Dcms Museums Galleries Sector Coronavirus Bulletin 24 Jan 22

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DCMS Museums & Galleries Sector Coronavirus Bulletin 24 Jan 22

Below is a link to download the latest PDF coronavirus bulletin from DCMS for the museums and galleries sector, containing links to government information and advice, including:

The government has announced that the measures put in place under Plan B in England will be lifted. This means:

  • The government is no longer asking people to work from home if they can. People should now talk to their employers to agree on arrangements to return to the office.
  • From Thursday 27 January: There is no longer a legal requirement to wear a face covering. The government suggests that you continue to wear a face covering in crowded and enclosed spaces where you may come into contact with other people you do not normally meet.
  • From Thursday 27 January: Venues and events will no longer be required by law to check visitors’ NHS COVID Pass. The NHS COVID Pass can still be used on a voluntary basis.
  • Self-isolation: It is still a legal requirement for those who have tested positive for Covid to self-isolate. The isolation period was reduced last Monday to five full days with two negative tests.
  • The self-isolation regulations expire on 24th March, at which point the government expects not to renew them.
  • Travel to the UK: All testing measures for eligible fully vaccinated arrivals to England will be removed from 4am on 11 February.

https://uk.icom.museum/wp-content/uploads/2022/01/Coronavirus-bulletin-20220124.pdf

IMPORTANT: ICOM External Review – process for member feedback by 12:00 on Tues 1 Feb 2022

Over the past several months, Doyenne Strategy and Luma Consulting, commissioned by ICOM, have conducted an external review on the functioning of ICOM. The report, available in English, French, and Spanish, is the result of the first phase of this process.

In the context of working more transparently and involving ICOM members worldwide, each National and International Committee has been asked to share the report with its members and ask them for feedback.

Unfortunately, ICOM UK did not receive the communications from the consultants when it was first sent, so we now have a very short time to gather feedback from ICOM UK members. Please be assured that we are following up to ensure we receive all future communications.

What happened?
In 2019, during the Extraordinary General Assembly in Kyoto, the scheduled vote and discussion on the new museum definition resulted in widespread disagreement. Eventually, this led to a large number of resignations from both the MDPP2 (committee that led the process towards the new definition) and the Executive Board in June 2020, including the President of ICOM.

The decision was made to commission an independent investigation into the events, including what structural issues in the ICOM organization contributed to them. The goals of this investigation are to:
1. Analyze the events and structural issues that led to the 2020 governance resignations
2. Compare ICOM’s governance practices against industry standards, and
3. Make recommendations for improved governance

Now what?
The draft report is now available HERE.

ICOM UK sent the report, and instructions for providing feedback, to members on Tuesday 25 February. Please check your junk/spam/quarantine folders for an email via Mailchimp. If you have not received the report, please contact us at uk.icom.museum@gmail.com

In February/March 2022 roundtable meetings with the chairs of all Committees will be held. At these meetings, an ICOM UK representative will summarise the feedback from ICOM UK members. This input will be incorporated by the researchers into their final report, which is due April 2022.

In other words, if you want to provide feedback that will be part of the final report of the External Governance Review, this is the time!

The deadline for sending your feedback to us is 12:00 on Tuesday 1 February 2022.  Send your feedback to uk.icom.museum@gmail.com

Please provide your feedback in the form of written responses to the following three questions:

  1. What is the draft report missing or mis-representing about the events that led to the 2020 governance resignations and resulting crisis? What still needs to be answered?
  2. Do the preliminary findings resonate with your experience and observations? Do they provide sufficient context for the recommendations?
  3. What’s missing from the recommendations? What areas of governance have not yet been addressed? What would make the recommendations more relevant and helpful for your committee?

Remember: ICOM UK, your National Committee, can only be what it is because of you, its members!

Thank you very much for your time and effort.

Queer Britain secures first home

Queer Britain is delighted to announce it has secured its first physical home for the UK’s first national LGBTQ+ museum, for all.

