Commonwealth Museums: Culture, Economy, Climate Change & Youth
Abstracts
Part 1: Museums, Culture, and Sustainable Development
Enhancing Social Economic Development: The Museums of Malawi Case Study by Mike Gondwe,
Museum Education Coordinator (Curator), Museums of Malawi
In line with Putting Culture First and the Commonwealth Statement on Culture and Development, the
Museums of Malawi are today not just object based but also human based. As such museums not only
believe they have an opportunity to instigate change but a responsibility. Today the Museums of Malawi
have become agents of change of development. They mirror events in society and become instruments
of progress by calling attention to actions and events that will encourage development in society. With
these philosophies in place, the Museums of Malawi with the aid of Lower Shire Heritage Centre have
reintroduced the ancient art of spinning and weaving in southern most Malawi. The traditional
technology was all but lost. The traditional trade is used as a solution to reduce poverty. Now some 20
families around Lengwe National Park can supplement their income with sales of hand woven cloth to
national and international tourists. We have empowered and engaged people of Lower Shire Valley by
involving them thereby earn some income out of it. This is in line with the Government’s policy to
eradicate poverty and achieve UN Millennium Development Goals. Moreover, the revival of this ancient
craft has started a reevaluation of ancestral knowledge and the often disparaged past. Malawi has
always been ranked among the poorest countries on the UN Human Development Index. In terms of
GDP (Gross Domestic Product) per capita Malawi is indeed the poorest country of the world (UNDP,
2007/2008). The Museums of Malawi, in collaboration with other stakeholders, has embarked on a
campaign to fight poverty through the lens of culture. Some of the issues it has concentrated on include
food security, HIV/AIDS, malaria prevention and poverty. Slowly, there is increasing awareness that
there is direct link between culture and development.
Bio - No bio provided
Heritage as a Means for Social and Economic Development in Nunavut, By Ericka Chemko, Project
Manager, Inuit Heritage Trust Inc.
Nunavut is the most remote territory in Canada and is 85% Inuit. Over the past 5 years much has been
done in the heritage sector to turn it from isolated heritage workers that were under-resourced and not
trained to a territorial network of support working together to advance their communities, regions and
the territory as a whole. Within this context we’d like to explore how heritage and heritage
development in the territory acts as a means for social and economic development. The overall idea of
heritage’s role in the territories sustainability will be introduced, followed by examples of initiatives that
have had direct impacts such as the Nunavut Heritage Training Plan and the Nunavut Heritage Network.
These impacts are not only for consumers of culture but also for communities to share, promote and
enhance practice of heritage as an aboriginal group. The need for a balanced approach to development
in the heritage sector will be explored in terms of product development for visitors and the sharing of
knowledge, skills and practices for the benefit of the community.
Bio
Ericka Chemko has been the Project Manager for the Inuit Heritage Trust Incorporated in Iqaluit,
Nunavut, since 2003. She interned and as a student researcher and assistant at the Museum of
Anthropology at the University of British Columbia in 2000-2002. Chemko has a Diploma in Cultural
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Resource Management, from the University of Victoria, British Columbia, Canada, an MA in Museum
Studies from the University of Leicester, in England; and a BA in Anthropology from the University of
British Columbia in Vancouver, Canada.
Trading in Tradition: The Development of Cultural Villages in Namibia by Jeremy Silvester, Museums
Association of Namibia
Namibia has embarked on a major programme to promote `cultural tourism’ to help achieve the goal of
poverty alleviation. One important feature of this is a variety of projects to develop `cultural villages’ or
`living museums’. A number of debates have been generated by such projects in southern Africa
concerning key issues regarding the fossilisation of culture, the essential-isation of identity, the
promotion of ethnicity within the nation state and the relationship between `host’ and `guest’ within
the tourist encounter. The paper will provide an overview of the criticisms that have been made of the
cultural village concept internationally and the strategies that have been adopted to address these
concerns. An overview will be provided of current and planned cultural village developments in Namibia
and the particular historical context to provide an insight into the particular local political sensitivities
involved. The aim of the paper is to generate a wider public debate within Namibia about the processes
and practices pursued in the development of cultural villages. The paper will focus on the discussions
with stakeholders and community groups involved in the planning and development of the Munyondo
gwaKapande Cultural Village in the Kavango Region of Namibia, a project which the Museums
Association of Namibia is directly involved with.
Bio- not provided
Multicultural Museum Programming in Singapore and the Politics of Inclusion: The Making of the
Cosmopolitan Singaporean Identity? By John Teo & Cai Yunci
The emergence of international exhibitions and programming under the banner of country festivals
worldwide marks a pivotal moment in the globalisation of the museum institution as it seeks to connect
with the multicultural heritage of increasingly diverse communities. This paper considers the cultural
politics of country festivals through a case study of a series of country festivals initiated by Singapore’s
National Heritage Board at its national museums since 2007. Through an elaborated cultural fanfare
showcasing exhibitions of arts and artefacts, cultural performances, film screenings, fashion parades and
food tastings at the museums, such country festivals offer museum visitors a holistic and immersive
experience of other cultures and civilisations as well as deepen their understanding and appreciation of
these cultures. Such country festivals are often initiated as cultural diplomacy endeavours to foster
better relations between nations, and can enhance the cultural offerings of our national museums,
contributing to the overall vibrancy of Singapore’s arts and cultural scene which will transform
Singapore into a Distinctive Global City for the Arts. However, the critical role they might play in shaping
a globally-oriented cosmopolitan Singaporean outlook and identity remains hampered by the
demographic reality of a predominantly ethnic-Chinese population, with a relatively small minority
representation.
