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Working Internationally with UK Museums

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International Symposium on Climate Change and Museums, 11 – 13 April, Manchester

If you are interested in attending, please register at https://www.kxregistration.mmu.ac.uk/WSCCM18

The conference will be held in the Samuel Alexander Building, University of Manchester, Lime Grove, Oxford Road, Manchester M13 9PP

9:15–9:50 Welcoming remarks and Introduction. Museums and climate change: where are we? Where do we want to go? How do we want to get there?
Henry McGhie, Manchester Museum, and Walter Leal, MMU

9:50–10:00 The International Council of Museums and Climate Change
Diana Pardue, Executive Board Member, ICOM; Chief of Museum Services Division, Statue of Liberty NM and Ellis Island National Park Services, New York

10:00–10:15 Remarks on Museums and Climate Change
Robert R. Janes, Founder and Co-chair, Coalition of Museums for Climate Justice (prerecorded

10:15–10:45 Museums and Science Centres as Provocateurs and Change Agents in Climate Change Action
Prof. Fiona Cameron, Senior Research Fellow, Institute of Culture and Society, University of Western Sydney, NSW, Australia

10:45–11:15 Break

11:15–11:45 Nature-focused museums in the Anthropocene: engaging communities in the dynamics of the natural world
Emlyn Koster, PhD, North Carolina Museum of Natural Sciences, USA

11:45–1:00 Parallel sessions (two in parallel)
Session A

11:45–12:10 The Possible Museum: Future Scenarios
Bridget McKenzie, Director, Flow Associates, UK

12:10–12:35 Active Stewardship: re-imagining museums as places of change towards a sustainable future
Hilary Jennings, Director, Happy Museum Project, UK

12:35–1:00 Heidegger's jug, museum collections and sustainability
Morien Rees, Varanger Museum, Norway

Session B
11:45–12:10 Enduring Connections – Museums, Objects and Climate Change in Kiribati
Anna Woodham, King’s College London

12:10–12:35 Climate change and sea level rise: collecting the impact on Scottish saline lagoons
Fiona Ware and Sankurie Pye, National Museums Scotland, UK

12:35–1:00 Natural History Collections and historical body size changes in animals: how collections can help unravel the impacts of climate change and predict future changes
Rebecca Wilson-Brodie, University of Southampton and Natural History Museum, UK

1:00–2:00 Lunch

2:00–3:30 Parallel sessions (two in parallel)

Session C
2:00–2:30 UK museums’ environmental practice – progress, challenges and opportunities
Claire Buckley, Julie’s Bicycle, UK

2:30–3:00 Development of Life Cycle Assessment Tool for Custodians of Cultural Heritage: Challenges and Goals
Sarah Nunberg, Fine Arts Conservator, The Objects Conservation Studio, LLC

3:00–3:30 Collaboration: The First Line of Defence – Sharing Historic Environment Scotland’s Approach to Assessing Climate Change Risk and its Impact on Collections
David Harkin, Historic Environment Scotland

Session D
2:00–2:30 “We have no Planet B”: using cultural engagement to inform climate change policy at a local level
Sarah Mander, Tyndall Centre, University of Manchester, UK

2:30–3:00 Co-operation between Science Museums and NGOs towards Climate Change Actions
Jingjing Qian, Low Carbon Science and Technology Museum of Hangzhou China

3:00–3:30 Environmental entrepreneurship: adapting our museums for a greener future
Elliot Goodger, Museums’ Association Rep., West Midlands, UK

3:30–4:00 Break

4:00–4:45 Creating a museum dedicated to climate change
Miranda Massie, Director, The Climate Museum, New York, USA

9:15–9:45 The IPCC (Intergovernmental Panel on Climate Change) and museums: a strategy for disseminating IPCC reports
Jonathan Lynn, Head of Communications, IPCC

9:45–10:30 ‘Melting the Poles’: how museums can reach new audiences and overcome polarisation through narratives of shared values
George Marshall, Director of Projects, Climate Outreach, UK

10:30–11:00 Break

11:00–12:00 Parallel sessions (two in parallel)