Queer Britain will open to the public in Spring 2022, on Granary Square in London’s Kings Cross, and launch its first major exhibition in the summer.  There will be volunteer and job opportunities coming very soon, so please watch this space.

To secure the future of this important project we rely on the support of donors at every level. PLEASE CONSIDER DONATING HERE 

We extend a huge thank you to our new landlord, Art Fund, and also the many hundreds of people who have helped us get this far.

Now… Let’s Make History!

Joe Galliano 
Director and Co-Founder

 

Read more about Queer Britain’s new home HERE.

Exhibition – Waste Age: What can design do?

Waste Age: What can design do? is now open at the Design Museum in London and runs until 20 February 2022.

We all know waste is a big problem. So how are we going to fix it?

A new generation of designers is rethinking our relationship to everyday things. From fashion to food, electronics to construction, even packaging – finding the lost value in our trash and imagining a future of clean materials and a circular economy could point the way out of the Waste Age.

Explore major new exhibits that capture the devastating impact of waste including a large-scale art installation by Ibrahim Mahama made from e-waste in Ghana.

The exhibition showcases some of the visionary designers who are reinventing our relationship with waste, including FormafantasmaStella McCartneyThe Ellen MacArthur FoundationLacaton & VassalFernando LaposseBethany WilliamsPhoebe English and Natsai Audrey Chieza.

‘We must face the problem of waste – we can no longer ignore what happens to things when we get rid of them. Instead of thinking of objects as things that have an end life, they can have many lives. This is not just an exhibition it is a campaign, and we all have an active part in our future.’ Gemma Curtin, Curator.

 

ICOM Voices – Fostering Remote Inclusion at the National Gallery of Bosnia and Herzegovina During and After the Pandemic

This article was first published on the ICOM website.

Inclusion is part of the social responsibility a modern museum bears as a public institution, regardless of the collection it holds. Inclusion in art museums entails the implementation of activities aiming to improve the accessibility of their collections for certain socially sensitive groups, in a physical, sensory, and cognitive manner, thus fostering audience diversification and democratisation of museum practice.

Socially sensitive groups for which a museum might implement outreach programmes and provide specific content include visitors with disabilities, the elderly, people suffering from dementia, visitors with low or no incomes, migrants, LGBTQI+ communities, etc. This article will focus on how the National Gallery of Bosnia and Herzegovina provided children with developmental disabilities with an assistive form of technology, the ARTsee app, to provide alternative interpretations of art and thus an additional reason to visit the museum.

THE NEED FOR AN ASSISTIVE FORM OF TECHNOLOGY IN AN ART MUSEUM

Listening closely to the ever-changing needs of the National Gallery of Bosnia and Herzegovina’s local community we realised that cultural and artistic content made to cater to the specific educational, emotional, communication, social, and information needs of children with Autism in Sarajevo was missing.

An alternative, collection-based educational pilot programme, ‘Blue Artism’, was therefore implemented in the National Gallery of Bosnia and Herzegovina during 2018 and 2019, establishing an appropriate methodology for children aged 10 to 14 with Autistic Spectrum Disorder. The results of research conducted in 2018 and 2019 during the implementation of the programme revealed that the participants perceive visual patterns in the form of art works in a symbolic manner, and that they often reproduce what they know instead of what they see. We took these findings as a basis to develop a digital didactic app for alternative interpretation to help children with developmental disabilities to access art.

The development of the app was financially supported by the Regional Goethe Institute and the Cultural Manegement Academy as part of the project Culture and Arts in Transition: The Digital Era. The team working on the app was composed of IT experts, defectologists, a designer, and the National Gallery’s Museum Educator.

AN ACCESSIBLE APPLICATION DESIGN

The creative vision of the ARTsee app project was to portray the selected works of art from the National Gallery of Bosnia and Herzegovina in the form of animations, sounds and text. The selection of the works of art to appear was based on their universal emotional and/or narrative value and a potential for being interpreted in all three aforementioned forms.