Bios
John Teo is currently Deputy Director of Policy at the Strategic Planning and Policy division of the
National Heritage Board (NHB, www.nhb.gov.sg), the national agency operating the National Museums
and overseeing cultural and heritage policies in Singapore. He is concurrently serving as Deputy Director
of Policy at the Asian Civilisations Museum. He has an MA in History from Cambridge University, UK, and
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will be pursuing a Masters in the History of Art and Archaeology in the fall of 2011 on an NHB
postgraduate scholarship. Prior to joining NHB, he garnered more than a decade of experience in the
private sector, in PSA Corporation (www.internationalpsa.com) and CapitaLand (www.capitaland.com),
two of the largest companies in Singapore.
Cai Yunci is Manager (Heritage Policy and Strategy Development) at the Strategic Planning and Policy
Division of the National Heritage Board of Singapore, the national agency operating the National
Museums and overseeing cultural and heritage policies in Singapore. Her key portfolio involves studying
trends of museum developments internationally and making policy recommendations to enliven
Singapore’s heritage and museum scene. Yunci has a deep interest in heritage and culture, and has
published in academic books and journals, including The International Journal of Inclusive Museum and
Essays in Singapore’s Legal History: In Memory of Professor Geoffrey Wilson Bartholomew (edited by
Kevin Tan). She has an MA with Distinction in Museum Studies from the University College London
(UCL), and a BSc in Geography from the National University of Singapore (NUS).
Malu Minar: Art of the Torres Strait – An Internationally Touring Exhibition Promoting Cultural
Resourcefulness, by Paul Brinkman, Director, Cairns Regional Gallery
The exhibition based project of 2010, Malu Minar: Art of the Torres Strait is an excellent example of a
cultural institution working in collaboration with contemporary indigenous artists to promote the value
of traditional cultural practice and lore. This promotion is not only to those outside the region, but also
to those indigenous to the Torres Strait who may not value their cultural practice as a useable resource.
Through identifying a tangible, commercial value to their culture, many artists have not only
rediscovered and resurrected their cultural traditions, but also brought a new contemporary dynamic to
their cultural practice. By capitalised on their cultural uniqueness, young, self driven Torres Strait artists
are showing their culture to the world and in doing so preserving their heritage. With the new-found
popularity and exposure of Australia’s second indigenous culture, Torres Strait island communities are
capitalising on a consequential increase in government funded development support.
Bio
Paul Brinkman has been Director of the Cairns Regional Gallery since 2005, where he also served as
Public Programs Manager from 2002. Previously he worked in Arts Administration and Education. He is
the author of a number of exhibition catalogues, has curated exhibitions and served on various
committees and boards. Brinkman has an MBA in Arts and Cultural Management from the International
Graduate School of Management. University of South Australia; he completed the Museum Leadership
Program at the Mt. Eliza Centre for Executive Education. Melbourne Business School; and has a
Graduate Diploma (Arts and Entertainment Management); and a BEd (Secondary Art and Design)
Museum’s role in preserving and promoting Papua New Guinea-Highlands hausman (men’s house)
hausmeri (women’s house) by Sam Sirox Kari (Ph.D), Director, Center for Melanesian Studies,
Humanities Faculty, University of Goroka, Papua New Guinea
This paper discuses on how museums can play a leading role in preserving and conserving Papua New
Guinea-Highlands hausman ( men’s house) and hausmeri ( women’s house) where Papua New Guinea
Highlands societies social, economic and political governance originates, where social, political,
economic cultural values and norms were taught by elders to sustain the Papua New Guinea-Highlands
people over the decades and centuries. This paper will discuss Museum’s role in promoting this priceless
Papua New Guinea-Highlands (hausman and hausmeri). Papua New Guinea-Highlands hausman ( men’s’
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house) and hausmeri ( women’s house) generated essentials humanity attributes such as love, care,
respect, obedience, protection, and most of all passing of the knowledge from generation to generation.
Governance of Papua New Guinea-Highlands societies was decided in hausman and hausmari chaired
by chieftain and headman who maintained social order, law and order sustaining the people’s needs.
Decisions passed in the hausemen /meri was respected and implement for good governance. This paper
further discusses social challenges faced by people in the contemporary Papua New Guinea-Highlands
direct consequences of western cultural influences. The absences of hausmen/meri in Highlands’
societies of Papua New Guinea once a center of good social, economic and political values originated
have contributed to the social problems of the society. This paper will lead discuss on how museum can
promote hausman (mens’ house) and hausmeri (women’s house) to prevent spread of HIV/Aids in Papua
New Guinea-Highlands societies.
Bio
Sam Sirox Kari is Director of the Melanesian Studies Center, University of Goroka. Kari has a PhD from
Queensland University of Technology, an M ED Degree University of Adelaide, a B ED (Hon) Degree,
UPNG, and a B ED from UPNG. He has taught at primary, secondary and tertiary levels. He has written
and consulted extensively about PNG history, governance and education.
