Museum Education and the Cultural Heritage in Threatened Countries: Risks, prevention and support of population

Edited by Stella Chryssoulaki, Alexandra Bounia and Despina Andriopoulou

_______________ Copyright © 2013 Ministry of Culture & Sports, 26th Ephorate of Prehistoric and Classical Antiquities ISBN: 978-960-386-084-6 Cover: Spilios Pistas Graphic composition: Spilios Pistas All non-authorised reproduction or distribution, be it whole or in part, of this book or its content is strictly forbidden.

Sommaire – Contents – Indice Editorial

pag. 4

Nicole GESCHÉ-KONING / Culture et Démocratie, Belgium The Role of Culture and Education in a World of Crisis

pag. 6

Deborah STOKES / Smithsonian Institute, USA Monster in the Earth

pag. 14

Blandine Opêoluwa AGBAKA / Coordinatrice de l’ONG BENIN PATRIMOINE, Benin Patrimonialisation participative et développement: le cas de la communauté Idaatcha de Dassa-Zoumè au Bénin

pag. 21

Wafaa EL SADDIK / Egyptian Museum, Egypt The Arab Spring and its effect on cultural heritage

pag. 31

Vasilike ARGYROPOULOS, Eleni ALOUPI, Kyriaki POLIKRETI, Rea APOSTOLIDES, Wafaa EL SADDIK, Raymund GOTTSHALK, Mona ABD EL NAZEER, Marina VRYONIDOU-YIANGOU, Peter ASHDJIAN, Maria-Christina YANNOULATOU, Sophia BITSA, Stefan SIMON, Wolfgang DAVIS, and Vasiliki KASSIANIDOU / Greece, Egypt, Germany, Cyprus Witness the Past: Museum education for children on illicit trade of antiquities

pag. 39

Stella CHRYSSOULAKI / Ministère Hellénique de la Culture, Grèce Natural and man-made disasters and the role of the Museum. A case study: the campaign of the Greek Ministry of Culture entitled “Environment and Culture” pag. 49 Arja VAN VELDHUIZEN Obituary Nico Halbertsma (1949 - 2012) and the wonder of curiosity / Nécrologie Nico Halbertsma (1949 - 2012) et la magie de la curiosité

pag. 55

Auteurs / Authors / Autores

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ICOM-CECA Board

pag. 63

Editorial Museum Education and the Cultural Heritage in Threatened Countries:  Risks, prevention and support of population Most societies around the world have their fair share of conflict and unrest. They suffer from natural and physical disasters, from social and economic problems. Painful memories from the past and difficult situations of the present, whether they derive from involvement in wars, civil unrest, hostilities of other sorts or natural forces, are associated with a wide range of places, sites and institutions. Museum professionals have an important role to play in such situations, since they have the difficult task of helping for saving the cultural heritage which is under threat, but they have also serious responsibilities towards the communities they serve. And the question is if and how museum education has a role within this context. How can museum educators deal with sites that express or/and represent “dark phases” of the past? How should we present issues like war and conflict in museum educational programs? How can art and culture be of assistance in societies that face difficulties and how can museum professionals support their communities through their work? This issue of Museum Education aimed to focus on the above questions and possibly more, and invited museum educators from around the world to express their experiences, insights and ideas. Nicole GeschéKoning writes about the role of culture in a world in crisis and argues that art and culture, museum education and museum work in general can and should maintain hope for a brighter future. This is in practice argued by Deborah Stokes as well, who presents a museum education program that took place in the National Museum of African Art in Washington DC, after the 2010 Haiti earthquake and the devastating experiences of children of the island. Blandine Opêoluwa Agbaka takes the lead from there to argue that training communities to care and protect their own heritage is particularly important and only when heritage planning involves communities it does have a hope to be successful and long-lived. Wafaa El Saddik, furthermore, presents the tragic looting of the Egyptian Museum in Cairo in 2011, during the period of the country’s unrest and argues that even in periods of conflict it is important to protect cultural heritage resources and remember that the loss of such resources influences not only the country involved, but also the rest of the world. She also presents the “Amman Declaration on the prevention and response to theft and looting of cultural objects from museums and sites”, signed in 2011 by participants in an international meeting in Jordan, and urges for awareness regarding the protection of cultural

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heritage. The following article written by Vassiliki Argyropoulos and her collaborators presents a project entitled “Witness the Past” which was organized by a group of experts from around the Mediterranean using a European Union fund in order to alert young pupils about the loss of cultural heritage through illegal activities, and thus create alert and informed citizens of tomorrow. The results of the program have been very encouraging and they also provide hope for a new generation that will care for cultural heritage and protect it in times of crisis. This volume ends with an obituary for Nico Habertsma, a recently lost friend and colleague. Of course, the discussion does not, and should not, end at the final page of this issue. Museum education has a crucial role to play in countries that face threats, manmade or natural ones. We have responsibilities to prepare younger generations, to help identify the risks and prevent dangers, but also to support the population in times of crisis.

Edited by Alexandra Bounia, Stella Chryssoulaki and Despina Andriopoulou

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The Role of Culture and Education in a World of Crisis

Nicole Gesché-Koning

Culture et Démocratie

Abstract Reading the title of this article one may certainly first think about regions in war, threatened or devastated by natural catastrophes, vandalism and terrorist attacks as in Haiti, Syria and Mali. Prevention and support may help people to survive such situations. Too often neglected and considered too remote from the reality lived by those who suffer, culture may also play a crucial role in these matters. What about European countries at risk like Greece, Spain and more recently Cyprus undergoing severe cuts? Could lack of culture explain this situation and could the implementation of cultural programmes support the population? How can prevention, accessible education and culture help maintain some hope in a brighter future? The Belgian association Culture et Démocratie (Culture & Democracy) created twenty years ago by former royal opera director Bernard Foccroulle tries to answer these questions.

Résumé En lisant le titre de ce numéro, l’on pense d’emblée aux régions en guerre, menacées ou dévastées par des catastrophes naturelles, le vandalisme ou des attaques terroristes comme en Haïti, en Syrie et au Mali. Prévention et soutien peuvent certes apporter un peu de réconfort à ceux qui souffrent. Et qu’en est-il de pays européens comme la Grèce ou l’Espagne et dernièrement Chypre, en proie à des coupes budgétaires et des mesures d’austérités? Comment la culture peut-elle aider ces populations? Cette contribution consacrée aux rôles de la culture et de l’éducation en temps de crise tente d’établir un lien entre cette situation et l’absence de culture ou une trop faible participation à la culture. Comment la prévention et l’accès à l’éducation et à la culture au sens large peuvent-ils contribuer à un avenir meilleur? L’association belge Culture et Démocratie fondée il y a vingt ans par l’ancien directeur de l’opéra royal Bernard Foccroulle tente de tracer quelques pistes de réponses.

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Key words Assistance, blossoming, culture, democracy, education, future. Mots clés Assistance, culture, démocratie, education, épanouissement, futur.

Cultural Education: A Priority Cultural blossoming may seem less of a priority than having a decent shelter and food. Personal development and blossoming surely do not depend directly on shelter and food but much more on one’s curiosity, capacity to adapt to situations by knowing what is at stake and why. Who am I? What do I think? Why do I think like this? In what do I believe and why? What do I like and why? All these questions do not come out of the blue and need thinking for answering. Education and access to culture starting from the youngest age provides the answer. The younger the children the more receptive they are to new and/ or different ideas. Family and school may sometimes come to a clash depending on origin and religion but this need not be negative; on the contrary discussing dialectic issues leads to questioning oneself for prejudice. This approach nevertheless needs training. Thirty-five years of teaching and guiding respectively in schools and museums have led me to meet hundreds of pupils and young visitors. School has lost its once valued image. In an ever more multicultural society, pupils from differing backgrounds lack common cultural knowledge, often refusing to question themselves, their thoughts and beliefs. They often do not have the same values as their teachers or the latter may have other values than those of the school system. Rather than a threat, this state of affairs may generate enrichment through confronting ideas and values. Pupils obliged to come to school – in Belgium until the age of 18 – are often physically, but not mentally present, showing little concern for the topics they have to master. One cannot blame them, for the school system has failed to adapt to the newer communication and information media that attract their attention. In addition they have insufficient training to decode and process the controversial and questionable information. Ever more, education should enhance critical thinking to prevent manipulation. Taking pupils out of school to cultural events has an even greater impact. The present school systems and access, opening hours and entrance price of many museums complicate such outings. In order to encourage an open-minded approach, both schools and museums should facilitate access to culture. The school system’s bureaucracy fails to promote repeated outings. Moreover the European law of competitiveness hampers free school bus transportation, increasing

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the price of any outdoor activity. In addition, rather than caring for costeffectiveness, schools should cater for quality. Large groups of pupils involving several classes generate frustration and lack of attention. In such a context, pupils often do not even know where they go, what exhibition they have visited or play/concert they have attended. For many years on account of the red tape required by schools and the unproductiveness of group outings, I have avoided taking my pupils out of school, which might surprise coming from a teacher also involved in museum education. However, I do encourage and even oblige pupils to attend various cultural events and visit different exhibitions every year. I want them to do so when and with whom they choose. Some still view such outings as a school task and would prefer missing class. I favour talking of the event during my classes, showing them pictures or commenting on the event enthusiastically. They then have two to three weeks to visit the exhibition, attend the concert, or go to the theatre on their own. This promotes their independence and in the long run proves more rewarding. I witnessed my pupils’ lack of independence and knowledge with respect to the visit of the exhibition entitled Devoir de regard, organized by Amnesty International at the Palace of Justice in Brussels (www.devoirderegard.be - accessed 27.03.2013). Required to meet me by themselves at the exhibition hall during school hours, many pupils did not know the location of this emblematic building. They thus discovered it for the first time, duly impressed by the imposing building described by Charles Garnier as ‘l’éléphance de l’art’ (sic) and Paul Verlaine as ‘babélique & michélangelesque’. Their fascination will lead me to deepen their knowledge of the building in my history classes even though this topic does not bear a direct link to the curriculum. I remain firmly convinced that the best teaching must relate to the present, such as an exhibition or cultural event. Teachers must try and find ways to relate such events with the curriculum. In the case of the exhibition Devoir de regard this first meeting with Joseph Poelaert’s building made them so receptive to the exhibition that they looked at each photograph and read the accompanying explanations long after having finished the few requested activities they had to fulfil for school. They went on conversing about the building and the exhibition outside though the Easter holidays had already begun. The photographs exhibited can lead to many different interesting discussing issues: the role of the photographer, the purpose behind each photo, the aesthetics behind them, the subjects represented, their context, the places where they were taken, their dates. Access to education and culture affords avoidance of hatred and wars often generated by ignorance and lack of open-mindedness in certain circles refusing to mingle. Rather than fearing the unknown and building walls to protect one self, people in multicultural societies should see the fabulous opportunity afforded by the cultural enrichment of discovering the other. In Les identités meurtrières, Amin Maalouf (1998) develops

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the idea of self-esteem emerging from not negating one’s neighbour’s existence and accepting enrichment from globalisation. Yet it seems that the world sees in it just as a matter of uniformity and control worse than that described in George Orwell’s Nineteen-Eighty-Four.

