national museums. The same is true for specialist museums, like maritime museums, technology museums, museums of agriculture. Creating and establishing new museums often carries an element of activism and protest against a perceived covert or overt display of power and privilege.

This presentation follows a personal path through five very different museums through a period in which the conflicted and contested societal areas of gender, class, ethnicity, race, and their intersections, of colonialism and nationalism, of ethnocentricity and changing climates manifested themselves in emerging new paradigms and interpretation of museum missions, in the creation of new museums and in radical challenges within the old, as the cultural sector has anticipated or responded to social and political conflicts, movements and change. This personal path winds through five museums in the Western dominated world during the period from the early 1980s to the mid 2010s. The museums are the Women’s Museum of Denmark, the National Museum of Denmark, the Museum of World Cultures, Sweden, Te Papa Tongarewa Museum of New Zealand, the Museum of Copenhagen – as different, almost, as museums can be, in terms of scale, scope and funding, traditions and history, purpose and obligations.

Each of the museums represents a particular set of values, a set of epistemological and museological principles and a set of methods and practices which were developed at and became characteristic for that particular time and place. The transmission and translation of these principles and methods into other museum settings are of course essential points of interest, as are, obviously, their discontinuation and seeming disappearance. In the current political climate, it might be time for a process of critical self-reflection to gauge the relative successes and the absolute failure of museums in becoming key orientation points for communities, for cities or even nations in their processes and strategies social political change.

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Jette Sandahl was the founding director of two new museums, the Women’s Museum in Denmark and the Museum of World Cultures in Sweden. She served as Director of Exhibitions and Public Programs at the National Museum of Denmark and as Director Experience at Te Papa Tongarewa Museum of New Zealand. Most recently she was Director of the Museum of Copenhagen. She chairs the European Museum Forum and ICOM’s Committee of Museum Definition, Prospects and Potentials, and publishes in the broad museological field.

37

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ABSTRACT

Jurmala is wonderful city in Latvia – one of the most popular resorts on the Baltic seashore. Although the Indigenous of Jurmala always have been Latvians, the city itself shaped and developed in a culturally diverse environment. During its history Jurmala has lived through a lot of changes, many power changes and sometimes tragical occurrences as well: incorporation in the Russian empire, two World Wars, the Holocaust, the Soviet occupation, and the deportations of local people.

In Soviet time Jurmala became a stylish resort popular with the Soviet elite, artists and high-ranking officials. The number of inhabitants grew steadily, the ethnic composition of the population changed radically – 42.1% were Russians (1989) – immigrants from all the Soviet Union. Regaining independence brought new changes, as well as denationalisation and Latvia joining the EU.

The historical experience and the assessment of events are radically different – those people who lost their loved ones and properties, lived through forced russification during the soviet era and those who remember the USSR as ‘the golden age’. The new generation makes its own understanding of history based on the experience of previous generations. Every individual’s true understanding of history is that one which is experienced not a paragraph in a history book. This experienced is made by hardly ‘exhibited’ things – love, pain, fear, loss, hopes, dreams…

The Jurmala City Museum uses the personal life stories of people to tell the unspeakable. There are different stories to be heard by visitors of the exhibition “Child in a Resort” about the beginning of the 20th century and the Soviet era to get to know diverse interpretations of the same time or the event. We have started the multimedia projects for schools – “The story of the place” and “The history of dreams”, where the parents of young people tell stories about their childhood dreams. The purpose of these projects – to appeal to listen, to respect the different opinions and to develop the understanding that we are different yet living at the same historical space.

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Inga Sarma graduated from the University of Latvia (Mg. Hist., Mg. Phil). She has worked as the historian in the Jurmala City Museum since 1981 researching t history of the resort, creating exhibitions, telecasts, and publications. She established the international network of Baltic seashore resort cities. She is the author of Latvian Cultural History and Childhood in Jurmala. The Soviet Time and has won several Year’s Cultural Awards in Jurmala.

INGA SARMA

38

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ABSTRACT

The preservation of historic alleyways (hutongs) in Beijing’s residential neighbourhoods has been facing significant challenges brought by contemporary urban regeneration and real estate development. The establishment of community museum as both a site for tourists and a civic centre for the community is still a new concept for 21st century China. Shijia Hutong Museum was the first of its kind in Beijing, built as part of a neighbourhood conservation-planning project to promote hutong culture and heritage protection.

This study examines the various aspects of the museum’s impacts, including socio-cultural, political, economic and environmental impacts. It aims to analyse its influences on different stakeholders, including local residents, tourists, government, NGOs and other parties who were involved in the founding and operation of the community museum. Based on literature and exhibition reviews, scholarly research, publicity materials, and stakeholder interviews, the study explains what aspects about Beijing hutongs and historic neighbourhoods are told and untold in the museum exhibitions and activities, especially regarding recent historic preservation struggles. For example, the positive aspects of preservation planning and civic engagement and the negative aspects of symbolic urban conservation. The study also provides recommendations for the future development of Shijia Hutong Museum, and how it could improve in terms of public involvement and heritage education.

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Mingqian Liu is a PhD student in Architectural History and Historic Preservation at Texas A&M University in the United States. Her background includes an education in art and architectural history, and professional training in public education and museum studies. Her research interests are urban history, preservation theories and practices, as well as the public education of cultural heritage protection.

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39

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ABSTRACT

At the opening of this research there’s aspiration to reconstruct a genealogy of the question: what are the museums of memory? To do this, I considered it pertinent to recognize the terminology that defines our object of study. In the case of museums, the term memory is generally used indistinctly and unequivocally, as if memory had only one way of defining itself and that its use would not represent greater conceptual difficulty. Although memory is the possibility we have to generate knowledge from the past, it is also noun to consider that human beings develop vital activities; we have contact with memory, as something inherent to life, since it allows us to generate knowledge of the past and thus build a new formation for the future.

From the Platonic thought the two meanings of memory have been inherited, the first as retentive, this comes from a conservation and permanence of the knowledge given in the past; and the second as a reminder, as a possibility of bringing the past into the present, such as the claim, the necessity and validity. Subsequently, Aristotle in his treatise on memory and reminiscence will add that the retention and production of knowledge refers to a physical level, it means that, memory relates to his physical theory of movement. Then, memory is confined to the movement, since it produces the memories.

Both Plato and Aristotle inherited thought, the starting point of the term “memory”, in relation to the idea of past, memory, reminiscence, sensation and movement. This is precisely one of the reasons why the indifference of meanings of the word memory is not convenient. Let us take for example a museum on Genocide, if only the concept of memory was taken into account as the possibility of reviving an event, a museum that pretends to promote the memory of such a fatal event as mentioned, would be immersed in the paradox of being inclusive and exclusive in what the recipients or visiting public is concerned; since not all the visitors of the museum suffered directly or indirectly the consequences of a genocide, even so, a vast majority probably not only did not live in that time, but also did not live that event in that time and in that space. If we remember what Aristotle warned, then, only that person who has lived genocide from his body would fulfill the visitor profile of a museum of memory.

This analysis aims to open up another possibility of memory as a formative exercise from the museum, not only as an expression of historical memory, but as a sensitive and meaningful experience.