Session E
11:00–11:30 Climate hack: rapid prototyping new displays in multidisciplinary museums
Charlotte Connelly, University of Cambridge, UK

11:30–12:00 Climate Change: a different narrative
Henry McGhie, Manchester Museum, UK

Session F
11:00–11:30 A mobile-guided smart-safari on an extracurricular location
Dr. Sascha Henninger and Tanja Kaiser, University of Kaiserlautern,

11:30–12:00 Analysis of the organization to low carbon education activity in science and technology museums based on the activity of “Low Carbon Changes the Environment
Niu Lulu, Hangzhou Low Carbon Science and Technology Museum, China

12:00–1:00 Lunch

1:00–4:00 (including break at 2:30–3:00)
Participatory workshop, collaborating on creating climate engagement:
Designing a ‘Localisable’ Climate Exhibition for Anywhere
Jenny Newell, Fiona Cameron, Morien Rees, Kirsten Wehner, Henry McGhie, Miranda Massie

9:15–9:45 Creative Collaborations: Communities, Collections and Environmental Change
Dr Jenny Newell, Manager, Pacific and International Collections, Australian Museum, Sydney, Australia

9:45–10:15 Localising the Anthropocene: Re-shaping museum practice to engage and connect Australian communities responding to environmental change
Dr Kirsten Wehner, Sydney Environment Institute, University of Sydney, Australia

Localising the Anthropocene: Everyday Futures in the Australian Age of Humans is a multi-year
collaboration between researchers and curators at the Sydney Environment Institute, the University of NSW, the Australian National University, the National Museum of Australia and

10:15–10:30 Communicating Climate Change and the Anthropocene: A Special Opportunity for Natural History Museums
Eric Dorfman, PhD, Director, Carnegie Museum of Natural History, Pittsburgh, USA (pre-recorded message)

10:30–11:00 Break

11:00–11:30 At Adaptation End: Working Across the Cultural Heritage Spectrum to Address Community-Scale Loss and Damage
Andrew Potts, International Council on Monuments and Sites, US

11:30–12:30 Parallel sessions (two sessions)

Session G
11:30–12:00 Creating Change in the Field: Standards, Practice Guides, and Hashtags
Sarah Sutton LEED-AP, Sustainable Museums, USA

12:00–12:30 The role of museum archaeology in the communication of climate change
Jess Collins, University of Exeter, UK

Session H
11:30–12:00 Communicating Climate Change: Reactions to Adapt and Survive exhibition and visitors’ thoughts about climate change in the Pacific islands region
Sarah Hemstock, Bishop Grosseste University and the University of the South Pacific, UK and Fiji

12:00–12:30 Treasuring Evaporation, the radical challenge of Museum of Water
Amy Sharrocks, Museum of Water, UK

12:30–1:30 Lunch

1:30–3:00 Parallel sessions (two sessions)

Session I
1:30–2:00 Participation of science museums in enabling climate action
Xiaofang Jin, Low Carbon Science and Technology Museum of Hangzhou China

2:00–2:30 (Climate) data is just stories without a soul
Asher Minns, Tyndall Centre, Norwich, UK

2:30–3:00 The Role of Science Drama for Public Participation in Climate Change Mitigation and Adaptation
Han Jun, Low Carbon Science and Technology Museum of Hangzhou China

Session J
1:30–2:00 The movement for ‘Fossil Free Culture’ – from oil sponsorship to climate justice
Chris Garrard, Co-director, Culture Unstained, UK

2:00–2:30 Optimizing energy efficiency of museums with a new laboratory for testing unpowered museum display cabinets
James Crawford, Sustainable Microclimates, Birmingham, UK

3:00–3:30 Break

3:30–4:30 Closing session. Museums and climate change: where are we?
Where do we want to go? How do we want to get there?

2018 Working Internationally Conference & Museum Definition Round Table

We would like to thank everyone who attended and contributed to the 2018 Working internationally Conference and the Museum Definition Round Table last week in Edinburgh.  As organisers, we left feeling inspired and we hope those who attended did too.

Over the next two weeks we will add the presentations in PDF format to the ICOM UK website.  You can see the discussions on Twitter using the hashtag #2018wiconf

We are now transcribing the discussions from the round table, which will be sent to ICOM before the end of this month.