The Role of Creativity and Politics Described in François Hollande’s eulogy as a ‘free man, free by his choices, his engagements, his life… leaving to the youth the precious witness of a life which can be useful by its achievements and the words pronounced’ (translation mine), Stéphane Hessel, the author of Indignez vous (2010, p. 30) did not call for revolt but for greater lucidity, for more engagement to react to our economic world brutally swallowing individuals, people and culture as a fatality. According to Stéphane Hessel, ‘To create is to resist. To resist is to create’ – words immediately pointing to the direct link between creativity and politics. Why resist and to what? How can creativity help? By answering these questions the Belgian association Culture & Démocratie (Culture & Democracy) has come to the conclusion that creativity can but lead to improving society. The world awaits a new philosophy to rethink the world’s governance to avoid its disappearance. A new question emerges: how should one reach creativity? Raoul Peck’s last film Mortal assistance (2013) on the humanitarian help brought to Haiti in the past two years after the earthquake explicitly evidences that capitalism has failed to bring the appropriate help. Only through creativity can one discover new alternatives. What enhances creativity and how does one promote creativeness? Csikszentmihalyi (1996) in Creativity: Flow and the Psychology of Discovery and Invention, New York, answers positively as does Edward de Bono in Six Thinking Hats (1985), where the green hat focuses on creativity, and in How To Have Creative Ideas (2007), where he suggests new alternatives and ideas for creativeness. Both nevertheless develop their ideas in and for a Capitalist world. Regarding education, the role of creativity should rely more on how to link cultural values from the past with those of the present. The European Union has commissioned a study of creativity Fostering and Measuring Creativity and Innovation available on the web with interesting reflections on the link of past and present. Amongst others, Yrjö-Paavo Häyrynen insists on the importance of ‘transmitting the creative cultural potential of the past to new people’, not copying but assimilating the reasons for their creation at a certain time and assessing their universal value, such as Michelangelo’s David, Mozart’s Jupiter Symphony or Shakespeare’s Hamlet (‘Creation in Science, Art and Everyday Life’, accessed 27.3.2013 www.ec.europa.eu/education/lifelong-learning-policy/doc/creativity/ report/life.pdf).

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François Ost’s Antigone voilée (2004) revisits the mythical tragedy in present days, replacing the choir by new media such as radio and television, and centres the discussion on the Islamic Hijab. This shows how popular the original text remains and how it still speaks to young present pupils, after Jean Anouilh’s Antigone (1944) and George Steiner’s analysis Antigones: How the Antigone Legend Has Endured in Western Literature, Art, and Thought (1984). The universality of the theme also appears in The Island by Athol Fugard (1973) with John Kani, and Winston Ntshona featuring two prisoners of conscience in a jail somewhere in Africa rehearsing scenes of Antigone in their cells each night after heavy days of demeaning and senseless labour (digging holes and refilling them at the end of the day). In doing so they highlight once more the role of corruption on power and the necessary rebellion against tyranny.

Culture & Démocratie The Belgian association Culture & Démocratie (Culture & Democracy) stresses culture and education as its priority and a core issue of democracy. Created in 1993 by different personalities of the artistic world convinced that culture must accompany all democratic values, the association pledged its Manifesto and goals still found on the Web (www.cultureetdemocratie.be, accessed 27/03/2013): ‘Art and culture must appear in all educational systems and the budget allocated to culture need enhancing: not only does culture generate employment, but it also improves both the local social and economic environment. To achieve this, every society needs the ability to rethink its priorities and objectives related to the realities faced. Creativity plays a vital role’ (free translation mine). The association challenges how culture relates to democratic values and why democracy cannot exist without culture and free access to it for all citizens. More than ever most Northern governments do not prioritise this issue, while trying to survive the economic crisis they have created. Their creativity in increasing productivity with a sole capitalistic goal has proven more than counterproductive. This has also lead to the loss of democratic values. Only by finding alternatives can one save these values. Once again Culture & Démocratie reinforces in all its activities the importance of setting culture as the main priority by allowing each individual to blossom and at the same time the entire society. This development must be seen not only on the short and middle terms but also mainly on the long term. As mentioned at the beginning of this paper, cultural blossoming may seem less a priority than having a decent shelter and food but is more linked to these vital needs than one may think. Convinced that culture serves democracy and vice versa, Culture & Démocratie operates in all sectors of society: education, health,

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prisons, social work and inter-culturalism. Who would dare affirm that a civilised society has no culture or arts or that the mono-dimensional place of materialistic preoccupations does not affect human well-being? To resist, according to Stéphane Hessel, means to refuse all moulds, not for the sake of being against, but in order to find alternatives. Through culture, artists express their refusal of the world’s materialism as it leads to renewed hatred and racism. Now more than ever should one understand the direct relation between this phenomenon and the shortage/cuts in cultural affairs. Considering culture less vital than food and shelter, and thus weakening the role and importance of culture in society, endorses the malfunctioning societies unable to handle the present crisis. Cultural democratic development provides THE solution to the crisis faced by both North and South. Fighting poverty and dramatic situations like those faced in Belgium by workers at Ford Genk, Arcelor Mittal and most recently Caterpillar and Duferco, certainly remains a priority but cultural life may also help. The new exhibition L’Homme face au travail (Man at Work) at the Daily-Bul Centre in La Louvière presents photographs by Giuseppe Calabrese praising man at work. Calabrese focuses on social and economic human catastrophes artistically, emphasising once more why culture must be the basis of all democratic societies. To invest in culture will guarantee a long term impact on both the economic and social development, as George Steiner notes in his Grammars of Creation (2001), convinced that ‘arts have a crucial role to play in the development of all human beings. He adds that science and technology alone fail to illuminate inevitable human questions regarding value, faith, and meaning and that the contemporary culture with unlimited consumption and liberal democracies can no longer produce a serious, aesthetically-high standard of art. As an ambassador of fundamental values of old, good Europe, he calls for modern and post-modern societies to redefine, to reformulate its cultural traditions and to transmit them to the younger generation’ (p. 243). This may be another issue. Admitting that Europe has dominated the world for more than five centuries and that its values need to be redefined.

Culture and Education: A Common Destiny Education being one of the main goals of Culture & Démocratie, its working group on Culture and education (http://www.cultureetdemocratie.be/ chantiers/culture-enseignement - accessed 31.03.2013) focuses on publishing new working tools. An enquiry conducted ten years ago has established that in French speaking Belgium teachers during their training years were seldom if ever confronted with cultural matters. How can pupils have access to culture if their teachers have no such

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acquaintance? With more and more teachers of immigrant origin, why not take advantage of their culture and compare it to that of the country they now live in? What should be seen as enrichment is too often analysed as a loss of values. Let us work on such enrichment before it is too late. Culture & Démocratie therefore organised in 2008 a colloquium entitled La culture au cœur de l’enseignement. Un vrai défi démocratique (Culture at the Heart of Teaching. A Real Democratic Challenge). Sabine de Ville, president of Culture & Démocratie considers schools as ‘naturally cultural as their main goal is that of transmission, building up knowledge and exchange … unfortunately too many pupils and students have too little access to cultural matters. If some have been acquainted to art, what place is left in school curricula for music, theatre and other performing arts? How many practice arts personally if not supported by their family? Access to art should be made available to all and in all topics’ (translation mine). Eric Corijn, a specialist in cultural matters within cities and the founder of Cosmopolis (www.cosmopolis.be) analysed the place of culture in Brussels, which he sees as a city of encounter and exchange between various populations and cultures, with 27% of its population not of Belgian origin and with about 45 different nationalities of minimum 1000 inhabitants. He considers the cultural evolution of the city as a post-national one, one of ‘cosmopolity’ (sic) where culture should be understood in the broadest possible meaning, tradition becoming less important than a project for the future, built on the new idea of common future, no more based on national identity but moreover on common destiny. How to define this common destiny is in the hands of all inhabitants whichever their origin and culture. In her analysis of youth and culture, Sylvie Octobre showed the gap between ‘digital natives’ and culture, their relation to others, time and space. She then analysed one of the reasons facing the school crisis, that of authority, schools no longer considered as detaining the sole authority. They are now competing with social media and technology, as do museums, which have the crucial role of attracting younger generations into their institutions. Hence the interest and success in Brussels of the Museum Night Fever dedicated to 18- to 30-years-old. This one-shot activity even if repeated yearly does not suffice and Culture & Démocratie insists on the long-term use of museums. Among other papers let us also mention Marie-Clarté O’Neill’s analysis of the museum educator as mediator between the museum, the public and schools and Catherine de Braekeleers description of successful activities at the Centre de la Gravure et de lmage imprimée in La Louvière both linked with museum education. The proceedings – in French – are accessible in paper and on line (http://www.cultureetdemocratie.be/documents/ CAHIER2.pdf - accessed 31.03.2013). This activity, followed by a series of round tables organised during lunch time for two years on the theme Un enseignement en culture: de l’utopie à la réalité (Culture Within Education: From Utopy to Reality) which also led to

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a publication (2011), L’indispensable revolution. Culture et création au coeur de l’enseignement) available both on paper and on the Web (www.cultureetdemocratie.be/productions/view/03-lindispensablerevolution-culture-et-creation-au-coeur-de-lenseignement - accessed 31.03.2013). It ends with ten recommendations any person responsible of education should keep in mind (p. 67-69). Art cannot save the world but it surely can help it to become more human. The same holds for schools and museums, which need according to Alain Kerlan (2009, pp. 30-39). ‘reenchanting’, revolutionising its pedagogical logics, re-giving all its meaning and flavour to knowledge in its broadest sense’. Quote one again Amin Maalouf, we must ‘invent a conception of the world which is not only the modern translation of ancestral prejudice’ installing ‘an adult vision of who we are, who the others are and which destiny we want for our common planet’ (Maalouf 2009). Acknowledgment: I am mostly indebted to my sister, Danielle Schaub, for the full revision of this text.

Bibliography Csikszentmihalyi, M. (1996). Creativity: Flow and the Psychology of Discovery and Invention, New York de Bono, Edward (1985). Six Thinking Hats, de Bono, Edward (2007). How To Have Creative Ideas, Hessel, S. (2010). Indignez-vous, Montpellier Kerlan, A. (2009). L’art et la culture pour ré-enchanter l’école ? La culture au coeur de l’enseignement, Les cahiers de Culture et Démocratie, 2, pp. 30-39 Maalouf, A. (1998). Les identités meurtrières, Paris Maalouf A. (2009), Le dérèglement du monde, Paris

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Monster in the Earth

Deborah Stokes

Smithsonian Institute

Abstract On January 12, 2010 Haiti experienced a ruinous 7.0 magnitude earthquake. Children, the most vulnerable victims of this devastating natural disaster, witnessed crushing destruction, dislocation, and death. Recognizing the damaging psychosocial trauma of life-threatening events and loss, the Preval administration assembled Plas Timoun, “The Children’s Place”, for children living in the makeshift tent cities in Port-au-Prince as a temporary safe haven. The staff initiated art therapy strategies aimed at harnessing some of the discernible symptoms of post-traumatic stress and depression. The works of ninety-five children were displayed at the Smithsonian’s National Museum of African Art (NMAfA) in the exhibition The Healing Power of Art: art work by Haitian children after the earthquake. The public was encouraged to draw and write messages of hope in response to the young artists’ paintings. The resulting educational programming and outreach modeled meaningful cross-cultural engagement at the heart of our museum’s mission.

Résumé En date du 12 janvier 2010, Haiti a été touché par un tremblement de terre de 7.0 de magnitude. Les enfants ont été les victimes les plus vulnérables de cette catastrophe naturelle, ils ont été témoins de cet écrasement destructif, de dislocation et de mort. Reconnaissant le traumatisme psycho social de cette vie mise en danger par cet évènement et ces pertes, l’administration Préval les a rassemblé «Plas Timoun», «la place des enfants», pour les enfants vivant dans les villages de tentes de fortune à Port-au-Prince comme un havre de sécurité temporaire. Le personnel a lancé des stratégies d’art-thérapie visant à exploiter certains des symptômes perceptibles de stress post-traumatique et de dépression. Les oeuvres de quatre-vingt-cinq enfants ont été exposées au Musée national Smithsonian d’art africain (NMAfA) dans The Healing Power of Art: art work by Haitian children after the earthquake. Le public a été encouragé à dessiner et écrire des messages d’espoir

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en réponse à la peinture de ces jeunes artistes. La programmation qui donne un résultat d’éducation et de sensibilisation modèle permet une signification interculturelle engagée au cœur de la mission de notre musée.