Based on these criteria, seven works of art from the Gallery’s permanent exhibition Oprostorena intima (Intimacies of Space) were selected. The designer used these works’ digital reproductions to create animations that place the artworks in a particular context (i.e. the passing of seasons) to make the interpretation easier and accessible for the children. For instance, Big Treetop by Safet Zec shows a large treetop that is animated in the application through the change of seasons. A separate sound segment evokes the movement of the wind through the treetop and leaves, through rain, snow or during a hot summer. A third separate segment of textual content describes the animation at three information levels.

The app was developed in two versions: a home version and an on-site version. The home version offers the target group online digital content based on works of art from the collection of the National Gallery of Bosnia and Herzegovina. Parents and caregivers download the app for free and use it together with their children by connecting the visual and audio segments and reading textual interpretations with or for them.

An on-site version of the app was created to give this group additional reasons to visit the museum. During the testing of the application in March 2020, before the outbreak of the Covid pandemic in Bosnia and Herzegovina, the museum organised additional activities for participants (students from the Mjedenica school for special education, in Sarajevo) where they used the application in the permanent exhibition Oprostorena intimaFor this occasion, the museum provided participants with tablets and scannable QR codes near the painting’s captions. Each time the young visitor scans the QR code next to the painting, the app assings him a virtual star. In this way, children with developmental disabilities are motivated to further explore the exhibition space, in a playful manner.

The activity ended with a questions session led by the Museum Educator, about the contents and meanings of these works. The Museum Educator was assisted by special education teachers and students.

LOOKING AHEAD

Can the ARTsee application act as a mediator between participants and original works of art? How do participants navigate the tablet and how much do they understand the functioning of the app? Do certain formal or narrative contents, colours or particular patterns of the artworks affect the participant’s psychological perception of the visual field? To explore these questions, students of psychology and pedagogy from the Faculty of Philosophy and Rehabilitation at the University of Sarajevo have developed questionnaires destined for groups of children with various forms of developmental disabilities. Unfortunately, this research was interrupted by school closures in Bosnia and Herzegovina due to Covid-19, but will continue when the health situation allows visitors to be welcomed more freely in indoor spaces, such as museums. The research will be analysed by the Gallery’s Museum Educator with the help of a mentor in special education from the Department of Pedagogy at the Faculty of Philosophy in the University of Sarajevo.

As the pandemic continues, we continue to develop content that users together with their parents and caregivers can access from their homes. We have adapted two other collections from our museum digitally: paintings by Swiss artist Ferdinand Hodler and selected paintings from the museum’s new permanent exhibition Galerija entuzijazma (Gallery of Enthusiasm). Our hope is that other art museums (locally, regionally and internationally) will join the ARTsee online platform by adapting their exhibitions to the needs of children and young people with developmental disabilities, thus increasing the accessibility of museum collections worldwide.

References:
More about the Culture and Arts in Transition: The Digital Era project, which supported the app:
https://www.goethe.de/prj/cma/en/index.html

The ARTsee app can be downloaded for free:
https://play.google.com/store/apps/details?id=ba.ugbih.artsee

South Georgia: The museum at the end of the world reopens for business

This article was first published by the BBC.

On the icy, southern edge of the Atlantic Ocean, just above the Antarctic circle, is a British island, a ghost town, and a museum.

The island is a tough place to work. The nearest airport is a four-day boat ride away. Fresh food is rare, the internet is “poor to non-existent” and, at times, the wind is strong enough to tip over helicopters.

There are no permanent residents on South Georgia, just 20 or so workers, from scientists to maintenance staff. But despite the remoteness, and the pandemic, its museum has reopened to visitors.

It’s not easy running a museum at the end of the world. But this – from week-long commutes to imports of frozen cheese – is how they do it.

With no native population, the South Georgia museum staff must come from abroad when it opens for the southern hemisphere summer. Most, but not all, come from the UK – around 8,000 miles north.