“We gather to reconcile - No longer captives of the past.” * by Carol E. Mayer, Curator (Oceania &
Africa), UBC Museum of Anthropology
This paper will examine the connections between a donation of five early 19th century objects from the
Pacific, an MOU between a Canadian museum and the Pacific Islands Museums Association (PIMA), a
21st century reconciliation ceremony on Erromango, a permanent exhibition and the creation of a set of
complex and ongoing relationships and obligations. The objects, a Fijian club, a New Caledonian club, a
Polynesian hook, an Austral Islands’ whisk and a Maori flute, were once owned by the Reverend John
Williams who was killed on Erromango in 1839. They had been passed down the Canadian branch of his
family and were given to the UBC Museum of Anthropology (MOA) with the understanding they might
be subject to future repatriation requests. Initially they were viewed as remarkable “objects of wonder,”
valued both for their historic significance and the story of their journey from the Pacific to Canada. It
was however the relevance of their physical existence in the present that initiated discussions which
culminated in a reconciliation ceremony, held on November 20th 2009, between the people of Dillon’s
Bay, Erromango, and descendents of the family of the Reverend John Williams. This paper will conclude
with an examination of how this historic event has resulted in an assemblage of tangible objects and
intangible obligations that have created new opportunities and challenges for MOA, the people of
Erromango and the family of John Williams.
*From a poem written by David Williams, great great grandson of the reverend John Williams.
Bio
Dr. Carol E. Mayer is head of the curatorial department at the UBC Museum of Anthropology (MOA) and
an associate to the Department of Anthropology. She holds degrees from UBC, Cambridge University,
and the University of Leicester, is responsible for the African and Pacific Islands collections as well as the
European and Canadian ceramics collections. She has taught museum-related courses at UBC, University
of Victoria, and Emily Carr University of Art and Design, and has lead workshops in Fiji, Australia, New
Caledonia and Vanuatu. She has been awarded Fellowships at the Smithsonian Institute and the
Sainsbury Research Centre where she studied early Pacific collections. She has delivered papers at
numerous conferences and published widely on topics relating to museum practice and published
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exhibition catalogues, articles and books on various areas of material culture. She has received
numerous awards including the ICOM (Canada) International Award of Excellence for her work in the
Pacific – this included the development of MOUs with the Pacific Islands Museums Association and the
National Museum of Fiji. In 2010 she received the Thirtieth Anniversary of Independence Medal for her
cultural contributions to the Republic of Vanuatu.
Role of Museums to promote and preserve Intangible cultural heritage in the Indian Context
by Shashi Bala, Research Scholar, Department of Museology, National Museum Institute, Delhi
All the museums have wide range of tangible cultural heritage in their collection. Almost every tangible
object has intangible aspects. Museum can use those intangible aspects to develop a better
understanding for their visitors and with help of intangible heritage, museums can fill the gap between
museums and their non-visitors to use those information to build the relationship with their nonvisitors and communities to whom the belong that heritage. For this museums need to identify,
document and represent the intangible aspects of their collection. In this study the main focus is on the
museums of crafts, folk art, contemporary craft and ceremonial objects. Through these objects
museums can promote the communities, groups and individuals to preserve their intangible cultural
heritage. Indian communities are fast losing their intangible cultural heritage. There is an urgent need
for the museums and community groups to come together to promote and preserve the intangible
cultural heritage.
Bio
Shashi Bala is currently a Research Assistant in the department of Museology, National Museum
Institute, Janpath, New Delhi and has worked in museums since 2002. Bala is a PhD Candidate
(Museology) from the National Museum Institute. Bala’s dissertation is on the “Documentation of oral
history and Intangible Heritage-Case Study of folk culture and tradition of Yadav community of Haryana,
India.” Bala has an MA Museology from the National Museum Institute, New Delhi and a BFA from Delhi
Collage of Art.
Safeguarding Intangible Heritage in Sustainable Development by Amareswar Galla, PhD, Executive
Director for the establishment of the International Institute for the Inclusive Museum
Almost thirty one years after the 1972 World Heritage Convention, the UNESCO Convention on
Safeguarding Intangible Heritage was adopted in 2003. It also took almost thirty years for universities
and museums to understand and engage adequately with the World Heritage Convention. In fact, it was
only in 2010 that the role of museums in World Heritage Areas was addressed in Brasilia for the first
time. The challenges for positioning museums as vehicles for safeguarding intangible heritage is an
urgent concern due to the rapid pace of the diverse forces of globalisation and consequent loss of
intangible heritage elements. Intangible heritage is also an integral part of the four pillars of sustainable
development: cultural, economic, social and environmental. Intangible heritage is also under threat in
many small island development states due to climate change. In this complexity the capacity building for
understanding and safeguarding intangible heritage is a major challenge for museums. Is CAM ready for
the challenge? This paper provides a critical analysis of museums in sustainable development with
particular reference to safeguarding intangible heritage. A comparative study of select intangible
heritage elements from Commonwealth countries will be used to illustrate the presentation.
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Bio
An alumnus of Jawaharlal Nehru University, New Delhi, Professor Galla is the Executive Director for the
establishment of the International Institute for the Inclusive Museum. He was Professor & Director of
Sustainable Heritage Development Programs, Research School of Pacific and Asian Studies, the
Australian National University, Canberra, before becoming Professor of Museum Studies at the
University of Queensland, Brisbane. He worked at the National Museum of Ethnology, Leiden, on
Museums and Cultural Diversity Promotion in the Netherlands. He is a Guest Curator of International
Projects with the Vietnam Department of Cultural Heritage; and Convener of the Pacific Asia
Observatory for Cultural Diversity in Human Development in partnership with bodies including UNESCO.
He is the President of the Asia Pacific Executive Board (1998-2004), Chairperson of the Cross Cultural
Task Force (2005-2011), and Vice President of the International Executive Council (2004-2007), of ICOM.