Key words Haiti, Smithsonian Institution, National Museum of African Art, Art Therapy. Mots clés Haïti, Smithsonian Institution, Musée national d’art africain, Art-thérapie.

Natural disasters, in addition to the lost lives, destruction of homes, communities, monuments, and the loss of treasured material culture, inflict untold trauma on its surviving population. The catastrophic 7.0 magnitude earthquake that struck Haiti on January 12, 2010 left an estimated 300,000 casualties in its aftermath. More than 1.5 million people became homeless in the 35 seconds that the earth shook underfoot. Multiple major aftershocks devastated civil infrastructures, collapsed major government buildings, shut off electricity, and closed all the seaport and air traffic control facilities in Port-au-Prince, Haiti’s capital. In addition, 5000 schools were damaged or destroyed and approximately 4000 teachers lost their lives. National governments around the world began immediately to respond to the need for organizing humanitarian aid. The United States government pledged $379 million for direct disaster assistance, U.S. military aid, food, transport, and other relief. The Smithsonian Institution (SI) in Washington, D.C., with its world class science and art museums, called on its staff to help plan for the rescue and recovery of Haiti’s endangered cultural heritage, including damaged paintings and sculpture, important artifacts, documents, and noted architectural elements, all vital components of Haiti’s national identity. The Haitian Cultural Recovery Project, led by Richard Kurin, Under Secretary of History, Art, and Culture, was organized in partnership with the Government of Haiti (both the Ministry of Culture and Communication and the Presidential Commission for Reconstruction) and the U.S. President’s Committee on the Arts and the Humanities. A select group of Haitian cultural leaders and experts from the Smithsonian began to prioritize the sites, objects, and collections for rescue and conservation. First Lady Elizabeth Preval (2006-2011) recognized the need to address the trauma these life-threatening events had on the youngest survivors. She directed the formation of Plas Timoun (Children’s Place in Creole), temporary youth centers for children six to ten years old,

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under the sponsorship of the Ministry of Youth and Sports. Living in tents or under tarps in the homeless camps scattered across Port-auPrince, Plas Timoun represented a provisional safe haven for children amidst the chaos and shambles in which they were now living. Housed in six converted buses at two locations in Port-au-Prince, approximately six hundred children a day (three shifts of 200 each) participated during the early months of the recovery efforts. Among the therapeutic programs and psychological support, art activities were offered as a tool aimed at harnessing some of the many manifestations of posttraumatic stress and anxiety: anger, depression, and paralyzing grief. Under the guidance of psychologists and teachers, the children were encouraged to express their intense feelings through drawing to help them break through the silence, confusion, and fear. For the youngest, it provided focus, and although only able to create generalized scribbling, absent any technical skill, their markings were rooted in the very structure and function of nervous systems that had been severely overwhelmed and traumatized. The physical movement alone acted as a remedy for stress relief. For those who were able, an inner language was expressed through visual images serving as cues to internal feelings and thoughts. Their drawings revealed bursts of terrified feelings in a disorganized array of dots, a stomach tied in spiral knots, a blacked-out sun, no horizon lines, or an angry face emerging from the ground, the earthquake personified as a monster in the earth (Fig. 1).

Figure 1: Child’s drawing, Plas Timoun, Port-au-Prince, Haiti Earthquake personified as a angry monster in the earth (Photo: Courtesy of the author)

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Figure 2: Child’s drawing, Plas Timoun, Port-au-Prince, Haiti Tent City (Photo: Courtesy of the author)

Attempts to draw from observation revealed collapsed schools and homes, amputated limbs, bleeding open wounds, corpses of family and friends, tent cities and other horrifying scenes (Fig. 2). In an array of signs and symbols, the drawings spoke to the paradox of defenseless children too young to have developed any coping skills, suddenly forced to face extraordinary trauma and loss and with all notion of permanency gone. Madame Preval collected more than one hundred watercolor paintings and brought them to Washington, D.C. to advocate for an exhibition on the National Mall that would serve as an appeal for continued disaster relief. The Smithsonian’s National Museum of African Art (NMAfA) produced The Healing Power of Art: art work by Haitian children after the earthquake. Opened on June 17, 2010 (through February 27, 2011) it served as a powerful proxy in the name of the youngest survivors of this humanitarian disaster – a shocking record of the chaos and violent destruction of a generation-shaping trauma now embedded in childhood memories. The ninety-five drawings selected for exhibition represented a wide spectrum of symbols that can be placed under three key rubrics: (1) Despair/Pessimism: buildings tumbling into rubble, bodies bleeding onto the streets, holding hands with the dead, and severed heads. (2) Rescue/Assistance: depicted emergency transport, e.g., a Red Cross airplane, helicopters, and ambulances. (3) Resilience/Optimism: symbols of hope in the form of colorful flowers, hearts, waving flags and friends holding hands.

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Mounted along with the children’s art work, visitors could watch two videos: Thirty Five Long Seconds: Haiti’s deadly earthquake, produced by the Miami Herald, (March 2010), showing the earthquake caught on security cameras in the National Palace in Port-au-Prince as it collapsed in real time, along with interviews with the then-President, Rene Preval, and other officials. The other video presented Michelle Obama, Jill Biden and Elizabeth Preval touring Plas Timoun, and the artist, Philippe Dodard, speaking about the therapeutic programs available to the children that provided opportunities for emotional release. Extensive worldwide news coverage carried the devastation beyond the borders of Haiti. Those with friends and relatives in Haiti at the time of the earthquake watched for countless days and weeks of television reports, many unable to contact or get information about their loved ones. Although not having experienced the disaster firsthand, the public was deeply affected. The museum setting on the National Mall generated a space in which visitors could quietly pause and consider their own responses to the disaster. Similar to the buses outfitted as a therapeutic art studio, the museum set up a safe space and tools within the exhibition hall for visitors to express their compassion and support. Tables and stools were available to promote use of the exhibition as a catalyst for reflection, discussion, and emotional relief. A specially designed activity sheet encouraged a personal picture of friendship and message of hope in the rebuilding of Haiti and its schools in response to the children’s art. Participants were instructed to drop their pictures and messages into a special box where they would be collected by museum staff and sent directly to the children in Haiti. Others who were not able to visit the museum were able

Figure 3: Child’s drawing, National Museum of African Art Helping Hand (Photo: Courtesy of the author)

Figure 4: Child’s drawing, National Museum of African Art Message of hope and friendship (Photo: Courtesy of the author)

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to participate through our website Africa.si.edu by downloading the drawing activity and sending their expressions of friendship and hope to the museum. As a result of the museum’s promised delivery, nearly five thousand sincerely inspiring wishes and drawings (Fig. 3) were collected for the children at Plas Timoun. A systematic cataloging and analysis of the thousands of responses revealed messages representing more than eight hundred schools across the United States from nearly every state in the union and twenty-eight foreign countries (Details Appendix A). They were hand delivered to Haiti in April 2011 for distribution to children still living in the tent cities. The museum activity assisted visitors to actively participate in generating the historical record of a generation-shaping trauma, the creation and power of art to express it, and the process of establishing cross-cultural community through social engagement. The museum seized upon an opportunity presented by JoAnne Livingston of the International Affairs Office at the U.S. Department of Education to push the exhibit beyond the museum walls. An invitation to launch International Education Week in November 2010 enabled NMAfA to organize a video-conference to be held in real time with a group of the young artists guided by Philippe Dodard, as facilitator in Haiti and an award-winning French Club at J.O. Wilson Public Elementary School in D.C. led by their teacher, Florentino Martinez. Special pre-conference drawings and messages (in French and English) on the theme of the importance of school were created by the fifty children from both countries. Each American student had an opportunity to speak in French and show their drawing to the children in Haiti. The students in Haiti spoke in English and French about their drawings and added a noteworthy degree of peer-to-peer interaction by performing a special dance and song for the occasion in the spirit of cultural exchange. Due to the success of the community response and outreach, the exhibition was extended for five months beyond its original closing date. Through the efforts of The Haitian Cultural Recovery Project and sponsorship of the Healing Power of Art exhibition, the Smithsonian brought to the attention of its millions of visitors to the National Mall the magnitude of the cultural devastation in Haiti and those committed to the global rebuilding and renewal efforts. The National Museum of African Art created a conversation structured around the story of a humanitarian crisis, each child’s art work an intimate encounter helping to illustrate the larger themes of sociological, psychological, cultural, and economic concerns. By exploring the positive impact of art making as a coping mechanism in response to the trauma of natural disasters, museums can play an important role in fostering the development of our visitors as informed and compassionate citizens of the world.

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Appendix A:

References DiLeo, J. H. (1977). Child Development: Analysis and Synthesis, New York, Brunner/Mazel. Haiti Cultural Recovery Project (2013) from http://haiti.si.edu/ Kurin, R. (2011). Saving Haiti’s Heritage Cultural Recovery After the Earthquake, Washington D.C., Smithsonian Institution. National Museum of African Art, The Healing Power of Art: Works of art by Haitian Children after the earthquake,(2010) from http://africa.si.edu/ exhibits/haiti/index.html Stokes, D. (2010). The Healing Power of Art: Works of art by Haitian Children, Museums and Social Issues, 5 (2), 269-274.

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Patrimonialisation participative et développement: le cas de la communauté Idaatcha de Dassa-Zoumè au Bénin

Blandine Opêoluwa Agbaka Bénin Patrimoine, ONG

Résumé Au Bénin, la prise en main de la gestion du patrimoine par les communautés qui en sont à la base est loin d’être une réalité. Le choix des biens culturels du patrimoine tant matériel qu’immatériel demeure largement l’apanage de l’Etat à travers la Direction du patrimoine culturel. L’implication limitée des communautés au processus de patrimonialisation conduit à des conflits sur la gestion de ces biens du patrimoine: désengagement ou désintérêt total. La conséquence est qu’on attend tout de l’Etat, depuis le personnel de gestion en passant par les moyens de conservation, de mise en valeur, voire du simple nettoyage qui permettrait de maintenir un site propre et salubre. L’expérience de la patrimonialisation participative que nous projetons d’entreprendre avec la communauté Idaatcha de Dassa-Zoumè, s’inscrit dans une approche d’implication active de la communauté en amont et en aval de la patrimonialisation pour que comme le dit (Hugues de Varine, 2010) «les communautés ne soient plus seulement consultées mais qu’elles décident de ce qui est leur patrimoine et comment le conserver et le mettre en valeur». L’expérience que nous voulons construire vise non seulement à permettre à la communauté de décider des éléments faisant partie de son patrimoine, mais aussi à s’engager en toute responsabilité dans sa conservation et sa gestion.

Abstract The management of cultural heritage by local communities is not yet implemented in Benin. The choice of cultural heritage elements and those of intangible heritage remains essentially the responsibility of the State through its cultural heritage department. The low scale of involvement of communities to the process of heritage identification

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leads to conflicts about the management of the concerned cultural heritage and a total disengagement of local stakeholders. The result is that everything is expected from the state. From the management team to financial and material means comprising simple swiping of sites to keep these clean. The experience of participatory inventory that we would like to implement with the Idaatcha people is based on a participative involvement of local communities and stakeholders. This experience will then reflect Hugues de Varine’s concept of participatory inventory as core for building up a method adequate for Idaatcha people and Beninese local communities.

Mots clés Patrimonialisation, Idaatcha, Bénin, Nouvelle muséologie. Key words Heritage awareness, Idaatcha, Benin, New museology.