If you have any feedback about the conference or round table, or if your organisation would be interested in hosting ICOM UK events in the future, please do contact us at uk.icom.museum@gmail.com

And as Fiona Hyslop MSP, Cabinet Secretary for Culture, Tourism and External Affairs told us "Keep doing what you're doing, and do it well: the world needs you".

Save the date: 23-26 November 2018 in Fuzhou, China

Yu Culture is calling for international exhibitors and participants to attend the Eighth Museums and Relevant Products and Technologies Exposition (MPT-Expo), organised by the Chinese Museums Association together with the Chinese Association of Natural Science Museums and the government of Fuzhou in the city of Fuzhou (Fujian Province) from 23 to 26 November 2018.

The MPT-Expo, which takes place once every two years, is the only professional gathering for Chinese museums and museum workers and receives an average of 450 museums and 600 service providers as exhibitors as well as some 6,000 participants for its conference programme at each edition.

Contact us today if your company or institution is interested in exhibiting at the 60,000-sqm expo, or participating in the conference. Yu Culture can also be your partner if your company or institution wants to extend your stay in China with a study-tour around some of the most important Chinese museums. Don’t miss the chance to discover the Chinese museum scene and explore collaboration opportunities.

In 2016, Yu Culture was invited to chair a session on international touring exhibitions at the Association’s Seventh MPT-Expo in Chengdu (Sichuan Province) and we look forward to another successful conference this year.

Neurodiverse Museum Professionals Group launching in U.K./Europe and U.S.

The Disability Co-operative Network (D.C.N.) are developing an informal virtual group of Neurodiverse Museum Professionals (dyslexia, dyscalculia, dysgraphia, dyspraxia, AD(H)D, ASD, Tourette’s) who work (both paid and unpaid) or are emerging professionals in the Heritage and Cultural Sectors.

There will be two groups, one based in U.K. and Europe and its sister group in the United States led by Sam Theriault.

It will be peer supported and led with opportunities to share strategies, develop friendships and influence working practice.

We can also provide opportunities to feedback Access to Work experiences to D.A.N. (Dyslexia Adult Network) and AchieveAbility to improve service in light of the Westminster AchieveAbility Commission Report: Neurodiverse Voices: Opening Doors to Employment and Making A Shift Report by Arts Council England.

We would like the group to work in creating opportunities to improve existing working practices within the Heritage Sector and good for career development in inclusive practice.

Forum and information can be found here.

Making CPP an Operational Reality – Blue Shield and UK Armed Forces Conference

Co-organised by the UK Armed Forces, UK Blue Shield, and Newcastle University, this one-day conference is intended for members of the armed forces, heritage professionals, academics, and others with an interest in cultural property protection (CPP) in armed conflict. The conference will examine recent developments in CPP from practical operational, legal, and technical perspectives, provide updates on the most recent developments in the field, and develop ways those involved in CPP can work more closely together to provide better heritage protection in the event of, during, and after armed conflict.

Attendance at the conference is free. However, seating is limited to 100 spaces, so we ask that all participants register in advance.

Lunch will be provided for all registered attendees.

The conference will take place at Newcastle University London Campus on 12 April, beginning at 9am.

The conference will be followed by a networking reception from 5.30pm onwards at Balls Brothers Bury Court where food and drinks will be available to purchase.

The dress code is suits / equivalent.

The European Commission Highlights Successful Cultural Heritage Projects

This article was originally posted here http://www.ne-mo.org/news/article/nc/1/nemo/the-european-commission-highlights-successful-cultural-heritage-projects/346.html

Cultural heritage is one of the main sectors supported through the Creative Europe programme.

The European Commission has selected 15 successful Creative Europe-funded projects to showcase the variety of cultural heritage actions as well as to offer a source of inspiration.
Projects from the museum sectors can be found in the toolkit. The CEMEC project, which brings museums and cutting-edge technology together through a network of exhibits from different countries, is for instance featured. So is the SWICH project, which is changing the way that ethnographic museums curate and exhibit stories from the past.