A founding senior Trustee of PIMA and former Vice President of CMA, he is the Editor-in-Chief of three
refereed academic journals: International Journal of the Inclusive Museum; International Journal on
Intangible Heritage; and International Journal on Environmental, Cultural, Economic and Social
Sustainability.
Part 2: World Watch Two: Conserving Cultures in the Face of Climate Change
Heritage Under Siege from Climate Change: Lessons from the past on coping with Disasters for
Philippine Museums, Archives and Libraries, by Ana Marian Theresa P. Labrador, PhD, Roberto
Balarbar, Evelyn Esguerra, National Museum of the Philippines.
In this paper we will begin by examining case studies on natural and manmade disasters that has
endangered heritage collections in the Philippines and Southeast Asia. This will be analysed within the
context of culture in the region where disasters are seen as fateful events and acts of god. Linking them
to current concerns with climate change is particularly timely, as the Philippines’ National Framework
Strategy for Climate Change 2010-2022 does not mention cultural heritage in its agenda. Moreover this
may also be understood in the framework of a social situation where saving lives take precedence while
museums are disregarded when catastrophes strike. In recent years, more attention elsewhere has been
given to emergency preparedness for heritage collections as threats grow from wars, greenhouse effects
and poverty. We will be presenting not only scenarios that emanated from museums and heritage
professionals’ experiences but also the theories that are developing within the structure of ICOM’s
Museum Emergency Program in partnership with Getty Conservation Institute and ICCROM. Having
received training and actively participating in giving training, we will share our research skills so that
others may know about the lessons we have learned in effectively managing our museums, libraries and
archives.
Bios
Ana Maria Theresa P. Labrador, PhD, Roberto Balarbar and Evelyn Esguerra were part of the Pilot Course
for the Teamwork for Integrated Emergency Management that took place in Asia (Bangkok, Thailand
and Seoul, South Korea). In 2006, the International Council of Museums (ICOM) appointed them as
provisional members of Coordinating Team of Disaster Relief for Museums (DRFM) task force, Regional
Network for Asia.
Labrador received a 2010 Australian Leadership Awards Fellowship for her research on Australian and
Filipino indigenous people’s responses on holes made on their landscape by the mining industry. She is a
museologist and specializes on exhibitions, preventive conservation and education. She is also research
associate at the National Museum of the Philippines.
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Balarbar obtained his BSc in Chemical Engineering at the University of Santo Tomas in 1981. He is a
museum researcher and conservator analyst at the Chemistry and Painting Conservation Laboratories of
the National Museum for 28 years. He has completed several local and international conservation
courses, seminar-workshops. Balarbar is affiliated with the Arts Conservation and Restoration Specialist
Inc. (ACES) as one of its board members and treasurer.
Esguerra studied architecture at the University of Santo Tomas. She is Assistant Curator of the
Restoration and Engineering Division at the National Museum of the Philippines that is in charge of the
repair and maintenance of their buildings as well as the restoration/conservation of their National
Cultural Treasures and important cultural treasures in the Philippines. She has been running, with
Balarbar, in-house training for emergency preparedness at the National Museum.
Southeast Asian Collections in Peril: Museums and Managing Risks from Climate Change (CollAsia
Panel) organized by Ana Maria Theresa P. Labrador, National Museum of the Philippines
Panel Chair – Patchawaree Tunprawat, PhD, SEAMEO-SPAFA
The impact of climate change on the cultural and natural environment is becoming more evident as
threat to lives, property, ecology and heritage increases. Although global in scale, climate change has
specific bearings depending on location, traditional knowledge and disaster preparedness, response and
recovery. Behaviours toward risks, hazards, threats and disasters as a result of climate change vary in
contexts, yet research on ways in which these are to be addressed has not been a major focus in
Southeast Asia. As natural and manmade catastrophes besiege the region, a sustained and integrated
approach, especially one in which traditional knowledge is invoked, could be part of integrated database
to inform decision-making.
In 2003 ICCROM and SEAMEO-SPAFA launched the CollAsia 2010 Programme, a seven-year programme
to improve conservation conditions of Southeast Asian collections. Designed in consultation with
institutions and professionals in the region, CollAsia 2010 was a concrete response to the severe
shortage of training and networking opportunities for professionals working with movable heritage in
Southeast Asia. This includes emergency preparedness for those working in museums, libraries and
archives around Southeast Asia, enabling them to embed vigilance to collections as they gain access to
new resources, learning essential skills, while getting the opportunity to network and exchange with
colleagues in other countries in the region and those from afar.
Preserving Southeast Asian Museums Tangible Collections through Sustainable Management of their
Intangible Facets by Somlak Charoenpot
Museum collections may be presented with stories behind them, but most are still perceived as mere
museum objects. We, in the museum field, are still separately treating heritage between tangible and
intangible; or cultural and natural. In order to sustainably develop Thai and Southeast Asian societies,
my paper will propose a holistic and integrated approach in managing heritage. This way, tangible or
intangible and natural or man-made heritage are treated as interconnected parts of a bigger whole.
Further, when heritage is seen as the powerful junction of man and environment, it can be a driver of
development that is in touch with the culture and needs of the people. Putting people – their stories,
customs, arts, traditional forms of governance, kinship structures, crafts, etc. – back on the agenda of
discussing heritage can open more participation in heritage management. First, conserving physical
heritage will harness innovations and the creativity of community members. Second, intangible heritage
related to the physical heritage will be brought back to the fore. Third, creative and innovative
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techniques in heritage management will stem from the stakeholders themselves. Fourth, through
awareness-raising, intangible heritage can be passed on to the younger generation and ensures the
sustainability of physical heritage.