Au Bénin, la patrimonialisation demeure un processus confronté à plusieurs obstacles. Il est longtemps resté l’apanage exclusif de l’Etat à travers ses services compétents en la matière, en l’occurrence, la Direction du patrimoine culturel. L’avènement de la décentralisation en 2003 a fait souffler une ère nouvelle dans la gestion des affaires publiques, qui sont dorénavant à la portée des populations qui en sont à la base. Le Bénin compte 77 municipalités, dirigées chacune par un maire élu et un conseil municipal. La question de la gestion du patrimoine fait partie des prérogatives des municipalités qui ont une grande responsabilité en matière d’identification, de protection, de gestion et de mise en valeur du patrimoine présent sur leur territoire. L’expérience de patrimonialisation participative que nous avons commencée dans le cadre de nos travaux de recherches en licence professionnelle, s’est poursuivie avec le Master professionnel et va s’approfondir avec notre thèse de doctorat. En effet, les recherches effectuées durant nos précédents travaux, nous ont permis de constater la richesse du patrimoine culturel Idaatcha. Nous avons donc décidé d’en faire un inventaire mais avec une forte participation de la communauté suivant la méthode de l’inventaire participatif développée par Hugues de Varine (2010). Une fois l’inventaire réalisé, il sera procédé à une restitution à la communauté sous forme d’exposition temporaire sur le patrimoine culturel Idaatcha et à la construction de circuits touristiques.

La sélection patrimoniale, un exercice difficile au Bénin Au Bénin, comme dans la plupart des pays africains, la sélection patrimoniale, reste un exercice très difficile. Cette difficulté provient

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essentiellement du fait que les critères de sélection du patrimoine restent l’apanage des professionnels du patrimoine et leur compréhension est très peu accessible aux communautés à la base. La loi 2007-20 du 23 août 2007, portant protection du patrimoine culturel et du patrimoine naturel à caractère culturel en République du Bénin, stipule en son article 2: «Constituent le patrimoine culturel de la nation, les biens qui, à titre religieux ou profane, sont désignés par l’Etat comme étant d’importance pour l’archéologie, la préhistoire, l’histoire, la littérature, l’art, l’anthropologie, l’anthologie ou la science… ». Cet alinéa montre clairement la suprématie de l’Etat dans la reconnaissance du patrimoine d’une part et le caractère savant des critères d’identification des biens patrimoniaux d’autre part. Les critères liés à l’importance archéologique, préhistorique, historique, littéraire, artistique, anthropologique, anthologique, ou scientifique etc. sont déterminés par qui? Ils ne sont pas nécessairement très accessibles à la compréhension de la plupart des populations qui vivent au quotidien avec leur patrimoine. Comment se fait la sélection patrimoniale au Bénin? Comment éviter une sélection qui ne reçoit pas l’adhésion de la communauté à la base? Des questions auxquelles nous voudrions répondre à travers l’expérience de la patrimonialisation participative avec les Idaatcha. La démocratisation de la sélection patrimoniale est devenue une nécessité pour améliorer la conservation et la gestion des biens culturels. Lorsque l’initiative de la sélection demeure encore une pratique largement exercée par la Direction du Patrimoine Culturel qui représente l’Etat et que les communautés à la base ne se retrouvent généralement qu’à la fin du processus de sélection, les risques de rejet, de désengagement et de désintéressement deviennent importants. Les conflits naissent également à propos de la gestion des biens patrimoniaux en raison du processus de patrimonialisation qui n’est pas très démocratisé. Ces conflits peuvent aboutir à des risques de dégradation pour le patrimoine. Cette patrimonialisation dictatoriale est illustrée par l’exemple éloquent d’Akaba Idénan, la porte fortifiée de Kétou dans le département du Plateau au Bénin. Alexis Adandé (2008) présente le processus très peu participatif ayant abouti à «muséographier» ce lieu sacré. La valeur patrimoniale de cet espace sacré pour les natifs de Kétou, réside essentiellement à deux niveaux: il est le siège d’une grande déité protectrice et symbolise la résistance de Kétou à l’adversité. Par contre, pour les chargés de la gestion du patrimoine national, ceci représente un attrait touristique capable de générer des ressources financières. Nos travaux de recherches visent entre autre à réduire cette fracture entre l’intelligentsia qui se pose souvent en maître absolu de la connaissance et le patrimoine culturel qui relève essentiellement du vécu des communautés, en éduquant les communautés au patrimoine à travers la participation au processus de patrimonialisation. Les portes d’Akaba Idénan furent réhabilitées avec l’appui financier de la coopération française et à la réception des ouvrages en 1994, la Direction nationale du patrimoine culturel dévoile

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son projet d’en faire un musée. L’accès est désormais tarifié. «A défaut d’un dialogue avec la population, un conservateur a été nommé et affecté au musée de site Akaba Idéna. Inutile de préciser que ce fonctionnaire n’était pas le bienvenu et qu’il n’avait pas l’appui de l’Alaketu alors régnant. Une lourde atmosphère d’hostilité a entouré ce conservateur jusqu’à ce qu’il se sente contraint de se retirer après avoir, d’après lui reçu des menaces et surtout après un grave accident de la circulation auquel il a survécu. Depuis le poste est vacant et l’administration centrale semble avoir laissé de facto, la gestion du monument à la communauté. L’accès y est à nouveau libre, à condition de respecter la coutume de se déchausser avant de franchir le seuil principal.» (Adandé, 2008, p.6). L’exemple de la porte fortifiée de Kétou, montre la nécessité d’une collaboration étroite entre les communautés dépositaires du patrimoine culturel et les services de l’Etat compétents en la matière.

La nouvelle muséologie, une opportunité pour le patrimoine culturel Béninois Longtemps confrontés à la gestion de l’héritage colonial en matière de gestion du patrimoine culturel, le Bénin cherche activement les moyens de forger un meilleur processus de gestion du patrimoine avec la participation des populations. La nouvelle muséologie, avec sa vision de mettre les populations au cœur du dispositif patrimonial, de privilégier leurs besoins, leurs aspirations et de les impliquer activement dans les activités muséales et patrimoniales, nous semble une approche plus appropriée aux communautés béninoises. En effet, du simple instinct de conservation, la notion de musée va se développer à la fin du XVème siècle. Au fil des siècles, la muséologie s’est focalisée sur les priorités du moment en se dédiant à des domaines comme l’art, l’archéologie, l’histoire, les sciences naturelles, l’ethnologie etc. (Rivière, 1989). Toutefois, elle prendra une nouvelle orientation au XXème siècle pour mieux s’intéresser à la société dans son ensemble. En 1971, le terme d’écomusée fait son apparition et est expérimenté dans le Creusot en France avec la création du premier écomusée qui avait pour aspiration d’être un musée de territoire, sans collections avec la population. Au Mexique, des musées locaux, scolaires, communautaires voient le jour et cherchent des méthodes pour répondre aux attentes des communautés. Au Canada (Haute Beaune, Fier Monde), en Norvège (Toten), au Portugal (Seixal), en Suède (Bergslagen), des écomusées se créent, plus ou moins inspirés du modèle du Creusot. Le Mouvement International pour la Nouvelle Muséologie (MINOM) est crée en 1985 à Lisbonne par ces pionniers (de Varine, 2010). Le désir de mettre la communauté au cœur de l’identification, de la gestion et de la mise en valeur du patrimoine amène certains pionniers de la nouvelle muséologie dont les plus connus dans le monde francophone

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(Georges Henri Rivière et Hugues de Varine) à se pencher sérieusement sur la réforme du processus de patrimonialisation. C’est ainsi que naît «l’inventaire participatif qui est une méthode empirique d’intervention flexible et volontairement adaptable, développée par Hugues de Varine pour favoriser le développement local et communautaire et dont la valeur est reconnue sur le plan international» (www.anutshish.com, 2011). Cette nouvelle vision de l’inventaire du patrimoine repose sur le principe de participation active de la communauté à la définition, à l’identification et à la gestion de son propre patrimoine qu’il soit culturel, naturel ou mixte. C’est dans cette optique que (de Varine, 2010) estime que la participation populaire doit dépasser le simple cadre de l’information, de la concertation et même de la consultation pour atteindre le stade de la décision. Un pouvoir de décision que la communauté doit pouvoir exercer à différentes étapes que sont: • les choix des objectifs; • les choix des cibles; • participer à l’action elle – même; • participer à la recherche menée par d’autres sur le patrimoine de leur territoire. (de Varine, 2010, p.9). La méthode de l’inventaire participatif a donc émergé progressivement pour devenir l’outil principal de responsabilisation des communautés dans la gestion active de leur patrimoine. Cette méthode qui est en pleine évolution et construction a été expérimentée en France avec l’écomusée du Creusot en 1971, en Italie avec les «mappe di Communità» qui sont des cartes interactives permettant à tout membre de la communauté de localiser directement un bien culturel, au Brésil, Santa Cruz à Rio de Janeiro fait faire des enquêtes auprès des personnes âgées par les élèves. Au Canada, un groupe de volontaire Innu travaille sur l’inventaire de la communauté. Nous nous limitons à ces pays dont l’expérience a inspiré notre approche. D’un pays à un autre, la mise en œuvre de l’inventaire participatif varie et fait appel à diverses catégories d’acteurs dans la communauté.

Les Idaatcha et leur patrimoine Situation géographique de la commune de Dassa-Zoumè et Bref historique Située dans le département des Collines et ayant une superficie de 1711km2 et une population de 93967 habitants soit une densité de 55 hbts/km2 (Recencement Général de la population et de l’habitat, 2002). Quand on parle de Dassa, on pense automatiquement aux chaînes de collines, découpées sous toutes les formes et posées les unes sur les autres. Ce paysage particulier lui a valu l’appellation de cité des «41 collines». Ses limites se présentent comme suit: au Nord, la commune de Dassa est limitée par celle de Glazoué qui n’était qu’une partie du

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royaume de Dassa; au Sud-Est par la commune de Kétou; à l’Est par la commune de Savè; à l’Ouest par la commune de Savalou. La construction de l’inventaire participatif du patrimoine culturel Idaatcha L’inventaire du patrimoine culturel que nous allons réaliser s’articulera autour des grandes catégories du patrimoine suivants: • Les sites religieux ou culturels, La commune de Dassa possède plusieurs sites religieux dont le plus célèbre et connu est le site de la grotte mariale Notre Dame d’Arigbo (voir photo 1). Il rassemble tous les ans au mois d’Août, les pèlerins, venus de tout le pays, de la sous région ouest africaine et d’autres pays du monde.

Photo 1: Grotte Notre Dame d’Arigbo de Dassa. (Source: © Blandine AGBKA)

En dehors de ce site religieux catholique, il y a plusieurs autres sites religieux, liés aux cultes traditionnels. C’est ainsi que Faragbah, est une place, considérée comme le berceau de la divinité «Sakpata», divinité de la terre. Elle fait l’objet de rassemblement de ses adeptes venus des autres contrées du pays. Yaka, sanctuaire religieux des Oman-Djagou, la tribu royale, guerrière et la plus nombreuse des Idaatcha abrite plusieurs divinités et est considéré comme le berceau du «Ogou» dieu du fer. • Les sites historiques et cultuels; •L  e patrimoine mobilier (masques, statuaires, attribut royaux, etc.); • Le patrimoine immatériel (fêtes, rythmes, panégyrique, les savoir-faire, etc.)

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La méthodologie Notre méthodologie est de construire avec les membres de la communauté un processus de patrimonialisation qui permette de faire comprendre à la population, l’importance du patrimoine pour leur identité et aussi pour le développement. Par ailleurs, la finalité est de mieux responsabiliser la communauté dans la gestion, la conservation et la mise en valeur de son patrimoine. L’inventaire participatif que nous ferons a pour but de responsabiliser la communauté Idaatcha, vis-à-vis de son patrimoine. Il permettra de les laisser décider ce qui constitue leur patrimoine. Il s’inspirera des expériences sus-citées et impliquera différents acteurs à divers niveaux.