Download the toolkit Creative Europe: Rediscovering our cultural heritage here.

This article was originally posted here http://www.ne-mo.org/news/article/nc/1/nemo/the-european-commission-highlights-successful-cultural-heritage-projects/346.html

The Rise of Virtual Citizenship

This article first appeared in The Atlantic https://www.theatlantic.com/technology/archive/2018/02/virtual-citizenship-for-sale/553733/ and AAM's Dispatches from the Future of Museums http://www.aam-us.org/resources/center-for-the-future-of-museums

Citizenship and its varying legal definition has become one of the key battlegrounds of the 21st century, as nations attempt to stake out their power in a G-Zero, globalized world, one increasingly defined by transnational, borderless trade and liquid, virtual finance.

Alongside the rise of populist, identitarian movements across the globe, identity itself is being virtualized, too. It no longer needs to be tied to place or nation to function in the global marketplace. In 2014, Estonia started offering a slice of its citizenship as a digital service. Since then, it has registered more than 30,000 e-residents, who are permitted to open bank accounts, start companies, sign documents, and pay tax under Estonian jurisdiction and law.

In principle, nothing would prevent the Estonian model from being generalized to other guarantors of state protection, including wider legal rights and health care, which are of more concern to the less fortunate.  READ MORE

Eva Bredsdorff – Senior Museum Curator, Powysland Museum, Wales visits South Africa

Eva Bredsdorff, Senior Museum Curator at Powysland Museum in Wales visited South Africa on an ICOM UK - British Council Global Travel Grant.  This is the blog post from Eva's visit.

As curator of Powysland Museum in Welshpool I am planning an exhibition for 2019 called ‘From Wales to South Africa: Conflict & War’, looking at the 1879 Zulu War and the Anglo-Boer War from 1899 to 1901. Both of these wars are closely connected to regiments in Powys. The Zulu War with the Borderers Regiment from Brecon and the Anglo-Boer War with the Montgomeryshire Yeomanry.

In order to understand these two wars better and place them in a historical and geographical context I decided to visit the relevant areas and places of interest in South Africa. My research has been generously supported by an ICOM UK - British Council Global Travel Grant and additional a Jonathan Ruffer curatorial grant from the Art Fund, for which I am most grateful.

I arrived in Johannesburg on the morning of the 8th of February and in the afternoon I met with Allan Sinclair, curator of military art, aviation and public relations at the National Museum of Military History. He showed me the displays dealing with the Anglo-Boer War, but also interestingly explained that the museum’s main focus was on the two World Wars. He also introduced me to Phindile G. Madida, the museum’s principal information officer. The following day I travelled to Bloemfontein to meet Johan van Zyl, Museum Human Science Manager of the War Museum of the Boer Republics, who gave me a guided tour of the museum, which does not blame or accuse any of the parties, but rather looks at the reasons for the war, the consequences and most importantly the human stories within the war.

Next stop was Ladysmith where I visited the All Saints Anglican Church and the Siege Museum commemorating the 118 days during which the Boers besieged the British citizens of the town. The curator Luke Makhubo was most welcoming and keen to be part of the project and again the balanced view of the displays were interesting. From Ladysmith I went to Dundee to meet with Pam McFadden, the curator of the Talana Museum, Battlefield and Heritage Park, which included a local history museum containing exhibitions on both the Zulu and the Anglo-Boer Wars. We spent over one and a half hour discussing not just the Powysland Museum project, but also the background and set-up of the Talana Museum, the other exhibitions and museums under her jurisdiction as well as the different funding situations in South Africa and Great Britain and it was fascinating to compare the museum issues in Wales and South Africa.

On my way across the battlefields I visited Isandlwana and Rorke’s Drift – two of the most famous battles during the Zulu War. Both places have an interesting visitor centre attached which explains the military manoeuvres of the two armies as well as some displays with battlefield finds and contemporary photographs. At the Mtonjaneni Zulu Historical Museum I met the owner Nico Harris, who had bought his collection from a local family to avoid it being confiscated by the state and stored away in boxes. I was allowed to spend time on my own in the museum which mostly had displays on Zulu arts and crafts and finds from the various battlefields.