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Graduated in Philosophy by the FFyL of the UNAM with specialty in philosophy of the education. Graduated from the Master’s Degree in Museology at ENCRYM at INAH. She teaches philosophy classes in the Incorporated System of the UNAM. She has experience in the field of curatorial research and in the field of contemporary museological theory and has done various activities with students in museum spaces

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40

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ABSTRACT

1968 is increasingly regarded as a moment of great change across the globe. In recent years, new studies of nations having experienced a 68-style upheaval have proliferated leading to this period being held up as one of transnational revolt. A notable absence from this ever-growing list has been Northern Ireland. Despite having experienced a period of revolt that at the very least should have seen what happened in the streets of Belfast and Derry between October 1968 and February 1969 mentioned in the same breath as Paris, Berlin and Rome, Northern Ireland’s 1968 has at best been forced to the very periphery of any transitional collective memory of this period. The occultation of Northern Ireland’s 1968 from the European collective memory of 1968 is to be understood through an appreciation of the impact of the bloody post-’68 trajectory that was the ‘Troubles’. This very divergent aftermath buried the memory of this period and only since the dawning of peace in Northern Ireland has it been possible to frame what happened in a non-insular context.

A fundamental challenge facing modern academics is how to translate new research perspectives into public impact. This paper will discuss a creative collaboration that brides academic research and museum practice in areas of interpretative and public engagement. Focused on the Ulster Museum in Belfast, a new exhibition “Northern Ireland’s 1968” provides a critical new dimension to the visitors’ experience of contemporary history. The project has involved filmed testimonies that widen the framework of public memory, supported by contemporary collecting, public programming and the development of new learning resources.

Dealing with the legacy of the past is the principal challenge facing Northern Irish society and the cause of the conflict remains a highly contested political issue. Revisiting 1968 challenges assumptions about inevitability of conflict and opens opportunities for creative dialogue around issues of human rights and political reform that continue to resonate with contemporary relevance. This paper seeks to reflect on the encounter between the academic and the museum and what lessons are to be taken from dealing with what remains such a contested and divisive past.

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Chris Reynolds is a Reader of Contemporary French and European Studies at Nottingham Trent University. Dr Reynolds’ main research interests are in relation to the events of 1968. Having initially focussed on the French events of Mai 68, he has widened his analysis to examine the period from a Eur Lost Populations: Emigrants, immigrants and the missing histories of our cities opean perspective. He has published a number of articles on the French events and his first monograph Memories of May’68. France’s Convenient Consensus (University of Wales Press) on the subject was published in 2011. He has also been involved in research on the events of

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41

1968 in Northern Ireland and in 2015 he published his second monograph entitled Sous les paves…The Troubles: France, Northern Ireland and the European Collective Memory of 1968 with Peter Lang.

William Blair has been Director of Collections at National Museums, Northern Ireland since March 2017. He joined National Museums NI in 2009 as Head of Human History and in that role curated the new Titanic exhibition at the Ulster Folk and Transport Museum (2011) and was author of its companion book Titanic: Behind the Legend. More recently, he led the re-development of the Modern History gallery at the Ulster Museum (2014). William’s areas of special interest include the First World War and the Troubles in Northern Ireland, as well as broad themes of material culture, interpretation, creativity, partnership, community engagement, conflict and identity. He has also performed a representational role on various professional and sectoral bodies and is currently Chairman of the Irish Museums Association and a member of the Northern Ireland First World War Commemorative Committee. William was previously responsible for the development of the award winning Mid-Antrim Museums Service in County Antrim (1998-2009).

42

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ABSTRACT

A museum of the City of Toronto has been proposed since at least 1930. Mayors, city councillors, and directors of various cultural organisations in Toronto have presented the idea as a necessity for a ‘world class’ city, yet Toronto still does not have a museum that represents its citizenry. Touted as a one of the most culturally diverse cities in the western world, Toronto is home to at least one person from every country around the globe. Why then, are we seemingly unable to agree on a way of presenting that globalism and its history?

Two new museums have recently been created in Toronto that could lay claim to being a start for a City Museum. They are Myseum, the ‘museum without walls’ begun in 2015, and the Toronto Ward Museum, also a museum without walls, but one that is specifically focused on a section of the downtown core that welcomed successive waves of immigrants through the late 19th and early 20th centuries. Will either of these museums succeed in capturing the ethos of the city, and the backing of the City’s government? And will these museums be able to include all of the city’s important histories?

My investigation of the old City of Toronto-run museums, and of Myseum and the Toronto Ward Museum, will examine these questions, and will look at how the official history of the City itself has impeded the creation of a City Museum for Toronto.

ELKA WEINSTEIN

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Elka Weinstein is currently the Treasurer for ICOM Canada, and a Senior Program Advisor for Canadian Heritage (a department of the Federal government). She is a sessional Lecturer at the University of Toronto in the Museum Studies Program. She has also been a consultant and guest lecturer in museology and archaeology in a number of Spanish-speaking countries including Ecuador, Cuba, Bolivia and Spain (at the Universidad de Zaragoza).

43

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ABSTRACT

Taiwan is a multi-cultural country. Its capital city, Taipei, was constituted by various immigrations through time that became a part of the city. Indigenous peoples, Han Chinese relocated from Guangzhou and Fujian in China, Spanish, Dutch, Japanese, soldiers who moved with the Kuomintang (KMT) government from mainland China, and new residents who came to Taiwan because of crossing-nation marriage. The authentic history of a city should be complicated. Cooperation, competition and sacrifice between different groups appeared with development of the city. However, to achieve rapid city development, the government unified the lifestyle of different peoples and made the official history clear and simple.

In this presentation, I would, initially, describe the composite history and then discuss the exhibition in National Museum of History (NMH) as an example. The historical museum in Taipei was established in 1955 by the KMT government. Under political influence, the storyline seems to be simple and far from our life and present time. The museum mainly exhibits valuable artifacts, such as ceramics, bronzes, and porcelains, from China, which are used to illustrate Chinese history. The exhibition is reasonably far from the cultural context and ordinary history but enkindles nostalgia for a specific Chinese class in Taiwan.

In my opinion, a curator not only interprets an object but also sustains the local cultural memory. Moreover, a curator is a storyteller, a cultural guide, and a good partner of local people. In the following exhibition plan, a series of Taipei story exhibitions may be proposed. Taipei may not be considerably geographically objective but evokes personal interpretations and imaginations. Allowing people of different backgrounds to convey the concealed, unspoken and contested memories from their personal perspectives will not only help them discover their own identity but also help other people understand their own happiness, sorrow and nostalgia. Exhibitions allow museum guests to experience the same feelings and to have a glimpse of the past. Furthermore, allowing people to remember the old Taipei and to understand one another would help create a preferable Taipei with the support of the people, development of museums, and attraction of a number of people.

����!���+

Chao-Chieh Wu is a curator at the National Museum of History, Taiwan. With great interest in ethnographic collection and material culture, she has worked in museums and collections for years and developed further interests in cultural memory behind the objects and the connection with cultural heritage. Her recent research is about an historical district in Taipei, mainly dealing with the local memory and the entanglements through the city development context.