Les différents acteurs • les autorités locales L’un des principaux acteurs du processus de patrimonialisation que nous voulons construire est la municipalité. Le maire et ses conseillers doivent être associés à l’inventaire. Ils représentent l’Etat au niveau décentralisé. Ils seront sensibilisés à l’importance de processus de patrimonialisation et à la place capitale des communautés dans ce processus. Leur responsabilité se situe essentiellement dans la protection juridique du patrimoine à travers la prise d’arrêté municipaux de protection. • les dignitaires Le roi et ses notables constituent le sommet de l’organisation sociale traditionnelle. Ils sont plus proches des populations qui leur confèrent une grande considération et un grand respect. Ils sont écoutés et suivis. On ne saurait faire un travail réellement participatif sans eux. Ils sont enracinés dans les traditions en assurent la survie, mais ils ne sont pas toujours informés des moyens de mise en valeur de leur patrimoine. • les jeunes Ils constituent le maillon faible de la chaîne. Ils sont très extravertis et la plupart pense que tout ce qui est lié à la tradition est désuet et mauvais. Ils sont tournés vers le monde occidental et rejettent la majorité des constituants de leur culture. Leur désintéressement est fatal pour la survie de plusieurs biens culturels et surtout les éléments du patrimoine immatériel, car la chaîne de transmission est rompue. Nos travaux en les impliquant permettront de susciter un regain d’intérêt pour le patrimoine. Par ailleurs, en mettant en évidence les aspects développement et retombées économiques, l’intérêt des jeunes sera renforcé. • les femmes Généralement, les femmes surtout lorsqu’elles sont ménopausées participent énormément à la conservation des valeurs cultuelles et culturelles. Leur place dans le processus de patrimonialisation est donc très importante et elles détiennent de nombreuses informations

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nécessaires à l’identification et à la documentation des biens du patrimoine. Par ailleurs, en tant que maillon important de la transmission intergénérationnelle, les faire bénéficier des retombées économiques du patrimoine serait un argument capital pour assurer la survie de plusieurs biens patrimoniaux et éléments du patrimoine culturel immatériel. • le comité de réflexion sur le patrimoine Le comité de réflexion, est l’interface principale du processus de patrimonialisation avec les populations. Il servira de relais et est composé des personnes suivantes: • le maire ou son représentant, • le roi ou son représentant, • le chef coutumier ou son représentant, • le chargé des affaires culturelles de la mairie, • le président de l’association de développement local ou son représentant, • un notable du roi, • une représentante des reines, • une représentante des associations de femme • le président de l’association des jeunes, Ce comité aura pour rôle de contribuer à valider les outils de l’inventaire et la méthodologie. Il servira de relais pour les informations à passer à la communauté et à organiser les réunions. Il contribuera à valider les travaux de l’inventaire et organiser la restitution. Il demeurera l’organe de suivi et de pérennisation du projet. • L’équipe de l’inventaire Il s’agit de l’équipe qui s’activera sur le terrain au contact des populations pour réaliser l’inventaire du patrimoine culturel Idaatcha. Elle est constituée de trois groupes de deux enquêteurs. Au total 6 personnes, en dehors de moi-même, 5 jeunes sociologues, anthropologues ou historiens, issus du milieu se consacreront à réaliser l’inventaire sur une semaine. L’inventaire se fera avec des appareils photos, des enregistreurs, des GPS, des blocs notes, stylo etc. La centralisation des données se fera également sur une semaine.

Les outils • les entretiens Les entretiens dont une partie a déjà été réalisée ont été faits à et se feront à deux niveaux à savoir: premier niveau: avec des personnes ressources, ayant une connaissance avérée du patrimoine culturel Idaatcha. Ils sont de profils très variés à savoir: historiens, géographes, dignitaires, autorités locales, chefs coutumiers, prêtresses, et prêtres de cultes traditionnels, religieux et religieuses. Second niveau avec un échantillon de la jeune génération composé de jeunes (homme, femme) de profil varié à savoir: élèves, étudiants, jeunes en apprentissage dans différents corps de métiers. Une

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dizaine de jeunes donneront leur vision sur leur patrimoine avec leurs connaissances sur les causes du désintéressement des jeunes par rapport à plusieurs valeurs culturelles et ce qui pourrait les motiver à un meilleur intérêt pour la chose patrimoniale. Les entretiens se font généralement sous forme de causeries avec une introduction sur l’objectif de nos travaux et leur finalité et l’interlocuteur a la parole pour nous entretenir sur sa vision du patrimoine en général et du patrimoine culturel Idaatcha en particulier. • les fiches d’inventaires Une proposition de fiche d’inventaire a été réalisée et sera soumise à l’appréciation du comité de réflexion sur le patrimoine, qui contribuera à l’améliorer. Cette fiche a été réalisée sur la combinaison de plusieurs fiches d’inventaire utilisées au Québec, Canada lors du projet d’Inventaire des Ressources Ethnologiques et du patrimoine Immatériel (IREPI) et d’autres projets d’inventaire en Europe. • les rencontres Les rencontres grands publics Deux rencontres grand public sont prévues dans le cadre de ce projet d’inventaire du patrimoine culturel Idaatcha. Elles rassembleront toute la communauté pour une séance d’information populaire. La première pour informer la communauté sur le projet, ses objectifs, son déroulement, les résultats escomptés et procéder au choix du mode de restitution et de mise en valeur. Il s’agira de construire soit un ou plusieurs parcours touristiques, monter une exposition temporaire ou organiser un festival. La seconde sera pour présenter les résultats de l’inventaire. Ces rencontres seront également un creuset pour sensibiliser la communauté sur l’importance du patrimoine, son rôle, la nécessité de le conserver, de le protéger d’une part et les moyens de gestion et de mise en valeur d’autre part. Les séances de travail avec le comité de réflexion sur le patrimoine Ce comité étant l’interface principale, il est prévu plusieurs séances de travail pendant toute la durée de déroulement de nos travaux. Ces séances ne peuvent pas être déterminées à l’avance, elles se feront conformément au besoin sur le terrain. Les moyens de communication • radio Ilèma Pour réussir à informer la majorité de la communauté sur le projet d’inventaire et ses corolaires, la radio locale, très écoutée nous sera d’une grande utilité. Elle servira de relais pour passer les différentes informations liées au projet et à donner les précisions nécessaires sur l’importance de la participation communautaire. • crieurs publics Les crieurs publics qui sont des professionnels traditionnels de la communication seront aussi sollicités pour passer dans les quartiers et villages pour gongonner et donner les informations sommaires et utiles liées au projet.

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Bibliographie Adandé, B. E. A. (2008). Comment peut-on «muséographier» un espace public sacré ? Cas d’Akaba Idéna, la porte monumentale de la cité historique de Ketu (République du Bénin), CODESRIA Bergeron, C. (2006). Comprendre le patrimoine matériel autochtone dans une perspective communautaire: l’exemple de la famille Connolly de Mashteuiatsh, available at bibvir.uqac.ca/ theses/24655846/24655846.pdf (retrieved 30 .9. 2011) Collectif. (1989). La muséologie selon Georges Henri RIVIERE, cours de muséologie, textes et témoignages, Paris, Dunod. Desvallées A.; Mairesse F. (2005). Sur la Muséologie, Culture et Musées (6) , 131-155 (available at http://www.persee.fr/web/revues/ home/prescript/article/pumus_1766-2923_2005_num_6_1_1377) (retrieved 19. 02. 2012) Mairesse F. (2000). La belle histoire, aux origines de la nouvelle muséologie, Publics et Musées. N°17, 33-56 (available at: http://www.persee.fr/web/revues/home/prescript/article/ pumus_11645385_2000_num_17_1_1154) (retrieved 19. 02. 2012) Mouthinier M. (1986). Mouvement international pour une nouvelle muséologie, L’Homme, 26 (99), 129. Priosti, O. (2003). L’Inventaire Participatif à SANTA CRUZ: une expérience pédagogique de patrimoine partagé, Ecole, Les institutions culturelle et le numérique, available at: http://www.archimuse.com/ publishing/ichim03/115i.pdf (retrieved .10.10.2011) de Varine, H. (2003). Un témoignage sur les écomusées en Europe et dans le monde depuis vingt ans- Rencontres sur les écomusées, available at: www.mondilocali.it/wp-content/uploads/2011/.../2003de-Varine.pdf (retrieved 10. 10. 2011) De Varine, H. (2010). Gérer ensemble notre patrimoine sur notre territoire, rencontre du groupement «Mondi locali», Buja de Varine Hugues. Petite histoire vécue de la nouvelle muséologie. Available at: http://osservatoriopaesaggio.ecomuseoami.it/ COMMISSIONI%20LOCALI/Article_Ecomuseo_AMI.pdf. (retrieved .10.6. 2011)

Websites www.archimuse.com/publishing/ichim03/115i.pdf, (retrieved 30.09. 2011) bibvir.uqac.ca/theses/24655846/24655846.pdf, (retrieved 30.09. 2011) www.anutshish.com/?ref=methodeIP.php&texte_id=10 (retrieved 30.09/2011)

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The Arab Spring and its effect on Cultural Heritage

Wafaa El Saddik Egyptian Museum

Abstract In this article the author presents in brief the tragic looting of the Egyptian Museum in Cairo in 2011 and argues for the need to educate and alert the people of the world on the devastating results of the looting of antiquities.

Résumé Dans cet article l’ auteur présente en résumé le pillage tragique du Musée Égyptien du Caire, en 2011 et il traite la nécessité d’ éduquer et alerter le public à l’échelle internationale sur le saccage et le pillage des antiquités.

Key words Egyptian Museum, Cairo 2011, looting of antiquities, Amman Declaration on the prevention and response to theft and looting of cultural objects from museums and sites. Mots clés Musée Égyptien, Caire 2011, le pillage des antiquités, la Déclaration d’ Amman sur la prévention et réaction de la déprédation et pillage de biens culturels des musées et des sites archéologiques.

On Friday, January 28, 2011, the young people of Egypt called for a major demonstration in the centre of Cairo, the capital. They knew: it is now or never! But that day was also to prove to be the day of the most severe tragedy to happen to the country’s antiquities, with a terrible wave of destruction and looting in the world renowned Egyptian Museum and at numerous archaeological sites throughout the nation. The day of protest turned into a nightmare for this historic nation’s cultural heritage!

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Police and security staff were withdrawn from the Museum and the area around, leaving it totally unguarded. Unprecedented destruction and looting followed in the absence of all security – I can not and do not want to believe it. Beside the Presidential Palace in Heliopolis, the Museum is normally one of Egypt’s most secure buildings. I know this because I was the Museum’s Director-General for seven years from 2004 to 2010, with complete responsibility for what happened inside it and out. I know that there are trained security staff, and cameras everywhere. How can so many responsible people have failed in their duty? When I heard the first announcements from the television, I felt fury and bitterness combined: the national Egyptian Museum has been robbed! Within hours, there was a recovery: army soldiers were placed all around and inside the Museum. More important, young people from among the demonstrators chose to leave their protest in Tahrir Square and formed a human chain to protect the building. But the damage was already done. I ask myself: who would embark on such sabotage at such a pivotal time in the country’s history? At moments like this much goes through the mind. One speculates, constructs, reconsiders. Whose instructions led to the withdrawal of the police? Who gave the order to open the prisons? Whose decisions led to chaos throughout the country? Can it be those same people who now “seize the hour” and take the opportunity to rob the nation of its history? Egypt has lived through many wars and revolutions in the twentieth century, but never before has there been vandalism at historical sites.