That journey normally begins with an 18-hour RAF flight from Brize Norton in Oxfordshire to the Falkland Islands, with a two-hour stop in Cape Verde off the coast of Africa. From the Falklands, workers hitch a lift on a fishing patrol boat, with the 1,000-mile journey taking between four and six days.

“If it goes well, it’s a week’s commute from the UK,” says Sarah Lurcock, director of the South Georgia Heritage Trust. But it does not always go well.

“I have been on the boat [leaving the island] when it suddenly went off in pursuit of a suspected poacher. I missed a family holiday, because it was three weeks before I got home.”

The other way workers reach South Georgia is via cruise ship – usually via Ushuaia on the southern tip of Argentina – and it is those ships that bring visitors to the museum.

Pre-Covid, there would be around 100 ships every summer, bringing 10,000 visitors to South Georgia – almost all visiting the free-of-charge museum. Then in March 2020, Covid-19 rushed across the world, and the South Georgian government – based in the Falkland Islands – asked the museum team to leave. There was not much time to pack.

“We literally couldn’t remember if we had left paint pots and ladders out in the middle of the museum,” says Sarah.

The 2020-21 season was cancelled, and it was thought this season would be, too. But, in November, they were told they could reopen, with two weeks to find a team and hitch a ride on the boat. Doors opened in December.

Normally, five or six staff spend the season at the museum, but this year it was three, plus an artist working on a project. One of them was Jayne Pierce, museum curator, who has recently returned to the UK.

“Already I want to go back – it is infectious and addictive,” she says. “The sights, the sounds and the smells are overwhelming.”

As a child, Jayne loved penguins, and dreamed of travelling to Antarctica. She graduated with a geology degree in 1992 but, back then, certain jobs at the British Antarctic Survey – which has a team on South Georgia – were not open to women (the policy was changed later that decade).

Instead, she became a museum curator and in 2019, saw the advert to run the museum on the island. “It was an exciting moment, and actually emotional,” she says.

The first time Jayne went, for a six-month stint, she took a “huge stack” of books, plus paints and pencils, thinking the edge-of-the-world wilderness would give her time for improving hobbies.

“I even considered becoming a yoga aficionado, taking a few yoga DVDs,” she says. “But the reality is very different.”

On the island, “there is always so much to do” – from museum work, to cooking and cleaning. When there is downtime, the teams hike, watch films, or engage in that old-fashioned pastime: conversation.

“Every person who works on the island has a skill-set very unlike your own,” says Jayne. “So there is so much to learn and talk about.”

One thing they don’t do is endlessly scroll through their phones.

The internet comes via a satellite, first installed for a US university team, and is patchy at best. Emails “dribble in and out”. Sending a picture via Whatsapp is a rare achievement. There are plans to improve the signal, but people who work on the island say being cut-off adds to the charm.

“Stepping away from the world has been a treat,” says Jayne.

Less pleasant, perhaps, are the food options: most is either tinned, dried, or frozen – including the cheese.

“In normal life I don’t consider myself a big salad lover, but I crave it when away,” says Jayne. “I’m also a big tea drinker – and you never quite get used to powdered milk.”

That craving for fresh food is backed up by a TripAdvisor review from November 2017.

“Some of the staff from the museum came on board to tell us a bit about whaling,” writes the Californian tourist. “They joined us for breakfast and could not get enough fruit.”

So, could you work in one of the most remote places in the world?

The South Georgia Heritage Trust, which runs the museum, is based in Dundee in Scotland and has full-time staff – including Sarah and Jayne. But they also recruit seasonal workers to send south, and have an internship.

“We’ve had staff from Europe, Australia, it can be absolutely anywhere,” says Sarah. “Very often they’re people with experience of working in a remote place with a small team.”

As if to prove the point, there are currently two museum staff on the island. One is from the Falklands; the other has worked in the Scottish Highlands and Port Lockroy on the British Antarctic base.