Bio
Somlak Charoenpot earned a BA in Archeology from Silpokorn University in Bangkok, Thailand. In 1978,
she received her MA in Art History with Museum Studies from the University of Denver, Department of
Asian Art. She also holds certificates in Museum Management from the Asian Cultural Centre for
UNESCO and the Banff Centre for Management, Canada. She was the Head of the National Museum
from 1986-1988; Director of the National Gallery from 1996-1998; Director of the National Museum in
honour of the King’s Golden Jubilee from 1998-2003; and Executive Director of the Office of National
Museums, Fine Arts Department from 2003-2005. She was promoted to the position of Deputy DirectorGeneral of the Ministry of Culture’s Fine Arts Department in 2005. A long time Secretary of the Thai
National Committee of ICOM, she takes a vital role in establishing the Museums Association of Thailand
and is currently the President.
Museums and their Roles in Engaging the Youth for Conserving Heritage from Climate Change by
Kevin Kettle
It is noted in ‘The World Development Report 2007: Development and the Next Generation’ that the
present number of young people of 1.3 billion is the largest in world history and that this is an
unprecedented opportunity for countries to deepen their human capital. The challenge is to provide
productive civic engagement opportunities and if this is achieved, even partially, the results can be
significant. It is widely recognized that partnering with youth in development processes can have many
benefits for society as well as positive influences on youth peers. As this is also the declared United
Nations International Year of Youth August 2010-2011, it is more than appropriate to acknowledge and
promote the role of youth in relation to the world’s most pressing problem – climate change. Recently
SEAMEO-SPAFA held “The Asia-Pacific Forum: Youth Action on Climate Change; Exploration through
Cultural Expression” in January 2011 and among the training modules it produced was on Climate
Change and Cultural Heritage. Here, the issues of climate change and cultural heritage converge and the
vibrant role that youth can play highlighted. Museums thus have a critical role to play in this merging of
concepts and the multiple stakeholders involved.
Bio
Kevin Charles Kettle is a Project Development Officer for SEAMEO-SPAFA. His main area of interest is the
correlation between culture and development initiatives and hence, he has organised 16 related
workshops and 4 international conferences. His publication, Guidelines for Managing the Integration of
Culture into Development Programmes, is intended as a practical toolkit for facilitators working in
development. Recently 6 workshops were held specifically for youth on culture and development.
Climate change was cited as a major concern by the participants and thus a platform was provided for
youth through the hosting of a Forum “Youth Action on Climate Change; Exploration through Cultural
Expression”. Kevin is also a coordinator and resource person for the CollAsia series of activities on
Conserving Heritage Collections in Southeast Asia. Kevin is from the Republic of Ireland, holds a BA
(Hons) in History and an MBA in Educational Management. He has been working in Southeast Asia since
1992.
Climate change – a challenge and opportunity by Katriina Simila , ICCROM
Climate change is placing all sectors of the society in front of new challenges. The museum field must
revisit its working practices and explore its role in contributing to solving the common problems as a
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member of civil society. In view of the predictions of the climate scientists, many countries are moving
ahead with establishing environmental performance standards for both public and private institutions.
In the coming years, such performance standards will be applied to also to museums, if this is not
already the case. It is crucial that the museum staff prepare themselves for engaging in a constructive
way with these “new” colleagues, so as to come up with innovative way to align the working practices
and energy solutions in our institutions with the overall efforts in the society. On the other hand, these
new challenges offer an opportunity to re-examine the contribution of museums to the wider dialogue
in the society. One core issue that has been flagged up time and again in the context of climate change is
the need of an attitude change in relation to use of resources in our societies. Museums are places of
memory and of learning. Museums could play a key role in helping revive the “materials literacy” skills in
our societies.
Bio
Katriina Similä is from Finland has been a staff member of ICCROM since 1993. She has a BA in Cultural
Anthropology and Archaeology from the University of Helsinki. Katriina worked from 1984 to 1990 in
Latin America at the "UNDP/UNESCO Regional Project for Development and Cultural Heritage", based in
Lima, Peru. Before joining ICCROM, she spent 3 years in Finland working at the National Museum
conservation laboratory and the EVTEK Conservation School in Vantaa. At ICCROM her first responsibility
was to coordinate the Scientific Principles of Conservation course. She has worked on the development
and implementation of various training activities in Rome and elsewhere, on scientific literacy and the
preservation of different types of movable heritage. Currently she is the coordinator of the CollAsia 2010
programme. Her main interests are archaeological and ethnographic textiles.
Preserving Cultural Heritage in the Face of Climate Change by Patcharawee Tunprawat
At present, the impact of climate change on cultural heritage is undeniably real and strong. Both
tangible and intangible heritage are greatly affected by climate change, which causes a great loss of
heritage and cultural memory of humankind. Links between nature and heritage, and the balance of
nature and the wellbeing of heritage, need to be addressed. As the damage to cultural heritage are
progressing fast, heritage conservators and managers need to change their outlook on heritage
conservation in order to be able to mitigate the damages, while playing a pro-active role in raising
awareness on climate change among the public. This paper will address the effects of climate change on
cultural heritage, while showing an interconnection between nature, human, and heritage, and
proposing a pathway which museums and heritage institutions can follow to address the issue of climate
change and to preserve cultural heritage as a whole.