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On January 29, Al Arabiya TV showed pictures from the Egyptian Museum. My heart beat violently in disbelief when I saw the glass of many showcases (13, it turned out later) smashed, 70 objects lying on the ground, two mummy heads separated from their bodies … I was stunned. What happened to the closed circuit cameras that cover, day and night, all galleries and walkways as well as the exterior of the museum? Where are the videotapes on which the burglaries must be captured? There have been heavy losses, and several important objects are missing. But the thefts were denied right up until Mubarak’s resignation nearly two weeks later on February 11. Only then was it officially stated that there were 18 missing objects, including gilt wooden figures from Tutankhamun’s grave goods. On top of that, it is clear that excavation sites and on-site storage magazines have been robbed throughout the country. Explanation follows explanation. It is immediately clear that the authorities should have sprung into action much earlier. And today, finally, we have the truth: not 18, but about 80 pieces were stolen on that dreadful night. Half of them reappeared later, including a small limestone figure of the Pharaoh Akhenaten and a gilt wooden statue of Tutankhamun that was found in a bag on the platform of an underground railway station. But the authorities of the Ministry of Antiquities in Cairo made a crucial error in trying to conceal the scale of the destruction: they should have published photographs and descriptions of the stolen objects immediately to Interpol, to airports, ports and border officials. Failure

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to do this was a serious omission: the information would have helped to build fences, preventing removal of the stolen objects from the country. But today, 29 months after Egypt’s revolution, 37 exhibition pieces remain missing, priceless objects seized by vandals eager for profit both from the Egyptian Museum and from innumerable storage facilities the length and breadth of the country. A list of items known to be missing from the Egyptian Museum has now been made available. More may also be unaccounted for, but the following are confirmed: 1. Gilded wooden statue of Tutankhamun being carried by a goddess 2. Statue of Nefertiti making offerings 3. Quartzite Head of an Amarna Princess 4. Stone statuette of a scribe from Amarna 5. Shabti statuettes from the Tomb of Yuya (11 pieces) 6. Quartzite Striding Statue of an Amarna Princess 7. Red Granite Striding Statue of an Amarna Princess 8. Steatite Figure of Bes on a Calcite Base 9. Gold, Faience and Stone Bead Necklace 10. Painted Limestone Striding Statue of a Young Woman 11. Inscribed Bronze Seated Statue of a Cat (Bastet) and other bronze Figures of other deities. And it is not only the Museum that has suffered. Taking advantage of the political unrest, thieves have plundered the country’s heritage with a spree of illegal digging especially in the eastern Delta, Old Cairo, Dahshur, Abusir and Abydos, and other sites are seriously threatened especially at El Hiba in Middle Egypt and Sheikh Ebada (Antinoopolis). With low-paid guards and inadequately financed state security personnel, it is a huge, critical challenge today to protect the cultural heritage while Egypt suffers an ever decreasing number of tourists and the resulting decline in income. In June 2011, a group of specialists working on a European Union project called “Witness the Past” gathered in Amman, Jordan, to try to seek a

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solution to the looting, plundering and illicit trafficking of antiquities (for this project see also another article in this issue). They resolved to make a declaration urging governments of all affected nations in the Mediterranean area to take serious steps to protect their heritage. The Amman Declaration on the prevention and response to theft and looting of cultural objects from museums and sites states: “We, the participants of the Expert Meeting “Museum Theft Response Plan” assembled in Amman, Jordan: 1. express our gratitude to the organisers for having provided a forum of discussions on the preservation and protection of heritage; 2. take into account the recent civil uprising in the Arab states that place museums and archaeological sites at risk, resulting in thefts, looting, vandalism, as well as illicit trafficking and trade in cultural property; 3. recognise the importance of the cultural heritage of the Arab states, an invaluable testament to the world’s history; 4.  recall the international conventions and national policies put in place for the protection and preservation of the cultural heritage of the Arab states, and strongly recommending the ratification of the Unesco convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property (1970), the Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict and its two protocols (1954) and the UNIDROIT Convention on Stolen or Illegally Exported Cultural Objects (1995); 5. recommend the following actions to be implemented to prevent and respond to situations putting heritage at risk:

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A. Preventing theft Governance A.1 Carry out risk analysis for museums and sites in order to be adequately prepared for and to have suitable mechanisms in place to address emergency situations. A.2 Write effective and clear mitigation and response plans for natural disasters such as floods, earthquakes, fires, and man-made disasters such as accidents, conflicts, thefts, terrorist attacks. A.3 Establish a crisis unit to be in charge of co-ordinating staff in an emergency situation, as well as implementing regular exercises with staff. Security and safety A.4 Carry out regular condition assessments of the museum buildings in conformity with the identified security requirements. A.5 Provide museums with suitable security equipment and secured display materials Collections management A.6 Regularly update insurance coverage of the most valuable objects. A.7 Establish and update coherent collection documentation systems within museums and archives and implement regular inventories for objects on display and in storage. A.8 Establish a clear policy and protocol of accession and loans. Staffing A.9 Invest in capacity-building of museum and site staff both in technical and ethical aspects. Codes of ethics for heritage professionals should be made available to and observed by staff. A.10 Motivate and grant incentive and adequate salaries to museum guards to ensure a high performance during duty. Public Outreach A.11 Raise awareness on the negative economic, social and cultural effects of theft, looting and illicit trade in cultural objects at governmental, organisational, and personal levels. Educational programmes for children should be created and promoted. A.12 Establish and support inter-museum associations to foster advocacy for museums. A.13 Establish museum membership programmes to sustain museums financially and to multiply co-operation opportunities. B. Response to theft B.1. Preserve the evidence of theft process without altering. B.2. Provide necessary information for and collaborate with the investigation (recording, fingerprints, video, list of witnesses). B.3 Gather records and information on missing objects by means

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of inventories to establish the object’s identity with photographs, dimensions and other specifications. B.4 Communicate the information to relevant authorities (national police, customs, international organisations, such as Interpol and Unesco) as well as databases dedicated to stolen objects (Interpol, Art Loss Register, Carabinieri). B.5 Work with local and national media in order to alert public opinion of theft if deemed necessary. B.6 Consider establishing rewards for restitution of stolen or misplaced objects B.7 Consider hiring private investigators when necessary.” Participants to the expert meeting “Museum Theft Response Plan”, June 12-13, 2011 1. Technological Educational Institute of Athens (TEI). 2. Rathgen Research Laboratory, National Museums Berlin. 3. United Nations Educational, Scientific and Cultural Organisation (Unesco). 4. ICOM 5. Department of Antiquities of Jordan. 6. Directorate for the Documentation and Protection of Cultural Goods, Hellenic Ministry of Culture & Tourism. 7. Children’s Museum, Egyptian Museum, Cairo, Egypt. 8. ANEMON Production, Greece 9. University of Cyprus, Department of History and Archaeology. 10. Marfin Laiki Bank Cultural Centre, Cyprus 11. Children’s Alliance for Tradition and Social Engagement (CATS e.V.), Germany. One of the results of the Amman Declaration is the intensive education program made by “Witness the Past” team with Educational Kit, which is available in four languages: English, Greek, German and Arabic and includes lesson plans and three ten minutes documentary films for children aged 6-12. The documentary series encourages children and their families to come face to face with archaeological discoveries and the looting of antiquities across the Mediterranean; in Greece, Cyprus and Egypt. The educational program was carried out in museums and schools in different countries and a series of workshops carried out by the museum educators of the Children Alliance of Tradition and Social Engagement (CATS e.V.) in the museums of Cairo, Alexandria and Luxor. It is to be hoped that this declaration will not only be acted upon immediately, but that its good sense and wise suggestions will be expanded to all the countries surrounding the historic shores of the Mediterranean. In Egypt, however, trouble continues. Since the revolution, when the nation’s police failed so conspicuously to do their jobs effectively, they

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have lost both the respect and the fear they commanded before the events of January 2011. With mass anti-government protests still widespread through the country and unleashing chaos on the streets, looters target other ancient treasures at sites across the country, even using heavy industrial machinery to plunder and destroy. Perhaps equally important, following the breakdown of law and order, illegal construction is encroaching on several well-known ancient sites, including Tel el-Amarna, Dahshur and al-Borden on the AlexandriaMersa Matrouh highway. What is being lost to this thoughtless destruction and vandalism, as Egyptology Professor Emeritus Kent Weeks says, is not only precious historic objects but the archaeological and historical context of the sites and the artifacts: these are worth far more in terms of knowledge and insight than the stolen objects themselves. This is the sort of basic information that any archaeologist would record: where was the object found? In what surroundings? Did other objects accompany it? What was their relationship? Where can they be studied? This crucial information is lost completely, and most probably forever, the moment an unregistered artifact is dug up by someone seeking profit without any understanding of the damage he does. So information from the vandalised sites may be beyond recovery. For the moment we must hope to mobilise the world’s awareness of those objects stolen from the Egyptian Museum to be alert to their possible movement or sale. I shall try to outline soon some of the current discussion on potential avenues available to thwart the trafficking of stolen Egyptian objects. We hope that the stolen objects will soon be recovered, but until then people around the world who love Egypt will surely be willing to offer whatever help they can. Museum Education can play an important part in explaining to people that damage to Egypt’s antiquities through looting or building on archaeological sites, means loss not only for Egypt, but also for all humankind.

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Witness the Past: Museum education for children on illicit trade of antiquities

Vasilike Argyropoulos1*, Eleni Aloupi2 Kyriaki Polikreti3, Rea Apostolides4, Wafaa El Saddik5, Raymund Gottschalk5, Mona Abd el Nazeer6, Marina Vryonidou-Yiangou7, Peter Ashdjian7, Maria-Christina Yannoulatou8, Sophia Bitsa8, Stefan Simon9 Wolfgang Davis10, and Vasiliki Kassianidou11 T.E.I. Athens, Department of Conservation of Antiquities and Works of Art, Ag. Spyridona, 122 10 Athens, Greece, [email protected], 2 THETIS authentics LTD, Athens, Greece 3 Hellenic Ministry of Culture, Greece 4 ANEMON PRODUCTIONS, Greece 5 Children’s Alliance for Tradition and Social Engagement, Germany 6 Egyptian Museum of Cairo, Egypt 7 Pierides-Laiki Bank Museum, Cyprus 8 Benaki Museum, Dept. of Educational Programmes, Greece 9 Rathgen Research Laboratory, Germany 10 Visitor’s service, National Museums Berlin, Germany 11 University of Cyprus, Archaeological Research Unit, Dept. of History and Archaeology, Cyprus

1*

Abstract The European Culture Project “Witness the Past” produced a children’s educational museum program on the topic of illicit trafficking of antiquities. The project created film documentaries, a didactic kit, and other activities aimed at children between the ages of 6 to 12 dealing with this difficult topic. From 2011 till today, the program has been carried out at participating museums of the project in Cyprus, Egypt, Germany, Greece, and Jordan with an estimated participation of over 2500 children. The paper describes the need for such educational programs, and the reactions of children and teachers after their participation. The program was successful in alerting children to the historical loss involved with artifacts without provenance, and the damage caused when looting occurs at archaeological sites.

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Résumé Le Projet Cultural Européen “Le Témoin du Passé” a produit un programme d` éducation muséale destiné aux jeunes, sur le thème du trafic illicite des antiquités. Le projet a créé des films documentaires, une pochette contenant du materiel pédagogique, ainsi qu` une série d` activitées destinées aux enfants âgés de 6 à 12 ans pour les aider à affronter ce sujet difficile. Depuis 2011 jusqu` au présent, le programme a été realisé avec la participation des musées en Chypre, Egypte, Allemagne, Grèce et Jordanie atteignant plus de 2.500 enfants. L` article décrit la nécessité d` élaborer des programmes de à ce but ainsi que les réactions des élèves comme de leurs enseignants après avoir suivi le programme. Ce projet a réussi à sensibiliser les enfants sur la perte historique, associé à des objets culturels sans provenance, et les dommages causés par le pillage sur les ​​ sites archéologiques.

Key words Museum educational program, children, illicit trade of antiquities. Mots clés Programme d` éducation muséale, enfants, le trafic-commerce illégal des antiquités.