I feel that this trip to South Africa has been successful in all its objectives. I have visited some of the major museums relating to the Zulu and the Anglo-Boer Wars and studied their interpretation of these wars, I have made contact with colleagues in these museums and will continue to develop these partnerships by exchanging information and resources and finally I have come away with knowledge and ideas for the proposed exhibition ‘From Wales to South Africa: Conflict & War’ which will hopefully make it an interesting exhibition for British visitors – and maybe entice some of my  South African colleagues to come and visit so I can repay them the generosity and hospitality, they have all shown me.

European Union contributes £40m a year to UK culture

This article first appeared in Arts Professional online: https://www.artsprofessional.co.uk/news/european-union-contributes-ps40m-year-uk-culture?utm_source=Weekly-News&utm_medium=email&utm_content=nid-207791&utm_campaign=23rd-February-2018 

New research by Arts Council England, produced to inform the Brexit negotiations, has highlighted the negative impact losing funding and free movement could have on the sector.

Up to £40m a year in funding for arts and culture in England is estimated to be at risk because of Brexit, according to new research by Arts Council England (ACE).

As well as highlighting potential lost funding, the research has found around half of arts workers are concerned about the impact losing free movement could have on their organisation.

The findings, published in two reports this week, have been passed to Government to inform the Brexit negotiations. ACE Chair Sir Nicholas Serota said: “These reports give us valuable data on what culture organisations need to thrive as we reframe our trading relationships with Europe and the world.

“Culture has always made a key contribution to our soft power, making friends and building dialogue, and supports our growing creative industries.”

Financial value

Around 1,385 arts and cultural projects received at least £345m in EU funding between 2007 and 2016, of which £210m came through European Structural & Investment Funds, according to the research commissioned by ACE and conducted by EUCLID.

The total funding covers a “breadth of impacts”, ranging from funding which has been of “specific benefit” to the arts, museums and creative industries in England, to investment in research institutions who “have a focus on related areas”.

Around £24m came through the Creative Europe programme and its predecessor, while around £16.6m came via Erasmus+ for education and training and £71m from a research and development fund. £10m was directed to arts-related activity through ‘2 Seas Interreg’.

Over half of the total funds – £194m – were directed to the creative industries. Museums received £33m and music £32m. Dance was the artform that received the least: just £4m across the period.

Nearly a third (30%) of the total funding was delivered to London and the South East.

Working relationships

A survey of 992 arts and culture workers, conducted by ICM for ACE, found 64% currently work inside the EU. The most common types of activity are touring and sending UK artists abroad.

Intending to research the relationship arts organisations in England have with the EU, the survey found 89% believed artistic development was the most important reason for working across borders.

Around half said retaining free movement for temporary and short notice work opportunities was important to their organisation and 40% regularly need to move equipment and objects between the UK and the EU.

Most respondents were “not able to give any advantages” of Brexit for their organisation.

When asked to rank the UK’s post-Brexit priorities, respondents indicated the most important was enabling organisations and individuals to work in the EU for short periods. The next most important were replacing EU funding and reducing barriers to trade.

Dance organisations employ the most EU nationals, with half of organisations doing so compared with a third across the arts as a whole. EU citizens are most likely to be employed in artistic or creative capacities, followed by managerial and administrative roles.

Looking ahead

The report suggests some possible advantages to Brexit, such as a potential increase in tourism due to a weaker pound and benefits through the exchange rate for those paid in Euros. But it also notes these benefits are “frequently offset” by negative effects of the weaker pound in purchasing raw materials.

Many potential disadvantages are listed, such as threats to the UK’s international reputation and ability to collaborate; reduced EU funding; and reduced UK funding as the Government adjusts to continuing economic uncertainty.

Discussing the research conclusions, ACE Deputy Chief Executive Simon Mellor said the national funder has “shared this information with Government, pointing out that these are likely to be minimum figures and making it clear that our sector cannot afford to lose this level of funding as we leave the EU”.

ACE has stated its commitment to commissioning necessary research to inform the Brexit negotiations, and plans to publish further research on the indirect funding received by culture through EU grants to universities and others.