They rarely need to advertise, as most workers contact them, having heard of the island, visited it, or worked there already.

“What we’re looking for is people who will muck in,” says Sarah. “You have to do everything from pumping diesel into our fuel tank, to keeping the cemetery tidy.”

Workers also need a certain degree of bravery. “We have breeding, aggressive fur seals, right here, sometimes literally on our doorstep,” says Sarah. “If you’ve got an alternative exit, you will go the other way, because you do not want to disturb them.”

Though it’s closer to South America – and the South Pole – than to London, South Georgia has been a British island since the 18th Century, having been claimed by Captain James Cook.

The Queen is head of state; the flag features the union jack. But the name of the ghost town where the museum sits, Grytviken (pronounced Grit-vicken), gives a clue to the island’s history.

The settlement was named by Swedish explorers in the early 20th Century (the name means Pot Cove). In 1904, Norwegians opened a whaling station there – that is, somewhere to process the whales’ meat, blubber, and bones.

In the next 60 years, more than 175,000 whales were killed in the waters of South Georgia alone – processed at Grytviken and other stations along the shore. But, by the 1960s, the industry had burned itself out: there were not enough whales to catch.

Grytviken was abandoned; the rusting jetties, oil tanks, and barracks a reminder of the great 20th Century whale rush. But the relatively grand manager’s villa – built in 1914 – remained usable.

In 1989, David Wynn-Williams, a British Antarctic scientist, suggested turning the villa into a museum. The project was taken on by Nigel Bonner and it opened in 1992, originally focused on whaling, but now with a broader approach.

It is arguable whether South Georgia’s museum is the remotest in the world. There is, for example, one on Port Lockroy – the British base on the Antarctic peninsula – and one on Pitcairn, a British territory in the Pacific.

But what is certain is that, standing on the South Georgia shore, taking in Grytviken’s ghost-town vista, you feel a long way from anywhere.

“The escape from all the background noise is refreshing,” says Jayne. “It soothes the soul.”

Although the museum reopened this season, it was not business as usual.

The government classes cruise ships as red, amber, or green, depending on their perceived Covid risk. Passengers on green ships can visit as normal; red ships can land on the island – but not visit Grytviken. Amber is somewhere in between.

The staff estimate that less than 20% of ships have been green – and there are fewer ships to begin with, carrying fewer passengers. Visitor numbers have been in the hundreds, rather than the 10,000 that came every year pre-Covid.

It is a particular shame, because 2022 is 100 years since the death of South Georgia’s most famous son. Sir Ernest Shackleton famously reached the island in 1916, after an epic escape from the icy grip of the Antarctic Circle, and died while docked in Grytviken on 5 January 1922.

He is buried in Gryvitken’s cemetery and many tourists still toast the grave with a tot of whisky. But, while there are fewer in-person visitors, the museum’s website – packed with pictures, maps, exhibitions, and stories – is reaching a global audience.

“It’s not just a museum for the relatively few people who can go to the island,” says Sarah. “We have long wanted to make it available to the world, but we haven’t had the resources. Last year [while the museum was closed] we got to grips with it.”

The expansion of the website is part of a broader plan to tell South Georgia’s story to the world.

“South Georgia is a British Overseas Territory, and it’s actually a jewel in terms of wildlife,” says Alison Neil, the chief executive of the heritage trust.

“It’s got the greatest concentration of seabirds on Earth. Whale populations are recovering. Native birds are recovering thanks to the work we did to eradicate rats and mice. The fur seals, the elephant seals, are back to pre-hunted numbers. This is a good news story, and it’s to a very large extent down to the fact it’s being looked after by the UK.”

So the island, and the museum, may just be specks at the bottom of the globe, fuelled by powdered milk and frozen cheese. But they both have something important to say about the world, says Alison.

“We’ve got an obligation to educate people about the stories of South Georgia’s past, which was unsustainable in terms of how we dealt with nature,” she says.