Introduction In 2011, we organised an educational event for primary school teachers in Greece to highlight our children’s program on the illicit trade of antiquities. We knew that many rural areas was suffering from the trade, but were surprised to hear from a local teacher from Nemea, that one of his students once bragged to him, “When I grow up, I want to be an ‘illicit dealer in antiquities’ - αρχαιοκάπηλος just like my Dad”. The boy came from a town rich in Mycenaean tombs. In the 1970s, a Mycenaean cemetery at Aidonia, near Nemea was looted by the villagers. They dug for six months and uncovered ten of the eighteen existing tombs. In 1993, a collection of Mycenaean jewellery was offered for sale by auction at a private gallery in New York City. Archaeologists were able to compare this material with that legally excavated in Aidonia in unplundered tombs, and this allowed the Greek Government to sue for its return. The material finally returned to Greece in 1996 and the recovered Aidonia artifacts joined the excavated finds on display in the Nemea Museum. The happy ending to the Aidonia story is that through legal litigation the Greek government was able to retrieve the stolen antiquities. But the moral to the story is best described by Waxman (2008) where the village of Aidonia collapsed from rivalries and bitter disputes, and remains

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a ghost town. The history of Mycenaean life has been utterly destroyed. In the nearby town of Nemea, which exhibits local Mycenaean artefacts, the town has thrived and many live off tourism. The moral of such stories need to be taught to young children so that they will learn to respect their past cultures and how their cultural property can be used to sustain their community. The lack of public sensitivity to the topic of illicit trafficking of antiquities highlights the need for more education and publicity at an international level. The increasing numbers of ‘culture consumers’ and the reduced barriers to communication and transport have combined to open up new antique markets even via ebay, and cause more destruction to archaeological sites, especially during times of conflict, such as in Afghanistan and Syria. Unfortunately, the problem cannot be tackled on a national level, since authorities only become aware of the illicit antiquities once they have left the country and have been sold by a major auction house or acquired by a private museum. Furthermore, stolen antiquities from museums suffer the same fate, where they usually go underground for a certain period of time only to resurface at auction houses outside the country where they were stolen much later on. So the solution to the illicit trade in cultural material is not a simple one. Protection of sites, churches and museums; good documentation; a well-functioning national and international legal framework; codes of ethics; and education and awareness-raising are all important. However, many agree that education is key, education in the countries of origin and education in the countries where the buyers come from alike would have a major effect on trafficker’s ease of disposal and estimates in profits (Prott 1995; Hawley 2007). Local communities need to understand how proper archaeological excavation of sites as opposed to pillaging and looting can help their local economies thrive in terms of sustainable tourism. “Witness the Past” is an EC project, funded by the Culture Programme, that from 2010 to 2012 approached the topic by creating a museum educational program for children, and carrying out workshops for Cultural Heritage (CH) professionals on topics involving authentication of antiquity, tagging of museum objects, and theft response plans for Greece, Cyprus, and the Arab World. The children’s museum program created by “Witness the Past” has produced educational materials for museums and can used to discuss this difficult issue concerning the origin of their collections. The project’s main objective was to create film documentaries, lesson plans, and other activities aimed at children on the topic of illicit trade of antiquities, with the main focus to take place at the Egyptian Museum of Cairo and its Children’s Museum, the National Museum of Berlin, the Pierides Museum of Cyprus, the Benaki Museum in Greece, the Jordan Museum in Jordan, the Museum of Luxor and the Educational Department at the Alexandria

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Museum in Egypt. Furthermore, through complementary cultural products and educational kits, the influence of science in understanding of an object’s technological past is also considered as opposed to just highlighting the aesthetic value of an archaeological artifact. The Children’s Program on illicit trafficking of antiquities The project has created three ten minute films and one two-minute animated film for children that highlight the importance of context, archaeological excavation, and authentication accompanied by lesson plans for the teacher or museum educator. Each film and lesson plan examines one case study to bring alive the excitement of archaeological discovery and deal with the topic of the project. Special attention is given to make sure that blind children can participate in all programs (with special voice-over for the blind). The language of choice is English, Greek, Arabic, and German (participating co-organizers for the project). The documentary series is for children aged 6-12 entitled The Hidden Room, which provides a novel twist on archaeology, bringing ancient relics, history and science to life in a fun and powerful way. Each episode explores a story of looting and sensational archaeological discovery, in an attempt to shed light on history itself and transport a young audience into the past. The documentary series encourages children and their families to come face to face with archaeological discoveries and the looting of antiquities across the Mediterranean; in Greece, Cyprus and Egypt. Viewers will discover how objects have been looted, stolen or retrieved and will travel into hidden tombs, foreign countries and ancient civilizations. They will also witness the discovery of invaluable archaeological artifacts and will be encouraged to understand that knowledge of an object’s history is lost when a site is plundered. The films are based on stunning photography of archaeological sites and their surrounding landscape, from the hidden tombs of Aidonia in the Peloponnese to the underground cache at El Bahri, Luxor and the plains of Cyprus. Lesson plans accompany each movie in each respective language to help guide the museum educator or teacher if they wish to implement the program at a museum or in the classroom. The educational program is currently being carried out at the museums representing the project, and aids are being used such as a mock excavation, LEGO constructions, and/or replica artifacts so as to reinforce the message of the movies and lesson plans. The movies and lesson plans are also available on DVD for other museums or classrooms interested in carrying out the program in the future. Our goal is for the educational program directed towards children and the

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general public to stigmatize the practice of collecting antiquity as works of art, especially for antiquity looted from any countries and in accordance with the 1970 UNESCO Convention. Museums may hesitate to carry out such educational programs since many objects in their collections were either donated by private collectors or bought from the art market, and it is difficult for museums to face their history and inform the public. However, our children’s program tries not to address political and legal issues involving the collection of antiquity, but rather provides a ‘scientific’ approach about the importance of finding an artifact in its context. Issues involving repatriation of unprovenanced artifacts to their country of origin can be raised as a separate discussion, if the museum educator or teacher believes it is necessary to address the issue for their country.

Figure 1: Page 2 of the Brochure produced for the Witness the Past project, which describes the films and children’s museum events during the project.

Implementation and Impact of the program The main inauguration events for the “Witness the Past” Children’s program were advertised on the project’s brochures (see Figure 1) created in each participating language (English, Greek, German, and Arabic) as follows: • Benaki Museum in Greece, October 14, 2011 through to March 2012 • Egyptian Museum in Cairo and its Children’ s Museum, October 23, 2011 through December 2011 • The Educational Department of the Museum for Alexandria in Egypt, October 27, 2011 through to December 2011. • The Luxor Museum in Egypt, October 20, 2011 through to December 2011

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• Staatliche Museen zu Berlin in Germany: Filmscreenings at the Dahlem Museums, November 19-20, 2011 and December 10-11, 2011 throughout the day Advanced Education for Teachers at the Collection of Classical Antiquities (Altes Museum), January 17, 2012 • The Pieridis-Marfin Laiki Museum in Cyprus, months of July 2011 and July 2012 • The Jordan Museum in Amman 16-25 of October 2011 to December 2011 Table 1 provides a list of events and number of attendees in each participating country. No. Responsible 1 All Greek Co-organizers, Associates, and Co-ordinator

Location Date Benaki Museum Oct. 14, 2011

No. of attendees 135 children and adults

2

TEI of Athens with Greek Coorganizers and Associates

TEI of Athens

Primary School Teachers, Archaeologists, and Children 100 people

3

Benaki Museum

Benaki Museum Every Monday and Thursday

4

Pierides Museum- Laiki bank Summer Workshop

Pierides Museum-Laiki bank

5

MKC City College Pierides Larnaka Museum-Laiki bank

6

American Academy Larnaka

7

Berlin Museum Staatliche Museen zu Berlin in Germany

8

C.A.T.S. e.V.

Dec. 9, 2011

Pierides Museum-Laiki bank

Primary Schools in Athens, approx. 22-30 students each time (600 in total by the end of March 2012)

Daily Program June and July 2011

300 Children

Oct. 21, 2011

30

Dec. 7, 2011

30

Dec. 2011

1200 Children

Feb. 3,4, 5 Workshops, 3 8,10, 2010 Dresses (18 + 17 + 21), 2 Mummy portraits (18+13).

Egyptian Museum

With Egypt Museum partner Children’s Museum

87 Children + Staff

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No. Responsible Location 9 C.A.T.S. e.V. With Children’s Museum Egypt Museum partner

10

C.A.T.S. e.V.

11

With Luxor Museum C.A.T.S. e.V.

12

Date Oct. 20, 21, 2010,

Luxor Museum

Oct. 20, 2011

No. of attendees School teachers, Archaeologists/ Museum education Staff, and Children 70 People 4 Workshops, each 20 Children

80 Children + Staff Oct. 24,25 5 Workshops, each 15 2011 Children

Egyptian Museum

with Egypt Museum partner Museum C.A.T.S. e.V. Alexandria With Alexandria Museum

Oct.27, 2011

75 Children + Staff 2 Workshops, each 30 children Workshop with 15 Archaeologists / Museum education staff

75 People Table 1 Children’s Museum Program Events in Greece, Cyprus, Germany and Egypt with numbers of attendees

Our children’s program received a very positive reaction from those who attended the events. Both primary school children and teachers were excited with the viewing of the short films on the topic. The second part of the program involved the children becoming ‘archaeologists’ and digging for replica artifacts set up in mock excavations. Here the children were able to understand the science behind finding an artefact in its con-

Figure 2: Children carrying out a mock excavation at the Pieridis museum during one of the events for the Witness the Past project.

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Figure 3: A child carrying out a puzzle of a replica artefact at the Benaki museum during one of the events for the Witness the Past project.

text, and the documentation involved in studying and understanding such finds as shown in Figure 2. There were many different kinds of reactions we received to the children’s program: In Greece, children were in awe after seeing the Egyptian film about the mummified kings, and they wanted to learn more about mummification. Whereas the Greek film about the Aidonia looting, many were surprised that the looters who destroyed the site were locals, and they hid the artifacts in watermelons to transport them across the border. When they were asked what they would say if they encountered a looter, many children gave strong reactions, like ‘Stop stealing our history!’, and ‘We will take you to jail!’ The children who attended the Benaki events were glued to the sand boxes set up as mock excavations. They enjoyed searching for finds, and touching the replica ceramic objects as shown in Figure 3. Many asked how they could become archaeologists, and if it required a lot of studying. There were also older high school students that participated in the program. In one case a high school teacher said that her class of known ‘troublemakers’ keenly participated and really enjoyed the program. Another school teacher who brought her 5th and 6th graders to attend the program remarked that this children’s program should be an introductory course for children who wish to visit museums. In Egypt, there have been different groups who joined the Children’s workshops (disabled children, school-classes, other groups). The groups profited directly from the workshops presented by CATS (one of the coorganisers of the project), because they have learned important aspects of life in ancient Egypt and got a feeling that the archaeological remains of this culture have to be respected and protected.

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The museums and their educational staff have directly and personally benefited from the stimulation and exchange of ideas because the workshops are based on didactical and technical methods that are new for Egypt. Using workshops and lesson plans developed by CATS and developing their own programs inspired by new ideas will help the staff from museum-education in Egypt to reach not only the goal of teaching the children about their fascinating history but also about the necessity of protecting their cultural inheritance. Reactions of Egyptian children, teachers, and parents were very interesting, since it showed how important the workshops, lesson plans and the films were to understanding their history. In year 2012, CATS worked intensively in different museums in Egypt, especially in Cairo, Luxor and Aswan. Often the films caused reactions of sorrow on the faces of the children, when they saw the animated film showing what happens when thieves plunder an archaeological site. The discussions with the children, museum educators, and parents after the showing of the films showed their interest to help save their cultural heritage.