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44

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ABSTRACT

The new museum screenplay shows the museum proposal, not as a permanent and closed exhibition but as the first demonstration of the CITY Museum change process, to get a new museum profile. In this process, since March, 2017, we retake the institutional proposes from 1980, as our match point, we redefine the museum mission and also keep in mind the contemporary context and new issues about the city, besides the elements which define the museum as itself. The strategical orientation were reflected on the opening, participation, transversality and visibility.

City Museum conserves, renders, researches, and communicates the material heritage and immaterial citizen heritage, so it reflects the cultural, historical, urban and social processes on Cordoba, in the past, the present and in the future.

On the dialogue process, appear the need to consider Cordoba’s City as an arrival city, since colonial era to the present, where all the immigration movements had deepened and make part of the social context, nowaday.

The cities should promote, through the institutions in the particular case the museums, the involvement and the access to cultural life, because this show us the way to get the sustainable development and social inclusion. There are many questions we need to face during the reopening process: Is it possible to incite this change on mission’s museum? The city is engaged with the building of citizenship process? Which tools we have to talk about the unspeakable? The neighbors, the citizens of our cities and of over the world, do they involve in these exchanges?

Our museum is now on a point , where taking decisions it’s next to this searching. City Museum include all the people, citizens, neighbors, governmental and private institutions, visitors and their relationships, whose join in the gestion, but diverge, take potential and reflect a reality. So, there’s a new question: whom are the citizens? Race, gender, religion, etc, make us to analyse the great challenge about City Museum.

����!���+

She is a museum professional with specialized courses on curatorship, design and exhibition installation. Also, she has many experience in the conservation and popularization of the material and immaterial heritage. She has worked as an independent Visual Arts consultor, she has experience on art and documentary photography, picture editing and capturing on cultural and historical heritage. Currently is the consultor on Cultural Department on Cordoba, Argentina. Coordinator at Design and Reopening Programme of City Museum of Cordoba.

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45

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ABSTRACT

Kyoto is one of Japan’s leading tourist cities visited by more than 50 million people annually. Its main attraction lies in its history and culture accumulated over a thousand years since it was built as the capital in the 8th century AD. Various historical and cultural resources have been featured in guidebooks, travel programmes on TV, etc.

However, there is history and culture that is overlooked in guidebooks and programmes. For example the dignity and memory of the place that local residents want more people to know. Local residents do not refuse the somewhat stereotyped history or culture as guidebooks shows and even local people utilise them. However, they ask more people to know not just a commercialist, touristic viewpoint, a “point of view from the outside”, but also a “view from the inside” of the local community aimed at balancing the local life and business.

One cultural resource that is not noticed by “the view from the outside” and even “from the inside” is a collection held in schools. Since the Modern Era, Kyoto has established schools as one of the centres of the local community. Schools have stored various materials through social studies, extracurricular activities, etc. However, due to changes in the contents of curriculum and in the social role of schools most of the collections have been forgotten. However, they have the potential to tell not only the history of school, but they have the power to evoke the memory of the place.

The museum has a role in grasping such various perspectives and diversified resources and introducing their values. To notice the cultural resources that have not been noticed until now should be equivalent to creating a new cultural heritage. Based on this idea, some projects developed by the Museum of Kyoto will be introduced.

����!���+

Masakage Murano is Curator of Archaeology and a member of Education and Community Outreach Section at the Museum of Kyoto. He is engaged with various projects related to public archaeology and museology implemented in Kyoto, Japan and El Salvador, C.A. He worked at the Department of Archaeology, CONCULTURA, El Salvador, as JOCV/JICA in 2006-2009 and at the Kyushu University, Japan, as assistant professor in 2009-2010.

MASAKAGE MURANO

46

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ABSTRACT

The Museum Association The Museum of Moscow is one of the largest museum associations in the capital. It includes several museums and each of them represents history of Moscow in its own way. The museum displays the city in all its diversity, emphasises its uniqueness. The museum cooperates with versatile institutions, implementing the most daring and creative projects, which allows it to expand the boundaries of the museum to the whole city. Now we are implementing the strategy of a city museum with a 120-year history for metropolitan capital without a permanent exposition; in that case we see not only the complexity, but also the prospects for development. The Museum of Moscow is located in provision warehouses, a unique architectural complex on Zubovsky Boulevard. The Museum of Moscow organises exhibitions and lectures. Festivals, concerts and holidays take place in a courtyard. The museum has an auditorium, the Children’s Centre, the Centre of Documentary Cinema and the Bureau of Moscow City Tours. Its objectives are:

1. To tell about the unique experience of a city museum without a permanent exhibition with frequently changing exhibitions. 2. To give examples of successful interaction between the museum and the citizens. 3. To show a variety of exhibition projects and new formats.

The Museum of Moscow presents not only relevant exhibitions, but also an open social platform to discuss the future of the city. The city museum in the modern metropolis is transformed from a local historical museum with archaeology dominant to a universal multimedia museum complex that expands the exhibition possibilities for the entire city, allowing it to display many art objects. Exhibitions in official institutions, city tours, a children’s centre, runways, food and flea markets, quests, lectures and screenings, the launch of themed trains in the metro – all this gives an opportunity to interact with citizens in a new way, receiving feedback and constantly complementing its activities, based on current requests and current trends. The city and the museum influence each other – it is a constant interaction, enriching both sides.

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Alina Saprykina has been CEO, Museum Group ’Museum of Moscow since 2013. She graduated from Moscow State University, Faculty of Philosophy and is the author of scientific publications and a lecturer in the Faculty of Arts at The Moscow State University, RMA School and the British Higher School of Art and Design, Moscow. She has more than 10 years’ experience in the sphere of culture and has organised more than hundred exhibitions and cultural events.

Lilia Krysina has been the Senior Deputy CEO, Museum Group ‘Museum of Moscow’ since 2013. She graduated from Moscow State University in the Faculty of Philosophy and Faculty of Law and has an MBA from the National Research University Higher School of Economics. Lilia manages the law and finance departments of the museum group and is the author of the conception of the museum group’s development.

47

ľ"o1bol�v;oѴo]��-m7�;1-u1;u-ঞomĹ�$_;�&mm-l;7��ou|_��-�m7-Ѵ;��oll�mb|����v;�lĿ�

ABSTRACT

For decades, Chicago has had a reputation worldwide as a ‘rough and tumble’ city, with crime and punishment part of the fabric of how people think about the city. At the same time, it is a city of creativity, history, innovation and hope. The west side neighbourhood of North Lawndale is one of the foremost examples of crime and poverty existing alongside art and constructive community organising. It also hosts one of the city’s largest populations of formerly incarcerated people.

Reentering society after incarceration is impossible to do alone and is oftentimes unexplored and not discussed. We are working closely with key neighbourhood constituencies – particularly formerly incarcerated people and at-risk youth – to create a physical space in which communities can come together to make, share, remember, envision, learn, and teach. Our museum will be dedicated to supporting the formerly incarcerated population while also giving them a space to share their knowledge and experiences. As a space for positive change, we will also focus our efforts on at-risk youth to keep them from repeating the cycle of incarceration. Using sociomuseology principles, alongside the National Alliance for the Empowerment of the Formerly Incarcerated, we are well along the way toward establishing a unique and inclusive museum for the entire community.