“If humanity can turn around its attitude, and start to protect nature instead of exploiting it, then amazing things can happen. South Georgia is a little microcosm of what’s possible for the wider world – if people start to care about places and not exploit them.”

National Museums Liverpool partner with Welsh Government for Dementia Awareness Project

National Museums Liverpool (NML) has secured funding to deliver House of Memories Cymru in partnership with the Welsh Government, helping to support communities and individuals across Wales living with dementia.

House of Memories Cymru will be designed with House of Memories – National Museums Liverpool’s multi-award-winning dementia awareness programme. The programme plans to connect Welsh museums with the health and social care sector, supporting isolated older people and those living with dementia.

Through the production of a bespoke new package within the My House of Memories app – which will be available in both English and Welsh – users will engage in a range of activities. Using items from community and museum collections across Wales to spark memories and conversation with family and loved ones, the project will enable those living with dementia to engage with familiar and untold stories, as well as preserve their own memories. People can also get involved with House of Memories Cymru by taking part in digital training sessions and live workshops for family, friends and carers – all of which will equip users with resources for living well with dementia.

Laura Pye, Director of National Museums Liverpool, said: “From the Scottish Highlands to York, the United States to Singapore, House of Memories has worked throughout the world to bring museum resources to isolated communities and those living with dementia. I’m thrilled that House of Memories is now partnering with the Welsh Government on House of Memories Cymru – a project which I am confident will really benefit those living with dementia across Wales, as well as support the Welsh Government’s commitment to living and ageing well.”

Carol Rogers MBE, Director of House of Memories, said: “We believe House of Memories Cymru will be incredibly helpful in tackling pre-existing health inequalities, as well as furthering understanding of dementia as a whole through our work with families and carers. By developing community engagement in this way and linking communities with museums across Wales, we hope to promote a culturally rich and healthy lifestyle for those living with dementia – fostering health and wellbeing.”

The Welsh Government’s Deputy Minister for Arts and Sport Dawn Bowden said: “Museums as community spaces and sources for social memory can play a unique role in social care. House of Memories is an innovative museum-led programme which has created a resource that really looks at supporting those living with dementia, their professional carers and family carers together.”

“I’m really proud our funding is able to bring this distinct project to Wales, to create a bilingual version with Welsh objects and stories. It will build on the dementia friendly work that our local museums currently offer in their individual communities, improving access to Wales’ culture and heritage and delivering on our Programme for Government commitments. Museums across the country will be involved, so I’m looking forward to seeing the delivery of this project first-hand.”

House of Memories Cymru is part of National Museums Liverpool’s commitment to supporting people to live well with dementia. Discover the full story of House of Memories and download the My House of Memories app here: www.liverpoolmuseums.org.uk/house-of-memories

 

Amgueddfeydd Cenedlaethol Lerpwl yn gweithio gyda Llywodraeth Cymru ar brosiect i godi ymwybyddiaeth o Ddementia

Mae Amgueddfeydd Cenedlaethol Lerpwl (NML) wedi sicrhau cyllid i gyflwyno Tŷ Atgofion Cymru mewn partneriaeth â Llywodraeth Cymru, gan helpu cymunedau ac unigolion ar draws Cymru sy’n byw gyda dementia.

Caiff Tŷ Atgofion Cymru ei ddylunio gyda House of Memories – rhaglen Amgueddfeydd Cenedlaethol Lerpwl sy’n codi ymwybyddiaeth o ddementia, ac sydd wedi ennill sawl gwobr. Bwriad y rhaglen yw cysylltu amgueddfeydd Cymru gyda’r sector iechyd a gofal cymdeithasol, gan helpu pobl hŷn sy’n teimlo’n ynysig a’r rheini sy’n byw gyda dementia.

