Museums as places for intercultural dialogue - Network of European ...

a given heritage which, until that moment, they were precluded fromsharing or understanding.Table 1 – Outputs, outcomes, impact of the pilot projectsThis process, by and large a one-way, linear trajectory, clearly emergesfrom objectives set for the pilot projects such as: to ‘hand over thebaton of local history;’ to ‘help new citizens see themselves reflectedin the evidence of the local past;’ to ‘rethink our model of knowledgetransmission to an adult audience which is new to these issues.’However, if we accept the definition of intercultural dialogue put forwardin the previous chapter – a process (not a goal) actively engaging bothautochthonous individuals and those with an immigrant background,which is transformative on both sides, and in which all are equalparticipants; fostering reciprocity between the museum and its diverseaudiences, by bringing into dialogue their different perspectives,experiences and knowledge bases – it becomes clear that there isyet another, demanding political choice museums have to make: thechoice of cultural inclusion. 9 In this model, the emphasis is placed onthe genuine engagement of individuals not only as audiences, ‘butalso as creators, producers, distributors, commentators and decisionmakers’10 taking an active part in the choices of the institution as wellas in the negotiation and creation of meaning.This can only be achieved if the museum is able to evolve into aninstitution which is less self-referential, more rooted in the life of thesurrounding community, and more open to exploring collaborativemodes of operation, sharing strategies and objectives, including newvoices, skills and narratives. Many of the projects described in thefollowing pages have taken the first steps in that direction.1Unless otherwise credited, all quotations in this chapter are from pilot project selfevaluationforms.2See S. Bodo, “The challenge of creating ‘third spaces’: Guidelines for MAP for IDpilot projects.”3Migration, integration, interculturality, dynamic identity, second generations.4C. Lagerkvist, “Empowerment and anger. Learning how to share ownership ofthe museum,” in Museum & Society, July 2006, 4(2), pp. 52-68 (www.le.ac.uk/museumstudies/m&s/issue%2011/lagerkvist.pdf).5The involvement of “new” and “traditional” audiences in a genuine processof consultation and participatory planning is a principle only relatively recentlyacknowledged and endorsed in official documents like the Code of Ethics ofthe International Council of Museums, which reads: ‘Museums work in closecollaboration with the communities from which their collections originate as wellas those they serve.’ See ICOM Code of Ethics for Museums, 2006 (http://icom.museum/ethics.html#section6).6Dutch pilot projects in particular, clearly distinguishing themselves from other MAPprojects by their emphasis on the visualisation of intercultural dynamics throughcontemporary art languages, rather than on collections of objects, provide usefulinsights on the importance of focusing not only on the historical heritage, but alsoon ‘the future of multicultural heritage’ (see Evelyn Raat’s introduction).7Tongue to tongue. A collaborative exhibition (Centre for African Studies and Museumof Anthropology and Ethnography of the University of Turin)– i.e. the institutional,scientific, didactic language of the museum vs. the autobiographical, evocative,emotional language of mediators.8The model of access development, widely adopted throughout Europe in thepost-war period, is rooted in the idea of the “democratisation of culture.” Its goal isto improve access to a dominant culture which is held as universally valuable, byidentifying barriers and underrepresented groups, and developing programmes andactivities aimed at promoting their participation.9The model of cultural inclusion is closely connected with the notion of “culturaldemocracy,” officially endorsed in the concluding recommendations of theIntergovernmental Conference of the European Ministers of Culture promoted byUnesco in Helsinki, 1972.10F. Matarasso, Amid the affluent traffic: the importance of cultural inclusion, 2006(www.nesf.ie/dynamic/pdfs/i.%20Matarasso.pdf).Activities• themed guided or selfguided tours• arts, storytelling or reminiscenceworkshops• exhibitions: virtual, collaborative andtravelling• autobiographical presentations,installations or displays• filmed conversations• “narrative routes”• “geo-emotional” maps• commission of artworks, of theatremonologues• theatre performances• videos, short films• blogs, web content• multimedia platforms• launch of an intercultural clothing line• training courses• conferences, seminars, study days …OutputsIndividual• creativity, self-expression and selfrepresentation• exploration of new ideas, values,aspirations• interest in the arts/heritage• cultural participation• development of art-related skills• development of relational, social,organisational competencies• development of linguistic, professionalskills• use of pre-existing competencies andskills, often left unexpressed in “day-todaysurvival”• starting point for further learning/training• self-confidence, motivation, personalpride• sense of belonging• recovering and sharing past stories,emotions, experiences• curiosity, openness towards othercultural expressions• challenging stereotypes• reduced social isolation, trust in others,team work …OutcomesSocial impact (community)• self-determination• empowerment• participation in decision-making• development of community networks• tolerance, conflict resolution• intergenerational / interculturalexchange• collective identity / sense of belonging• active safeguarding of local heritage• social cohesion …Institutional impact• growing attention to the needs andexpectations of “new citizens”• new competencies of staff• new communication / mediationstrategies• inclusion of new voices indocumentation, interpretation, display• diversified programming and workforce• new partnerships, overcoming a selfreferentialattitude• awareness of the social role of themuseum• commitment to future projects /development of action plans• new perspectives on collections• greater knowledge of local migrationpatterns and immigration / integrationpolicies• development of collections andmuseum documentation system(artworks, videos, short films, oralhistory recordings, multimediaplatforms) …Impact30 31