����!���+

Chelsea Ridley and Jonathan Kelley are both graduate students in the Museum and Exhibition Studies program at the University of Illinois at Chicago. After taking a class on principles of decarceration, they became interested in how to combine their interests in museums with the call to end mass incarceration. They are co-teaching a class in Fall 2017 on starting up the currently untitled North Lawndale museum discussed in their poster session.

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48

ľ�b|��l�v;�lv�bm��]�r|�-v�rѴ-1;v�o=�_�l-m�u;vr;1|Ŀ�

ABSTRACT

The Impact of city museums in Egypt is a controversial issue. These museums are shaped by evolving community values and a sense of Egyptian history. They cover the local history where their collections include objects with a local connection. The mission of city museums in Egypt is to enrich local community life. They try to link the past to the future by several procedures.

The objective of this paper is to identify the impact of city museums in Egypt on their communities. The paper considers the value of city museums in Egypt identifying the heritage that is presented by these museums. In addition to this the study will allow a better evaluation of the strengths and weakness of destination. The topic is related to cultural heritage studies and management, since the operation of city museums is a part of cultural heritage management and shares some of the same basic ideology. The topic touches up on several fundamental museological issues, for instance questions related to the basic role of the city museums, their social value and the intercultural perspective.

The paper considers the cultural assets of city museums in Egypt as one of the main factors of community development where the local communities in Egypt havea different understanding of their history based upon their personal backgrounds and experience. In Egypt, there are over 26 city museums administered by the Ministry of Antiquities in Egypt. The paper analyses the city museums of northern Egypt, their nature, activities and tasks, in terms of their important role in helping to meet not only the preservation and educational needs of a community, but also wider community needs.

����!���+

Shreen M. Amin is currently the director of the Children Museum of the Egyptian. She began her museum career at the Egyptian Museum where she was curator of the Middle Kingdom department from 2012-2015. She received her MA in Cultural Heritage Management and Tourism Studies from the University of Paris 1, Panthéon-Sorbonne, her BA in Egyptology from the Faculty of Archaeology at Cairo University 2004 and a BA in Translation from the Faculty of Arts & Translation, open Cairo University in 2012. She has professional diplomas heritage and tourism studies from the French University in Egypt and the Sinai High Institute for Tourism & Hotels.

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49

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Joyce Kinyanjui is the Manager of Uhuru Gardens National Monument, of the National Museums of Kenya. The monument commemorates Kenya’s independence from colonial rule. She holds an MBA from United States International University and a special study abroad training from Columbia University, USA. As a heritage manager with an experience of over 20 years she contributes towards staff capacity building, project management, community development, public programmes and site conservation and preservation. In addition, she serves as member of KCAA, USIU, ICOM, ANCUM.

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ABSTRACT

Uhuru Gardens is a unique National Monument and the largest memorial site in Kenya’s history. It marks the place where the Kenya’s flag was first raised upon attaining independence from the British oppression at midnight, December 12, 1963. This was followed by a display of fabulous fireworks and later, planting of a Mugumo tree to mark the spot where our national flag was hoisted after years of struggle for independence. The ceremony at Uhuru Gardens was the culmination of a long and tragic struggle for independence, in which many Africans perished. The 25th Anniversary monument narrates the spirit of Harambee.

The study targets elders and elementary school pupils, allowing them to incorporate speaking local languages, traditional singing and dancing as they learn and share the cultures of different communities. This study will also outline the meaning of many features within the gardens which bring the community together to share their cultural knowledge drawn from their historic past. Harambee is a Bantu word which is in the word of Halambee. This word is originally used by porters at the costal part of Kenya (Ombudo, 1986). Literally it means “Let us all pull together” and is variously described as a way of life in Kenya (Ngethe 1979). It is also a development strategy of people by the people (Akong’a 1989). The Mugumo tree was used to commemorate Kenya’s independence because it was considered a shrine by many communities in Kenya.

The study of the history of the Mugumo Tree and Harambee will show the significant memories that were acquired by many communities which make them the only existing tomb for the ancient heroes of this land.

JOyCE KINyANJUI

50

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Workshop Partners and Contributors: ICOM CAMOC | Commonwealth Association of Museums (CAM) | ICOM ICR (International Committee for Regional Museums) | ICOM Mexico | National Museum of Cultures (Museo Nacional de las Culturas dels Mundo) | ENCRyM - National School of Conservation, Restoration and Museography, National Institute of Anthropology and History (ENCRyM, Escuela Nacional de Conservación, Restauración y Museografía, Instituto Nacional de Antropologìa e Historia) | International Coalition of Sites of Conscience

Migration:Cities | (im)migration and arrival cities is an ICOM Project led by CAMOC (ICOM International Committee for the Collections and Activities of Museums of Cities), ICR (ICOM International Committee for Regional Museums) and CAM (Commonwealth Association of Museums, an ICOM affiliated organisation). Begun in 2016, the three-year project is creating a web platform for city, migration and other museums and museum professionals to share information and meaningful ways to engage with the realities of what Doug Saunders has termed ‘Arrival Cities’. The platform will become a resource and a hub to discuss the preservation and representation of contemporary urban life in museums, offer insights, research tools, and museums’ and migrants’ experiences. It will also facilitate exchange and mentoring opportunities between professionals, acting as a think-tank and contact zone.

The workshop in Mexico is the second international meeting of the project, following the inaguaral workshop which was held in Athens in February 2017.

Workshop Organising Committee

Migration:Cities Project TeamAfşin Altaylı, CAMOC SecretaryLayla Betti, CAMOC TreasurerCatherine C. Cole, CAMOC Vice Chair and CAM Secretary GeneralNicole van Dijk, CAMOC Vice Chair, Project Co-coordinatorGegê Leme Joseph, CAMOC Board Member, Project Co-coordinatorJoana Sousa Monteiro, CAMOC ChairMarlen Mouliou, CAMOC Former Chair, Project Co-coordinator

CAMOC Jenny (Chin-nu) Chiu, CAMOC Board MemberRenée Kistemaker, CAMOC Board MemberJelena Savic, CAMOC Board Member

MEXICOPatricia de la Fuente, Local OrganiserYani Herreman, CAMOC Member, Local OrganiserMaya Dávalos Murillo, ICOM Mexico ChairMaria Inés Madinaveitia Ramírez, ICOM Mexico Coordinator

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55

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ABSTRACT

We know that newcomer communities rely heavily on civic and cultural institutions to link themselves to the established community and its economic, educational, civic and cultural life. A recent worldwide study conducted by the author and his colleagues for the World Bank found that institutions such as museums and public libraries often become crucial hubs for new communities in the process of integration - that is, if they have made themselves part of this process. Museums, with their central mission of building linkages among community members, can become crucial components in inclusion, integration and social mobility if they find ways to connect themselves to these new communities.

This talk will look at the role museums can play by looking at several examples. First, by becoming explicit centres devoted to the realities, present-day and historic, of emigration and immigration (we will look at a number of emigration/immigration museums). Second, as places that include newcomer communities as voices who can show us better ways – and past failures – in creating inclusion (we will look at the author’s experience in creating a travelling European museum exhibition devoted to showcasing the experience of migrant settlement in Europe).