Drwy greu pecyn newydd pwrpasol o fewn yr ap My House of Memories – a fydd ar gael yn Gymraeg ac yn Saesneg – gall defnyddwyr gymryd rhan mewn amrywiaeth o weithgareddau. Bydd y prosiect yn defnyddio eitemau o’r gymuned a chasgliadau amgueddfeydd ar draws Cymru i sbarduno atgofion a sgyrsiau gyda theulu ac anwyliaid, ac yn helpu’r rheini sy’n byw gyda dementia i gofio am storïau cyfarwydd a gwrando ar rai newydd, yn ogystal â chadw eu hatgofion eu hunain. Gall pobl hefyd gymryd rhan yn Tŷ Atgofion Cymru drwy sesiynau hyfforddi digidol a gweithdai byw ar gyfer teulu, ffrindiau a gofalwyr. Bydd y cyfan yn rhoi adnoddau i ddefnyddwyr i’w helpu i fyw’n dda gyda dementia.

Dywedodd Laura Pye, Cyfarwyddwr Amgueddfeydd Cenedlaethol Lerpwl: “O Ucheldir yr Alban i Efrog, yr Unol Daleithiau i Singapore, mae House of Memories wedi gweithio ar draws y byd i ddod ag adnoddau amgueddfeydd i gymunedau ynysig a’r rheini sy’n byw gyda dementia. Rwyf wrth fy modd y bydd House of Memories nawr yn gweithio gyda Llywodraeth Cymru ar brosiect Tŷ Atgofion Cymru – ac rwy’n hyderus y bydd y prosiect hwn wir yn fuddiol i’r rheini sy’n byw gyda dementia ar draws Cymru, yn ogystal â chefnogi ymrwymiad Llywodraeth Cymru i fyw a heneiddio’n dda.”

Dywedodd Carol Rogers MBE, Cyfarwyddwr House of Memories: “Rydyn ni’n ffyddiog y bydd Tŷ Atgofion Cymru yn ddefnyddiol dros ben wrth fynd i’r afael ag anghydraddoldebau iechyd sy’n bodoli eisoes, yn ogystal â helpu i feithrin gwell dealltwriaeth o ddementia yn ei gyfanrwydd drwy ein gwaith gyda theuluoedd a gofalwyr. Drwy ddatblygu ymgysylltiad cymunedol yn y ffordd hon a chysylltu cymunedau gydag amgueddfeydd ar draws Cymru, ein gobaith yw hybu ffordd iach o fyw sy’n ddiwylliannol gyfoethog i’r rheini sy’n byw gyda dementia – gan feithrin iechyd a lles.”

Dywedodd Dawn Bowden, Dirprwy Weinidog y Celfyddydau a Chwaraeon, Llywodraeth Cymru: “Gall amgueddfeydd fel mannau cymunedol ac fel ffynonellau ar gyfer atgofion cymdeithasol chwarae rôl unigryw mewn gofal cymdeithasol. Mae House of Memories yn rhaglen arloesol dan arweiniad amgueddfeydd sydd wedi creu adnodd sy’n mynd ati’n wirioneddol i gefnogi’r rheini sy’n byw gyda dementia, eu gofalwyr proffesiynol a’u gofalwyr teuluol i gyda gyda’i gilydd.”

“Rwy’n hynod o falch bod ein cyllid yn gallu dod â’r prosiect arbennig hwn i Gymru, i greu fersiwn dwyieithog gan ddefnyddio gwrthrychau a storïau Cymreig. Bydd yn adeiladu ar y gwaith ar ddeall dementia y mae ein hamgueddfeydd lleol yn ei gynnig ar hyn o bryd yn eu cymunedau unigol, gan wella mynediad at ddiwylliant a threftadaeth Cymru a chyflawni ein hymrwymiadau yn ein Rhaglen Lywodraethu. Bydd amgueddfeydd ar draws y wlad yn cymryd rhan, felly rwy’n edrych ymlaen at gael gweld yn uniongyrchol sut y bydd y prosiect yn datblygu.”