Bio
Patcharawee Tunprawat is Specialist in Heritage Management at the Southeast Asian Ministers of
Education Organization – Regional Centre for Archaeology and Fine Arts, based in Bangkok, Thailand.
She has been working at SEAMEO-SPAFA since 2000 after completing her MA in South East Asian Studies
from the School of Oriental and African Studies, University of London. She has been coordinating and
managing various SPAFA projects focusing on cultural heritage preservation and heritage management
in Southeast Asia, including the CollAsia 2010 programme and the Living Heritage Sites Programme for
the Mekong Sub-Region in collaboration with ICCROM. She has long been working with a community in
Phrae, Thailand, on heritage preservation and awareness raising projects. She earned a PhD in Historic
Archaeology from the Faculty of Archaeology, Silpakorn University, Thailand. She is also a freelance
writer and has written for several magazines.
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Conserving Cultures in the Face of Climate Change by Jean Wee, Director, Preservation of Monuments
Board, National Heritage Board, Singapore
This paper will focus on a cultural organisation’s effort to conserve culture in what it sees as the dynamic
maelstrom of changes, which will be metaphorically interpreted as being similar to the impact of
climatic changes. Conserving culture is a given position for people in the heritage business. In a world
where economic gains reign, it takes a more long term, holistic vision for a city to modernise while
retaining a patina of age. Against these challenges, it will be important to continue to ask such questions
as: Who do we preserve cultures for? What are their roles? How do they experience these cultures and
contribute to its sustainability? Preserving cultures has to be devised within a broader strategy, so that it
will come to have not just a meaning of its own. We now recognise this within the broad notions of
place-making, identity forging and even for tolerance of other communities within building a more
coherent society. This , combined with a “ values-approach “ to appreciating our heritage, may
contribute in part to growing stakeholder-ship and engagement. Just as we have little control over
climate, the changes discussed here, are likewise not within our control. The solutions are never simple,
but we can like the people afflicted by climate change, do our best to weather change, and plan for the
next onslaught.
Bio - Not provided
The Roles of Museums and Cultural Centres in Educating the Public about Effects of Climate Change in
the 21st Century by Tony Heorake, Director, Solomon Island National Museum
This paper aims to present what some museums and cultural centres in the Asia-Pacific region have
been doing in the area of education and climate change. The Pacific region comprises of fragile ecosystems that is no doubt an important part of the lives of Pacific islanders. Tsunami, earthquakes,
flooding, drought are some of the vagaries of nature that has affected the lives of many Pacific islands.
Some islands have faced these natural disasters by works of nature. However, some other devastations
have been caused by human activities such as deforestation. For example, in the case of the Solomon
Islands, logging is an issue that has affected the main island of Guadalcanal and other neighbouring
islands too. Many villages agree to such economic activities for employment purposes, to earn money
for their living. Unfortunately, these innocent villages become victims of constant flooding which has
devastated arable lands, which they rely on for their subsistence. I have been travelling around the
country undertaking workshops on cultural revival and traditions. Seeing the natural devastations
caused by flooding, earthquake and tsunami has encouraged me to raise the awareness through
education programs through the museum. I would also like to compare what the Solomon Islands have
been doing with other programs from other Pacific Island countries, as well as Asia, Australia and New
Zealand.
Bio
Tony Heorake is Director of the Solomon Islands National Museum in Honiara, Solomon Islands. He has
an MSc in Environmental Science, a Postgraduate Diploma in Geography, a Certificate in Physical
Oceanography in the South Pacific, and a BSc in Biology & Geography from the University of the South
Pacific. He has a Certificate in Education from the Solomon Islands College of Higher Education (SICHE).
Heorake has completed geoarchaeological fieldwork and excavations, lectured in Science, and published
extensively. He participated in research work on geohazards revealed by myths in the Pacific on islands
that have disappeared (sunk), between Ulawa and the Three Sisters Islands, Solomon Islands.
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Climate Change in Samoa: A Samoan perspective by Sina Ah Poe, PIMA Board Member
This paper will comprise of a discussion on heritage related programs in Samoa after the 2009 tsunami.
Even though the museum was not affected by the surge of the tidal wave, the after effects of this
natural disaster have affected people’s lives. In places where the destruction took place, many lives
were lost and many livelihoods were affected. Many have relocated their families to higher grounds. The
question asked would be: How would the “memories” of places destroyed be maintained and preserved
for the future? What happens to burials and archaeological sites that have been destroyed? Samoa is
located in a geographically active zone of the Pacific ocean. Some of the older Lapita sites that were
excavated in the early 1900s have now been submerged due to geological uplifting and subsiding of the
main islands of Upolu and Savaii. The best example is the site Milifonua, which I will be discussing in this
paper. The remaining site is now underwater, giving rise to the new field of underwater archaeology.
Given these environmental changes, I would like to explore the local Samoans’ perspective on their
views towards climate change and how their cultures and traditions can still be conserved despite the
physical changes on mother earth.
Bio – not provided
Part 3: Connecting with Children and Youth
Pacific Youth Cultural Connection at the Australian Museum, Sydney by Frank Howarth, Director and
Dion Peita, Collections Coordinator, Cultural Collections and Community Engagement Division,
Australian Museum
Pacific communities make up approximately 0.86% of the Australian population, with 32% (about
19,000) in Sydney. Their youth is disproportionately represented amongst those identified as being ‘at
risk’ or in gaol. At the Australian Museum we’ve been working with the Department of Juvenile Justice
since 2009 to reconnect young members of Pacific diaspora communities with their tangible and
intangible heritage; to allow them to interact with their culture via access to the Museum’s collections.