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Doug Saunders is the international-affairs columnist for Canada’s Globe and Mail newspaper and is the author of three books on migration and cities: Arrival City: How the Largest Migration in History is Reshaping Our World; The Myth of the Muslim Tide; and, in 2017, Maximum Canada: Why 35 Million Canadians are Not Enough. In 2016, he co-designed the Germany pavilion for the Venice Architecture Biennale on migration themes that has become a touring international museum exhibition.

56

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ABSTRACT

Displacements, races, dreams of strollers, hiding places, rafts, dangers in deserts, confrontations with border patrols, hostile presences of racism and xenophobia, shelters in ghettos, irregular settlements, failures and victories.

How to represent the migratory turbulences in museums if it is not to make these mirrors of dreams longed for? The paper indicates how migratory adventures are expressed in museum spaces, how they are configured to make visitors feel the sharing of a wandering and complex destination; the presentation envisages several technical aspects to achieve this effect.

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Mtro. Francisco Javier Guerrero Mendoza is Principal Investigator “C” of the Department of Ethnology and Social Anthropology (DEAS) at the Institute of Anthropology and History. He analyses the transculturation between Mexico and the United States and currently works on the project: Origins and development of national culture under conditions of late capitalism. Phase III. He is a member of the Permanent Seminar of Chicano Studies and Frontiers (SPEChF) DEAS-INAH. He has a Masters in anthropological sciences from the National School of Anthropology and History (ENAH) and a doctorate from the Faculty of Economics of the National Autonomous University of Mexico (UNAM). He is a Professor of the UNAM, ENAH and other institutions of higher education and the author of texts such as functions of religion and magic in the social structure of the Maya, The economy in primitive societies, The elections of 88, National question and urban literature, The impassibility questioned Benito Juárez, Indigenous and peasants. Seven issues to discuss with Arturo Warman

57

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ABSTRACT

The Manitoba Museum is in the midst of a capital renewal project, Bringing Our Stories Forward. The project is significant in that it will affect 42% of our gallery spaces, a percentage of which have remained virtually untouched since their original install in the 1970s. Conscious of this history, the project team frequently jokes that we must be careful what we decide to do, as “this has to last 40 years.” While we are hopeful that the next renewal will come sooner than the last, the legacy of the museum’s reputation assomewhat static and unchanging (or, “endearingly nostalgic”) has certainly influenced our public image, and is influencing how we plan our new exhibit spaces. This presentation will introduce the ways in which ourmuseum is working to confront these worries, and how we are proposing to “future plan” with new community-led exhibit spaces and new methods of working interdepartmentally in order to ensure longevity, relevance, and responsiveness in our new gallery spaces. These additions are being considered with particular attention to Manitoba’s immigration history and Winnipeg’s urban Indigenous communities.

This presentation will discuss the development of the museum’s new Winnipeg Gallery – the first gallery in the city to be devoted to the history of the city of Winnipeg, as Winnipeg does not have a city museum. This gallery is being developed in collaboration with a “Community Engagement Team” that is actively advising the museum on ways to involve contemporary migration stories in the new exhibits. Through various media including video, audio and object-based storytelling, we hope to develop a space that can provide a responsive outlet to keep the galleries relevant to our ever-changing society. Additionally, this presentation will discuss the ways in which the Programs and Curatorial teams are working collaboratively in order to provide a more responsive service, and find ways to share with the public the community engagement that takes place behind-the-scenes.

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Rachel Erickson is Manager of Museum Programs at the Manitoba Museum where she oversees the development and delivery of the Museum’s learning and outreach programs. She has an MA in Museums Cultures from Birkbeck, University of London (UK). She was the CAM Curatorial Intern (World Cultures) at Glasgow Museums from 2013-14, and continued on at Glasgow Museums as an Outreach Assistant, where she worked with community groups who face barriers to traditional museum participation.

58

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ABSTRACT

Recently Top Notch, one of the biggest independent hip-hop labels in the Netherlands, released a series of CDs De Parels van de Jordaan (Pearls of the Jordaan) with the music that was produced and sung during the 1950s and 1960s in the working class neighbourhood of the Jordaan, bordering on the Amsterdam canals. In the 17th and 18th century this is where migrants from France and Germany settled. Singers Johnny Jordaan, Tante Leen, Willy Alberti and accordion player Johnny Meijer, created a genre that is now seen as archetypical Dutch/Amsterdams, despite the foreign influences on the music – Italian opera, French musette. The hip-hop that is being produced now in Amsterdam has American roots and traces – in rhythms as well as lyrics – of the various migrant communities of Amsterdam. There are similarities between the traditional Jordaan songs and hip-hop: in their foreign influences, the topics, such as life in ‘the hood’, crime and poverty.

The Amsterdam Museum is planning an exhibition (March 2018) about these two music genres and two neighbourhoods. We intend to mirror the Jordaan (songs) in the 1950s/60s with hip-hop in de Bijlmer in present times. The Bijlmer is an area south-east of Amsterdam, that was built 50 years ago as a high-rise area inspired by Le Corbusier. It became home to many migrants, especially from the former Dutch colonies in the Caribbean. In the 1980s and 1990s it was considered to be the ‘ghetto’ of Amsterdam. Although most high-rise flats have been replaced by lower buildings and the middle classes have moved in, the area is still considered (by outsiders) as an unpopular neighbourhood and negative stereotypes are rife.

This project involves musical mapping of the city. We want to explore the meaning of these two musical genres for the inhabitants of two very different neighbourhoods. The project invites visitors to step over the boundaries of their musical taste and geographical belonging. The role of music in fostering social cohesion will be explored. We aim to create some bridges between two sides of the city and two sides of the musical spectrum, as well as an understanding for the perspective of Amsterdam hip-hoppers, many from a migrant background.

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Annemarie de Wildt is a historian and curator at the Amsterdam Museum. She has (co)curated many exhibitions, with a variety of objects, often a mix of ‘high’ and ‘low’ culture and with a strong input of human stories and a focus on difficult and uneasy subjects. She has presented and written about city museums, practices and dilemma’s of curating and (contemporary) collecting, prostitution, Amsterdam’s connection to slavery as well as protest movements.

59

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ABSTRACT

According to the Immigration Bureau of Japan, the total number of foreigners named on the aliens’ register held by local government exceeded 2.7 million at the end of June 2016. This figure represented 2.17% of the population of Japan and continues to rise.

Focusing on the changes occurring in Japanese society brought about by the rapidly increasing number of foreign residents in Japan, this paper aims to look at ways of bringing (im)migrants into museums and explore opportunities to work together.

We would like to present an introduction to the subject, using the latest case studies in Japan. Examples will include the MULPA (Museum UnLearning Program for All) in Kanagawa Prefecture, the Forest of Expression in Gunma Prefecture and education programmes which are provided in multiple languages to encourage (im)migrants to come to museums in Tokyo. It will explore the most serious challenges faced by these case studies and look to address possible revisions of museum practices in regards to the topic of (im)migration and museums.

This presentation will be led by three members of ICOM Japan and guided by the differing points of view of a researcher, curator, educator and exhibit designer.