Mae Tŷ Atgofion Cymru yn rhan o ymrwymiad Amgueddfeydd Cenedlaethol Lerpwl i gefnogi pobl i fyw’n dda gyda dementia. Gallwch weld y stori lawn am House of Memories a lawrlwytho ap My House of Memories yma: www.liverpoolmuseums.org.uk/house-of-memories

ICOM CAMOC The City Museums Global Mapping Project: Invitation to take part and disseminate

Since March 2020, CAMOC has been pursuing “The City Museums Global Mapping Project”, supported by ICOM.  This project tackles a critical problem: the lack of evidence-based knowledge about the number and type of city museums that currently exist in the world.  What is a city museum today?  How many city museums are there?  What are their approaches and tools?  These are essential data for the future positioning of CAMOC and ICOM itself in the urban world.  Museum professionals across the world are teaming up to promote a research survey and develop a digital map that will help answer these questions and help paint a picture of the evolution of city museums worldwide.

Along with CAMOC, the project is also supported by ASPAC (Asia-Pacific Alliance), NTUE (National Taipei University of Education), and COMCOL (International Committee for Collecting).  The scientific coordination is by Prof. Francesca Lanz (Politecnico di Milano and Manchester University), a renowned specialist in city museums concepts and contemporary trends.

The goals of the research are to learn about the different types of city museums around the globe — where they are, what they do, and how they do it — to discover how rich and diverse city museums nowadays are, and to show their role as key actors in contemporary urban socio-cultural scenarios.  The result of the project will be a website and map of identified city museums around the world.  A companion book will be published to highlight some of the discoveries of the research.

Your help is now needed to contribute to the effort by filling out the online survey or sharing it with city museum colleagues.

We are interested in museums that have the city at the core of their interests and activities, which contribute to urban social and cultural development by engaging with different communities, connecting people and places, and foster knowledge and awareness about their city’s pasts, presents and futures.

The survey, which takes no more than 30-45 minutes to complete, and further details can be found at the project website: https://citymuseums-mapping.com/

The deadline for completing the survey is February 15, 2022.

Survey participation from city museums in your country, region and beyond will help drive this bold effort to identify and connect city museums of all approaches and sizes, and to learn about their similarities in approaching their urban communities as well as what makes each unique.

NEMO launches free trial memberships

Five museums or museum-oriented organisations will be granted free trial memberships to enjoy the benefits of a NEMO membership over the course of one year. Applications are welcome until 11 February 2022.

A membership in NEMO connects you with the European museum community as it promotes exchange and networking between international colleagues. Members get help in establishing cross-border collaborations and staying up to date with information about relevant EU policies and funding. As a member, you are also part of furthering political demands to the European Union.

Additionally, the trial memberships include the opportunity to participate in NEMO’s training activities and to connect with likeminded people by joining one of NEMO’s topic-specific Working Groups. The trial members will receive two complimentary tickets to the NEMO European Museum Conference.

Julia Pagel, NEMO Secretary General, adds: “This initiative is beneficial to the trial members as well as to the whole network. We as a museum community grow stronger with every new member since they all contribute to the shared pool of knowledge and expertise. We are especially happy to offer this opportunity after two challenging pandemic years. Considering that the cultural sector has been hit especially hard, we want to show our support as well as offer advice and help. 

Museums and museum-oriented organisations with interest and experience in the topics of diversity & inclusivity and climate action are especially encouraged to apply for a trial membership. However, the opportunity is open for all interested and eligible museums, museum networks, organisations and service providers.

Only museums or organisations located in the Member States of the European Council will be considered. Individual persons are not eligible to join NEMO. Trial members are not eligible to vote in the Annual General Meetings. This call will be the first of three rounds. The next calls will be published in January 2023 and January 2024.

  • Details about the application process may be found in the call for applications
  • Deadline to apply: 11 February 2022
  • The trial memberships will run from March 2022 – March 2023
  • Learn more about NEMO’s membership
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