The aim of the program is to challenge beliefs and perceptions that being a ‘warrior’ is synonymous with
being violent by building cultural awareness and pride. By using creativity, imagination and access to
artefacts we are building the self esteem of Pacific teenagers and motivating them to develop their
social skills and their sense of community, as well as encouraging new avenues of creative expression
based around access to our collections. The program explores and documents how this can help divert
juveniles from anti-social and criminal behaviour. Informal feedback from participants to date indicates
that this is the case. We’re now in a position to evaluate our current program working with sociologists
and criminologists; to develop benchmarks based on international models; and to carry out economic
modelling of the costs and benefits of our cultural connection approach.
Bios
Frank Howarth is passionate about the natural world, and passionate about Sydney and its cultural
institutions. He trained as a geologist, completing a geology degree at Macquarie University, and
followed that with a Master of Science and Society from the University of NSW, focussing on science and
biotechnology policy. He joined the State Government in 1981 and has held positions with the
Department of Industrial Development and Decentralisation, NSW Science and Technology Council,
Public Service Board, and the Roads and Traffic Authority. In 1996 he became Director and Chief
Executive of the Royal Botanic Gardens and Domain Trust. In September 2003 Frank spent 6 months as
Executive Director Policy and Science at the NSW Department of Environment and Conservation. Frank
took up his current role as Director of the Australian Museum in February 2004.
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Dion Peita is a direct descendant of the Tainui and Te Rarawa tribal confederations in Aotearoa in New
Zealand. Over the past 16 years, Dion has experienced museum life in a variety of roles; from educator,
customer service, cultural adviser, exhibition installer, collection manager and currently as Collections
Coordinator at the Australian Museum. Dion has spent the greater part of his working career at the
Museum of New Zealand Te Papa Tongarewa. Dion is responsible for co-managing and coordinating the
Australian Museum’s cultural collections of over 110,000 objects, which includes material from
Indigenous Australia and Torres Strait, the Pacific, America, Asia and Africa.
I Tabagone E Aotearoa: Pacific Youths in New Zealand –Museum initiatives to reach our Youths by
Tarisi Vunidilo, Secretary General of PIMA
The number of Pacific youths in New Zealand is constantly increasing. The Pacific population in New
Zealand is a youthful population. One of the challenges is to involve these young people in museum
activities and programs. The aim of this paper is to showcase some of the success stories of how some
arts organisations have successfully reached young people in the field of visual arts, performing arts,
poetry and history. For instance, the Tautai Trust, which is based in Auckland have successfully
undertaken numerous outreach programs across New Zealand. The Trust has successfully collaborated
with Polytechnic institutes as well as museums, to encourage young people to participate in their
program. They have also successfully hand-picked some creative and talented youths who are now
pursuing their career in the arts. New Zealand has numerous museums that has opened their museum
doors up to enable them to reach out to our young people. The Auckland Museum, Fresh Gallery in
Otara, Waikato Museum in Hamilton, Pataka Museum in Wellington, Te Papa Museum and the
Canterbury Museum in Christchurch are some examples of museums that have provided unique
experiences for our young people. These stories need to be shared and celebrated!
Bio
Tarisi Sorovi Vunidilo has a MSc in Anthropology and a Postgraduate Diploma in Maori and Pacific
Development, University of Waikato, Hamilton, New Zealand, a Postgraduate Diploma in Arts, majoring
in Archaeology, Australian National University, Canberra, and a BA in Geography, History and Sociology,
University of South Pacific, Suva, Fiji. She has published a book and several articles about Fijian pottery
and archaeology. She was Programs Advisor, Pacific Arts, Creative New Zealand from 2007-2009;
Collections Services Manager, Waikato Museum of Art & History from 2003-2007; Collection Manager
(Registrar) of Pacific Collection at Tongarewa, Museum of New Zealand Te Papa from 2001-2003, and
Director from 2000-2001 and Archaeologist and Head of the Archaeology Department from 1997-2000,
and Graduate Trainee, Archaeology Department from 1994-1996 at the Fiji Museum.
Exhibitions that excite! What young visitors want to do in museums by Karen Chin, Assistant Director
Education, Asian Civilisations Museum and The Peranakan Museum
What do young people think about our exhibitions? What do they want to do in museums? How do we
address the “disconnect” and apathy they feel when they step into our galleries? How can we help
children and youth connect with our collections? In order for exhibitions to expound the values of
tolerance, respect and understanding of cultural diversity in the face of urbanization and globalisation,
we must relook not just what but how messages are delivered to young audiences. We need to design
exhibitions that excite! This paper will focus on our continual experimentation on interactive
experiences that aim to engage young hearts and minds. The case studies that will be presented include
both hands-on as well as digital interactivity in adult-centric exhibitions, children’s exhibitions and
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outreach efforts. Behavioural trends and observations in addition to user-surveys are crucial in our
conceptualisation of interactive installations and programmes. Findings will also be briefly examined.
The paper will conclude with what ACM has planned for Children’s Season – an innovative story-based
interactive initiative that invites young visitors to be part of an Asian tale.