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Chunni Chiu (Jenny) received her MA in Art Management in 2009 at National Taipei University of Education, Taiwan. She is a PhD candidate in the Department of Comparative Studies, School of Cultural and Social Studies, in The Graduate University for Advanced Studies of Japan, working on her research and studying as members of National Ethnology Museum. Her main research interest is in city museums and cultural heritage, and the relationship between city museums and communities. She is currently working with ICOM Japan to organise the ICOM Kyoto 2019 General Conference. Hiromi Takaoreceived her BA in Education at Hokkaido University of Education. Her interest in museums as lifelong learning spaces was fostered volunteering at Sapporo Salmon Museum – where on graduating she worked in research and education, fish rearing and exhibiting. After that, she moved to the National Museum of Nature and Science in Tokyo and was in charge of communications. Her research focus was in children’s museums in Japan and overseas, and she founded Marbleworkshop, which focused on revaluating the relationship between museums and people (www.marblews.com). This year she became Chief Curator at Tamarokuto Science Center; leading research and communication in this vibrant city museum. She is a visiting lecturer at Teikyo University of Science.Kaori Akazawa graduated from San Jose State University in the USA, with a degree in Theater Arts.She has designed multiple shows with Pan Asian Repertory Theater, NYC. She has been designing museum exhibits in Japan for the past 15 years, such as Kumamoto City Museum and Fujisan World Heritage Center in Yamanashi Prefecture.

60

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ABSTRACT

São Paulo is one of the largest cities in Latin America, with 12 million inhabitants and presents itself as a very cosmopolitan city. The heritage of different communities that immigrated to the city – mainly from Europe and Japan from the late 19th century to the 1930s – is still very present. Some neighbourhoods are known for being the ‘Japanese neighbourhood’ – Bairro da Liberdade – or Italian neighbourhoods – Bairro do Bixiga or Bom Retiro.

These areas of the city now attract other communities – Chinese and Korean for the Liberdade neighbourhood and Bolivians, Africans and Haitians or internal migrants from other regions in Brazil for Bom Retiro and Bixiga, but they still maintain memory centres celebrating the first immigrant communities that settled there.

The Museum of Immigration of the State of São Paulo that reopened in May 2014, presents to the public a historical and cultural approach to immigration as well as part of its permanent exhibition dedicated to immigration heritage in different areas of the city. Does this new exhibition module reveal interactions between the previous migrant communities – Italian and Japanese – and their relation to the new ones – Chinese, Korean, African, Bolivian and Haitian for example? Is it a peaceful coexistence or there are any conflicts in between them?

I will analyse the module dedicated to contemporary migrations in the Museum of Immigration in São Paulo, and also its temporary exhibitions on human rights, refugees’ rights and the new law of migration that was recently approved in Brazil. I will also make a parallel with the creation of other centres of immigrant memories within the city of São Paulo – Bixiga memory centres such as the Centro de Memória do Bixiga – and the memory centre of Japanese immigration – Museu Histórico da Imigração Japonesa no Brasil – to highlight the different processes of institutionalisation and archiving of the “memory” of different immigrant communities in the city.

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Andrea Delaplace presented her Master’s dissertation on the Cité nationale de l’histoire de l’immigration at EHESS – École des Hautes Etudes en Sciences Sociales – (Mention Ethnology and Social Anthropology) and is a PhD student in Museum studies and heritage, ED 441 History of Art, Paris 1, Panthéon-Sorbonne, under the supervision of Dominique Poulot. She is a member of the Groupe de Recherche en Histoire du Patrimoine et des Musées - HiPaM: https://hipam.hypotheses.org/83and of the Association de la recherché sur l’image photographique – Arip: http://arip.hypotheses.org/author/delaplaceandrea. Her publications include Cahiers de l’Ecole du Louvre n°7 Octobre 2015 – Un palais pour les immigrés? Le musée de l’histoire de l’immigration à Paris : une collection et un musée en devenir http://cel.revues.org/296.

61

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ABSTRACT

Immigration means displacement of people from one place to another for work or to live. People often emigrate to get away from unfavourable conditions and factors such as poverty, disease, political issues or shortage of population; immigration means moving to another country where they are not citizens. Immigration is considered one of the most important challenges of the 21st century. Migration is divided into two main types international and regional. Immigration has different dimensions and implications such as physiological, sociological, economic, and political. A study on immigration’s challenges is very interdisciplinary Fear, uncertainty and violence are the emotional and psychological effects; marriage, friendly relationships, healthy and genetic hybridisation could be the social effects; and money and unemployment are economic impacts. On the other hand, cultural implications include the loss of national identity and development of cross-cultural behaviours.

Iran is important in several aspects of migration: rural migration to capital cities (especially Tehran); emigration to Europe and America and emigration to neighbouring countries (especially Afghanistan). Each aspect needs to be studied separately.

Museum may be places for presenting national glory and wealth and the honour of a country which could be art, civilization, science and technology. Adherence to this concept of museum in a country like Iran makes it a challenge to address immigration.

Afghani expatriates to Iran are considered as case study to try to find a solution for a the most important museum in Tehran. One approach would be to pay more attention to the cultural commonalities between the two countries and focus on interculturality to solve some of the emotional and social problems of immigration.

SARA KARIMAN

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Sara Kariman was born in Tehran in 1987 and graduated with an MA in Art Research from Science & Culture University of Tehran. She has worked with museums since 2010, and collaborated with several museums in Tehran, primarily with Saad Abad Cultural and Historical complexwhere she has focused on research, artistic events, educational programmes, and creative and innovative ideas in the museum.

62

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ABSTRACT

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Hospitality response to migration in Mexico. Master in Management of Projects, by the Iberoamericana University, campus Puebla. Specialty on migration and asylum with a human rights perspective, University of Lanus, Argentina. Her commitment to the defense of refugees and migrants’ rights has led her to comply and collaborate on various networks al local, regional and national level. From 2008 to 2015 was responsible of the Program on Migration Issues at the Institute of Human Rights Igacio Ellacuría S.J. of the Iberoamericana University, Puebla.In 2010 academic stay at The Westchester Hispanic Coalition in New York. Her research work has been developed mainly on women and asylum seekers especially in detention. Currently is Coordinator of Incidence and Vinculation of the ONG Sin Fronteras

63

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ABSTRACT

N/A

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Fabienne Venet is currently director of the Institute of Studies and Dissemination on Migration A.C. (INEDIM) and is Fellow Ashoka. She was coordinator of the Migration Studies Program of the Mexican Human Rights Academy (AMDH), consultant for the Regional Office in Mexico of the United Nations High Commissioner for Refugees (UNHCR) and founder and director of Sin Fronteras IAP. She has also been a guest scholar at the Center for Inter-American Studies and Programs (CEPI) of the Autonomous Technological Institute of Mexico (ITAM) and member of the National Council for the Prevention of Discrimination (CONAPRED). She has worked for more than 25 years on issues of migration, asylum and human rights from civil society, seeking to promote dialogue and the development of more just and adequate public policies.

Inés Giménez Delgado coordinates the area of Communication of INEDIM. Is responsible for the strategic and digital communication of the organization, media relations, audiovisual production and image design. For the past eight years has, been working in drugs policy, gender, human rights and political ecology with organizations such as the London International Drug Policy Consortium and the CDHM Tlachinollan, among others. Has a degree in History, a Master in Journalism and Anthropology and is studying the doctorate in Latin American Studies.

64

�=wbm���$�+��Afşin Altaylı is an independent museologist. He has worked on different museum and heritage projects as a specialist, coordinator or consultant as well as in various public and private institutions developing projects about museology, cultural heritage, creative industries, and cultural policy management. He is the Secretary of CAMOC, a founding member of the Association of Museum Professionals, Turkey and a member of ICOM’s new standing committee: Museum Definition, Prospects and Potentials. He takes part in the editorial board of CAMOC Museum of Cities Review and Curator: The Museum Journal.

�-u1o���!!�!����""��"Marco Barrera Bassols is a museologist, museum and exhibition designer, and historian (ENAH, 88). He has 34 years of experience in cultural management, leadership, planning, design, production and installation of more than 160 museums and exhibitions in Mexico, and abroad at MoMA, Smithsonian, Workers’ Palace-Forbidden City (China), White Cube (London), Musée de la civilisation (Québec). He served as Deputy Director of the National Museum of Popular Cultures (1996-1999) and Director of the Natural History Museum (1998-2002), and the National Museums and Exhibitions Coordinator at INAH (2013).

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�_�mmb����&Chunni Chiu (Jenny) got her MA in Art Management in 2009 at National Taipei University of Education, Taiwan. She is a PhD candidate in the Department of Comparative Studies, School of Cultural and Social Studies, in The Graduate University for Advanced Studies of Japan, working on her research at the National Ethnology Museum. Her main research interest is in city museums and cultural heritage, and the relationship between city museums with communities. She is currently working with ICOM Japan to organize ICOM Kyoto 2019 General Conference.

�-|_;ubm;��ĺ�����Catherine C. Cole has been a consultant for nearly 25 years. Based in Edmonton, Canada, she has written municipal cultural plans, strategic plans, program evaluations, policies, etc. A former history curator, she has completed a number of multiyear, interdisciplinary arts and heritage collaborations – Piece by Piece: the GWG Story, Edmonton Packingtown, and Mill Woods Living Heritage. Catherine has also been teaching museum studies in the Canadian Arctic for more than a decade. She is Vice Chair of CAMOC, Secretary-General of the Commonwealth Association of Museums, and a member of ICOM’s Strategic Allocations Review Committee.

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65

����!&��"���)ܬ�-�-�Architect by the National Autonomous University of Mexico and Master in Architecture by the UNAM, in the specialty in Restoration of Monuments, with honorable mention. Has directed the National Museum of Architecture of Fine Arts and the Direction of Architecture of Fine Arts and the Direction of Architecture and Conservation of Artistic Patrimony Property of the INBA. She was an advisor to the General Directorate of INAH. She belongs to the National Academy of Architecture and to the College of Architects of Mexico City, as well as to the International Council of Monuments and Sites, ICOMOS. She has chaired the Mexican Society of Restoration Architects, A.C. Has 15 years of teaching at the Anahuac University with Architect Mario Pani. She is the founder and director of CONSERVARQ Study dedicated to conservation, restoration and defense of heritage. President of the Association of Friends of the National Museum of Cultures. Member of ICOM since 1996 and currently president of the Board of Directors of the Mexican Committee of ICOM during the period 2015-2018.

�-|ub1b-�7;�Ѵ-� &��$�Patricia de la Fuente has a masters in philosophy from UNAM. She has exhibited in Mexico, Spain, Italy, Monaco, France and Japan as a plastic artist. She won the International Prize for Engraving in Small Format of Cadaques in its 11° contest. She has participated in seminars, courses, workshops and conferences on contemporary art and museums and developed educational projects related to university collections. She was head of the Department of Study and Documentation of the collections of the Museo Universitario de Ciencias y Arte (MUCA) and the Museo Universitario Arte Contemporáne (MUAC). She participated in the planning and implementation of the Diploma in Museography, Faculty of Architecture, UNAM.

+-mb���!!�����Yani Herreman is an architect with an MA in Art History and a Master´s in Museum Studies. She is a PhD candidate in History of Art. She is a former Natural History Director, former ICOM Vice President and founding President of ICOM LAC. She is a member of the Museum International Editorial Board and has written chapters in books and specialised magazines like Running a Museum, She has taught at ENCRyM, UMP and been an invited professor at Mexico´s National University. She has also been an international consultant for UNESCO and UNDP.

�o-m-�"o�v-����$��!�Joana Sousa Monteiro has been the Director of the Museum of Lisbon since 2015. She was a museum and heritage adviser to the Lisbon Councillor for Culture from 2010-2014. She was Assistant Coordinator of the Portuguese Museums Network at the National Institute of Museums (2000-2010). Previously, she worked at the Institute of Contemporary Art and at the National Museum of Contemporary Art. She holds a degree in Art History (Nova University), an MA in Museology (Lusófona University), and an MA in Arts Management (ISCTE). She has been the Chair of CAMOC since 2016.

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�-uѴ;m���&���&�Marlen Mouliou is a full-time Lecturer in Museology at the National and Kapodistrian University of Athens (Faculty of History and Archaeology) and Scientific Co-ordinator of the Postgraduate Programme in Museum Studies, NKUA. Since 2016, she has been a member of the Panel of Judges for the European Museum of the Year Award and Vice-Chair of the European Academic Heritage Network (UNIVERSEUM). From 2010 to 2016, she has served as Secretary and Chair of ICOM-CAMOC; she is currently Co-Coordinator the CAMOC/CAM/ICR collaboration Migration:Cities I (im)migration and arrival cities.

�bm7-���!!�"Linda Norris is Global Networks Program Director at the International Coalition of Sites of Conscience, a global network of historic sites, museum and memory initiatives connecting the past struggles to today’s movements for human rights and social justice. Before joining the Coalition in 2017, Linda was an independent museum professional, facilitating action on how creativity can shape compelling narratives and create deep community connections. She is co-author, with Rainey Tisdale, of Creativity in Museum Practice and blogs at The Uncatalogued Museum.

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COnferenCe

14 “�ov|��or�Ѵ-ঞomvĹ��lb]u-m|vķ�� �� � bllb]u-m|v�-m7�|_;�lbvvbm]�_bv|oub;v�o=��� � o�u�1bঞ;vĿ� Doug Saunders

15 ľ��v;oѴo]��-m7�lb]u-ঞom�bm�|_;�$u�lr��� � ;u-Ŀ�Marco Barrera Bassols

16 ľ�;=ou;�|_;�ļ�uub�-ѴĽĺĺĺ�_o��|o�;lro�;u��� � u;=�];;�1oll�mbঞ;v�bm�|u-mvbঞom-Ѵ�� �� � 1bঞ;v�|_uo�]_�l�v;�lŊѴbh;�-1ঞ�bঞ;v�� �� � �b|_bm�|_;��u0-m�Ѵ-m7v1-r;Ŀ� Marlen Mouliou

17 ľ$_;�bm=oul-Ѵ�1b|��bm�|_;�1b|��l�v;�lĿ��� Joan Roca i Albert ƐѶ� ľ�b]u-ঞomv�-m7�l�v;�lv�bm�"o�|_�� �� � �-1bC1�bvѴ-m7�v|-|;�1-rb|-Ѵ�1bঞ;vĹ�� �� � "-lo-ķ�(-m�-|��-m7� bfbĿ� Kanefusa Masuda