Bio
Karen Chin is Head, Education Department, Asian Civilisations Museum (ACM) and The Peranakan
Museum (TPM) in Singapore. Karen has ten years experience designing and implementing interactive
learning for children, youth and educators visiting Asian countries and museums. She joined ACM and
TPM in 2005. Karen graduated from the Department of Southeast Asian Studies, National University of
Singapore, and did further studies in Buddhist Studies with Kelaniya University, Sri Lanka. She worked
previously with the Singapore International Foundation to facilitate real-life learning for Singaporean
youth in Vietnam, Indonesia, Myanmar and India. In 1999 Karen founded PROMIGUA, a nongovernmental organization that promoted culturally-sensitive community service to villages in
Guatemala, Central America. She has had nine years of experience in training educators and facilitators
for a diverse spectrum of educational goals that had to be delivered in real-life and museum settings.
The Proactive Museum by Kate Vusoniwailala, Director, Waikato Museum, New Zealand
The proactive museum is committed towards actively participating in conversations about issues of
global and local significance. That action translates into a programming mix that is inclusive in
composition, responsible in the understanding of current narratives and issues, and innovative in its use
of technology and design. Young people are tech-savvy communicators who are both saturated with
information about global issues and concerns as well as being immersed in their own local environment
with its own set of narratives and perspectives. Our challenge and opportunity is to engage them in
museum spaces through the process of conceptual development, design and use of exhibition spaces.
We need to ensure that not only is their voice ‘heard’ but that they are comfortable in those spaces.
Through clever programming the proactive museum can cleverly interweave the voices and aspirations
of our young people with cultural memory and precious objects of the past. This paper will illustrate
how this has been achieved through recent exhibitions developed by the Waikato Museum.
Bio
Kate Vusoniwailala has been director of the Waikato Museum since July 2002. She has worked in the
arts and heritage sector in the Pacific for the past 22 years. Her research interests include museum
history and theory, art and heritage management in a Pacific context. She was a founding member of
PIMA and undertook research in cultural heritage management funded through the UNDP, as part of a
team formed by Charles Sturt University during 2005/2006. She has presented papers at several
international conferences and written articles for a number of journals including: Museums Aotearoa,
Domodomo, Minpaku, Fur Volkerkunde. She has an MBA from the University of the South Pacific, Suva,
Fiji, a Post-graduate Diploma in Art Gallery & Museum Management from Manchester University, U.K.
and a BA Hons in Visual arts with a Minor in Anthropology and Myth from Lancaster University, U.K.
Inviting Wonder: Developing New Exhibitions for Younger Audiences by Ken Hall, Curator, Christchurch
Art Gallery Te Puna o Waiwhetu, Christchurch, New Zealand
I have been responsible at Christchurch Art Gallery for initiating, developing and curating an innovative
series of exhibitions for younger audiences since 2005. Six of these exhibitions have been developed,
each showing for at least a year; they are now an integral part of our programme. In introducing new
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audiences to a broad range of art, they have also contributed towards the transformation of our gallery
into a place that welcomes schools and families, resulting also in greatly increased visitor numbers.
Shaped with a commitment to showing the best possible art, our exhibitions for children have been in
many ways experimental, and are recognised as breaking new ground. They have increasingly included
new, commissioned artworks and loans from other public institutions and private collectors. One of
these exhibitions’ goals is to encourage a thoughtful sense of cultural history and identity, together with
environmental awareness, while remaining lively, interactive and accessible. Another primary aim is to
place a high value upon creativity and the world of the imagination, which are seen as essential
ingredients for the long-term development of a broader sense of cultural wellbeing. I can deliver an
inspiring, well-illustrated presentation that connects strongly to this year’s CAM conference themes.
Bio
Recently promoted to Curator, Ken Hall was Assistant Curator, Christchurch Art Gallery Te Puna o
Waiwhetu [CAG] since 2006 and a Curatorial Assistant from 2003-2006. He has curated numerous
exhibitions and catalogues. He has a BFA in Painting and is a practicing artist and illustrator.
Connecting with Children and Youth in Singapore: The experience of Sun Yat Sen Nanyang Memorial
Hall by Shaun Phua, General Manager and Lynn Chiam, Head, Outreach, Sun Yat Sen Nanyang
Memorial Hall Singapore
The Sun Yat Sen Nanyang Memorial Hall (SYSNMH), a heritage institution managed by the National
Heritage Board since 2009, traces the activities of Dr. Sun Yat Sen and his comrades in Nanyang (which
refers to mainly Malaya and Singapore in the early 20th century) and the impact of the 1911 Revolution
in history. In a fast moving and affluent Singapore where children and youth today are more exposed to
information technology and are better travelled, it is a challenge for SYSNMH to understand their needs
and to innovate in exhibition programming and activities. SYSNMH visited children museums in Europe,
USA and Asia to learn about new exhibition techniques; interactive educational programming; and
children and youth engagement initiatives. This paper looks into the key approaches of the SYSNMH’s
strategy that aim to understand the learning needs of children and youth by engaging stakeholders such
as educators, schools and youth groups; enrich children and youth’s learning journey through
development of innovative programmes as well as the enhancement the museum’s overall appeal to
this group.
Bio
Shaun Phua has been the General Manager of the Sun Yat Sen Nanyang Memorial since September
2010. Prior to this appointment, he was involved in fundraising and donor management for the National
Heritage Board (NHB) and was responsible for developing the heritage eco-system through
implementing industry development efforts such as launching of the Heritage Industry Incentive
Programme (Hi2P), a financial incentive scheme for the heritage industry. Before joining the NHB, he
was the Head of Department tasked to create a robust and vibrant environment for the tourism industry
at the Singapore Tourism Board (STB).
Lynn Chiam, Head, Outreach – no bio provided