19 ľo��m7b];mo�v�]uo�rvķ�;v|-0Ѵbv_;7�bm�� �� � 1bঞ;vķ�_-�;�u;ru;v;m|-ঞ�;�l�v;�l�� �� � vr-1;vĵĿ� Jesús Antonio Machuca Ramírez

20� ľ�llb]u-ঞom�-m7�|;uub|ou�Ĺ�rov|�-u�� �� � bllb]u-ঞom�-v�-�v|u�1|�ubm]�;Ѵ;l;m|�o=�|_;��� � �u0-m�1omC]�u-ঞom�bm�|_;��� �� � o�|vhbu|v�o=��-7ub7Ŀ��� Hortensia Barderas

21� ľ)_;u;�_-�;�|_;��-uvo�b-mv�� �� � 1ol;�=uolĵ��b]u-ঞomv�bm�1om|;lrou-u���� � )-uv-�Ŀ��Magdalena Wróblewska

22� ľ$_uom;v�-m7�";;7v�ŋ�lb]u-m|�� �� � 1�Ѵ|�u;v�Yo��bm��bv0omĹ�m;��1_-ѴѴ;m];vķ��� � m;��r;uvr;1ঞ�;vĿ�� Joana Sousa Monteiro

Ƒƒ� ľ�;��vr-1;vķ�v-l;�1_-ѴѴ;m];vĿ��� �-�u-��11;�-�

24� ľ)_-|�-0o�|��vĵ�";;hbm]�|_;�ļ";Ѵ=Ľ�bm�� �� � 1b|��l�v;�lvĿ Chunni Chiu

25� ľ�1hmo�Ѵ;7]bm]��m1;v|u-Ѵ��-m7v�-|�|_;��� � �-m-7b-m���v;�l�=ou���l-m�!b]_|vĿ Clint Curle & Jennifer Nepinak

26� ľ��1;rঞom-Ѵ�1b|�ķ�ou7bm-u��bvv�;vĹ�|_u;;��� � 1b|��l�v;�lv�bm��u-vझѴb-Ŀ�� � � Águeda Oliveira & Ana Gomes

27� ľ$_;�0bo]u-r_b1-Ѵ�r;uvr;1ঞ�;�bm��u0-m��� � l;loub;vĿ�Annemarie de Wildt

ƑѶ� ľ$o�v_-u;�_bv|ou�ĵ��m�-�|_oub|��bvv�;v�bm�|_;��� � m-uu-ঞ�;�Ővő�-0o�|�|_;�r-v|�bm�l�v;�lvĿ �bmࢼ-�(;Ѳ�t�;���-uuomb

29� ľ��v;�lv�om�|_;��7];Ĺ���Ѵ|�u;��-�]_|��� � bm�|_;��uovvCu;Ŀ France Desmarais

ƒƏ� ľ�om=uomঞm]��;��+ouhĽv�ru;v;m|�-m7�� �� � =�|�u;Ŀ� Sarah Henry

ƒƐ� ľ)_o�7;v|uo�v�l;lou��1-m�7olbm-|;���� � |_;�=�|�u;Ĺ��;lou��bm��u|�-m7�� �� � ��v;�lvĿ��ubvࢼm-��b;7b1o�

ƒƑ� ľ$_;�;�|;m|�|o��_b1_�"o�|_��=ub1-m�� �� � 1bঞ;vĽ�l�v;�lv�ub�;Ő7ő�|o�roѴbঞ1-Ѵ�� �� � �m7;u|om;vĹ�1om=;vvbomv�=uol�-�_;ub|-];��� � r;uvr;1ঞ�;Ŀ Bonginkosi Zuma

ƒƒ� ľ�b|��b7;mঞ|��bm�|_;�1om|;�|�o=�roѴbঞ1-Ѵ��� � 1_-m];v�-m7�|_uo�]_�|_;�Ѵ;mv�o=�� �� � lbѴb|-u��1omYb1|Ĺ��ul;mb-m�lbmoub|��� �� � bm��Ѵ;rro�bm�|_;�ঞl;�o=��-u�-v�-�r-u|�o=��� � 1b|��b7;mঞ|�Ŀ�Katarzyna Jarosz

ƒƓ� ľ�Ѵ�l�v;o�1olo�u;_m�7;Ѵ�1omYb1|o�� �� � -ul-7oĹ�!;;7bC1-m7o�m�;�ov�� �� � r-u-7b]l-v�7;�|u-mv=oul-1bॕm�vo1b-ѴĿ�� � �m-��-ubm-���;0Ѳ-��;umm7;�

ƒƔ� ľ�;uv;�;ubm]�|_uo�]_�ঞl;�-m7�� �� � l;lou�Ĺ��u-m|�bmh�"b|;�o=��;lou��� �� � Ŋ��u-m|�bmh� o�m7-ঞomĿ�� Nayat Karakose

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68

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40� ľ!;=u-lbm]��ou|_;um��u;Ѵ-m7Ľv�ƐƖѵѶ�bm�-��� � ļrov|Ŋ1omYb1|Ľ�1om|;�|Ŀ� Chris Reynolds & William Blair

42� ľ����v;�l�=ou�|_;��b|��o=�$ouom|oĵĿ Elka Weinstein

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44� ľ&u0-m�l;lou�ķ�7b-Ѵo]�;v�-m7�u;Y;1ঞomv��� � om�m;��1om|;m|vĺ�!;7;vb]m�o=�|_;�v1ubr|Ĺ��� � ��v;�l�o=�|_;��b|��o=��ॕu7o0-Ŀ� Patricia Elsa Brignole

45� ľ)_ov;�_bv|ou��bv�|_;�l�v;�l�|-Ѵhbm]���� � -0o�|ĵ���1-v;�o=�|_;���v;�l�o=���o|oĿ� Masakage Murano

46� ľ��v;�lv�o=�|_;�1b|��-m7�|_;bu�bmY�;m1;Ŀ Alina Saprykina & Liliya Krysina

47� ľ"o1bol�v;oѴo]��-m7�;1-u1;u-ঞomĹ�$_;��� � &mm-l;7��ou|_��-�m7-Ѵ;��oll�mb|���� � ��v;�lĿ�Chelsea Ridley & Jonathan Kelley

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49� ľ�u;-ঞm]�-�l�v;�l�-�_ol;�o=�0;Ѵom]bm]v��� � bm�-];�o=�]Ѵo0-Ѵ�lb]u-ঞomv��b|_bm�� �� � 1oll�mbঞ;vĿ��Joyce Kinyanjui

WORKSHOP55� ľ$_;���v;�l�-|�|_;��;m|u;�o=��uub�-ѴĿ Doug Saunders

56� ľ�b]u-ঞomv�-m7�l�v;�lvĺ�$_;��_buѴ�bm7�o=��� � |_;�-l0�Ѵ-|ou�ĺĿ�Francisco Javier Guerrero

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59� ľŐ�lőlb]u-ঞom�-m7���v;�lv�$u;m7v�bm��� � �-r-mĿ� Chunni Chiu & Hiromi Takao & Kaori Akazawa

60� ľ�llb]u-ঞom�_;ub|-];�bm�"o��-�ѴoĿ�� Andrea Delaplace

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