Further dissemination of the Children’s program Our project also decided to use the project’s dedicated Internet site www. witnessthepast.gr to show all the films in English, as well as to provide the lesson plans and associated materials to teachers and museum educators as freely downloadable material. Our goal is to allow as many children, parents, and educators to have access to children’s program, rather than wait for a museum to take the decision to support this project. The Greek Ministry of Education provided official support for the products, created by the Children’s Museum Program, and notified all primary schools in Greece that the “Witness the Past” Children’s program could be made officially part of their school’s curriculum. As a result of this support, and wide media attention of the events organized at the Benaki Museum for the Children’s program, many requests were received for the DVD. Over 35 primary schools outside of the Athens area received DVDs to implement the program within their educational activities, and many combined it with school visits to archaeological sites in their areas. The Museums’ educational program created by the “Witness the Past” project is still offered today by many of the museums participating in the project. For example, in Cyprus in 2013 the films were shown to 200 children at two different schools in Larnaka. The children showed great enthusiasm and understanding to the problem of illicit trade of antiquities. Also, the Pieridis Museum is planning to continue their workshops during the summer of 2013, where around 600 children will participate in the program. At the Benaki Museum, the children’s program is still avail-

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able today as part of their yearly museum educational program for school children. The project has successfully demonstrated that the topic of illicit trafficking of antiquities can be taught to young children in a museum environment. While the participating museums of the project have committed to promoting the Children’s program long-term, it is still unknown if other museums elsewhere will implement the program. Also, the project demonstrated the urgent need to take such educational programs to rural areas in countries such as Greece, Jordan, and Egypt. It still needs to be demonstrated and evaluated if such a program can be implemented in primary schools throughout Europe and/or the Mediterranean region. Our long-term plan is to find additional funding to expand the objectives of the “Witness the Past” project to rural areas in the Eastern Mediterranean.

Acknowledgements We would like to thank the EC Culture Programme 2007-2013 for their financial support of this project entitled: “Witness the Past” Education Programs for Public and Culture Heritage Professionals on Illicit Trafficking of Antiquities. Also, the authors would like to thank all the participants of the project, since it was not possible to include all their names as authors of this paper.

References Waxman, S. (2008). Loot, The Battle over the Stolen Treasures of the Ancient World, Henry Hoot, U.S. Prott, L. (1995). National and International Laws on the Protection of CH, in Tubb, K.W. (ed.), Antiquities Trade or Betrayed, London: Archetype Publications Ltd. Hawley, J.K. (2007). The International Illicit Trade in Cultural Heritage: Can Museum Professionals Help Stop It?, in Argyropoulos, V., Hein, A. and M.A. Harith (eds.), CSSIM conference proceedings with a one day satellite meeting on Legal issues in the Conservation of Cultural Heritage held in Cairo, Egypt, February 25March 1, 2007, Athens: TEI of Athens.

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Natural and man-made disasters and the role of the Museum. A case study: the campaign of the Greek Ministry of Culture entitled “Environment and Culture” Stella Chrysoulaki

Ministère Hellénique de la Culture

Abstract The disasters that threaten our cultural heritage could be attributed to both natural and man-made causes. Such an example is the wildfires that destroy monuments and their natural environment and threaten museums. Following the devastating wildfires of 2007 in Greece, the General Directorate of Antiquities and Cultural Heritage of the Ministry of Culture and Tourism initiated a national campaign for the information and sensitization of the general public and invited to its implementation its regional services (ephorates), public and private museums and cultural organizations. The activities of the campaign “Environment and Culture” have been implemented from 2008 till today and aim to stimulate the interest of the general public, especially of children and young adults, towards the protection and preventive conservation of the country’s cultural resources.

Résumé Les dévastations qui menacent les biens culturels peuvent provenir des facteurs naturels en même temps qu` humains. Un tel exemple est les incendies qui détruisent les monuments et leur environnement naturel et menacent les musées. Les incendies de l` été 2007 caractérisées par une violence exceptionnelle, ont conduit la Direction Générale aux Antiquités du Ministère Hellénique de la Culture à mettre sur les railles une campagne nationale sous le titre “Environnement et Culture” menée par les services régionaux, les musées publics et privés et les organisations culturels. Cette Campagne encore active aujourd’hui, vise à la sensibilisation du publique et notamment du jeune publique pour la sauvegarde et la conservation préventive de biens culturels du pays.

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Key words Environment and Culture, museum education, sensitization of young adults, protection of cultural resources, preventive conservation, risks. Mots clés Culture et Environnement, éducation muséale, sensibilisation du jeune publique, protection de biens cultures, conservation préventive, Risques.

Everyone agrees that the natural environment of monuments constitutes their cultural landscape. The natural and cultural heritage of a country is inseparably connected, especially in the Mediterranean countries. The landscape itself has often dictated the construction of an ancient temple; ancient port cities were built on protected by the winds coves and bays, and castles and monasteries were situated in locations that provided safety and a great viewpoint to the surrounding area. The same reasons that created all that is defined today as cultural heritage, led countries and international organizations to put together a set of rules and regulations towards a comprehensive protection of monuments within their natural environment. The legislation that provides protection to the cultural heritage in Greece – one of the oldest and most inclusive in Europe – foresees, since 1932, that the areas around monuments must be open spaces and any kind of construction is forbidden. The benefits of that law are visible today in Athens, a large European city with a confusing, unregulated built environment, where most of its open green areas are around monuments situated within and around its historic center. The revised archaeological law of 2002 is even more sensitive on issues regarding the protection of the cultural and natural environment, both in the countryside and in urban centers. The legislation, however, is not enough to protect our cultural wealth if it is not endorsed by the citizens of a country. The summer of 2007 was a summer of destruction, with raging wildfires all over the country that left behind extensive damage and the sad images of burned trees in our minds. Even the archaeological site of Olympia and its museums, where the 2004 Olympic Games were celebrated, came close to be burned down. The citizens that impulsively flooded Syntagma Square in Athens after the fires, all dressed in black – the color of mourning in Greece and the color of the burned trees – protested silently, without banners and slogans, and expressed their sorrow, their agony and their resentment for the natural and man-made destruction of their country.

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The image of the black dressed crowd in Syntagma Square and the devastating images of the wildfire disaster became the motive for the Ministry of Culture to initiate a national campaign regarding the environment and culture that started in May 2008 and continues till today. Since then, Public Museums, in cooperation with local authorities, cultural organizations, social groups and private cultural foundations, celebrate the initiative “Environment and Culture” every year for three or four days. Two-thirds of the proposed activities each year are educational programs addressed to school groups, families and young adults. The purpose of the activities is to inform the public and stimulate visitors’ sensitivity towards the protection of the natural and cultural environment. In order to attract a larger number of visitors, admission to museums and archaeological sites is free to the public during the celebrations and furthermore there is extensive coverage of the activities in the media while relevant informative material is distributed to the visitors. The activities include artistic and athletic events, public lectures, one- day conferences and many other initiatives. These celebrations activate local communities around each Museum and archaeological site and they are supported by relevant material by the Ministry of Culture. The General Directorate of Antiquities) sets the theme of the celebrations each year, organizes the main event of the celebrations, provides resources and supportive material to the Museums, gathers the individual evaluation reports and the responding cards and publishes the total outcome of the campaign. The goal of the campaign is to make citizens more self-aware, to encourage their participation in the activities and their support of the

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political decisions made by the State regarding the protection of our natural and cultural resources, to activate groups and individuals in the prevention of disasters, to overturn the view that disasters are inevitable and finally to attract active visitors to museums. Moreover, museum education acquires added value when it is connected to the present and combined with events, happy or tragic, that mark the life and therefore the personality of children. At this point we should mention that children who are active participants in educational programs on the preventive protection of our cultural heritage, beyond the knowledge and aesthetic education offered by the museum they also gain the necessary self respect that derives from the participation, which will lead them to become active citizens with critical thinking. For the first two years of the celebrations the theme was entitled “The Tree of Life in Four Seasons” and focused on the tree and the various symbolisms attributed to it during four historical periods – the Antiquity, the Byzantine times, Modern Greece and Present Day. The image of the tree condenses the elements of nature: water, fire, earth and wind that will constitute the next themes of the campaign. For the first two years of the celebrations, the participating museums invited their visitors to discover and explore the various versions and symbolisms of the tree in their collections: trees of historic significance, painted trees and trees sculpted in stone, embroidered trees, trees with rich fruit and beautiful flowers. The museum educators talked to the visitors about the myths, the worship and the historic events associated with trees. The educational programs presented the tree as a valuable and familiar element of the environment and of the arts, as vegetation and perpetual

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The Museum Laboratory of Department of Cultural Technology & Communication of the University of the Aegean set the evaluation standards from the beginning of the campaign. The evaluation results of the first two years helped to improve the next two-year campaign, which was entitled “Myriads of Water Voices” with water as the central theme, and the following two-year campaign entitled “Blazing Fire, Source of Arts / Sparkling Stories of Fire” which focused on the theme of light and fire. The campaign has been very successful so far in both the participation of museums and other cultural organizations as well as of visitors. Furthermore, the Ministry encouraged museums to open up to the

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Through this way the museums developed a channel of communication with the general public. Visitors were given cards on which they recorded their thoughts and experiences, as well as drawings and texts from their participation in the celebrations, which were then collected and sent to the Ministry of Culture.

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rebirth of nature and life, as a holy or magical symbol, and as a part of nature at risk.

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Θρησκευμά «Πρώτα μια πύρινη Προς/ Το σκληρά. ρομφαία έκλειν των, Πολιτισ θέας τιμωρήθηκε επανέφερε τη ε την είσοδο των θεών, ο Προμη ίδες έρχονται χάρη». 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Πο casus,κω επανέφερε τη , the winne educ vaseTec .Μand γρ Pro κΑι Cau φωτογ 1O5 The flame(Δsymbo ι ναart τιθα stan me ureatro Ηεφλό πύφευ είοCrete, 1978. επισημαίνοντ .Ε.Ε.Π. divine ίας του Αισχύλ ς.ηκ toνιΑ idaurus, Catholico of potter arts ferv ψαν by The Circa 425 B.C. red-fig ρινη ινω ι πύρινη δύναμ που διο σε τη ζωή εκτική και σκηνο Βοιωτία. y. ραφικό r enjoye Attic έφ αγγείο.Thrapπ.Χ για τητα Iraklio ωνunt ΠΑιΔεύτι όthe The . Υπ νίκηn Potter dαν Πεντηκοστής, lized punishm aning ofalso οΥργn, stry ofofγε ου Προμηθέας Ηρερ ναντα ήτ θεό privile ωρήθ εςαγώ ) hope inspire εύχρησθεσία Κάρολου Κουν, σκηνικ έρχο Mo s Bound Fotopoulos (Ep ent for ρομφ των ακλ thereminded of the56 (11ος αι.) στη παδηδρομίες Moder n of the ατικό που χαρίζε αρχ ι εΠικο το νό μορφο ε τη geΚρή της in 425 sano, λητισμού ιοτ on το νόημα της τιμ ni Study heu ι εκ είου Δεσμώτης από πνευμ ό Πλ Λουκά kiln arduo κΑ είο ς d y ent Fir χΑ θρό Attic τη. by τικό φως ά και κοστούμια Mi cef κΑ met ανθ the us στο youthf νίδ Όσιου is αί βωμ έα του Potter χά e άκ Αρ ς effort but red-fig Monastery ηματρο ων ιασ ulness ω Pro icfor το Θέατρο εα α έκλε ρώπων. Prome ul vigor α, Αθήνrequiredtran e ρη».της, 197 Κέν εξαγνιστής, Center also ofure vase (detail). Στις λαμ Διονύση Φωτόπ enileg ψει το Προμηθ τον κοπ Ωκ – ςυbut ικό της Μονή αττικό ερυ τη ύνσή εκθεσεων ρΑμμΑτAeschylus’ to sfo to speech rms sma broug by Dionys harnes 94). Γύρ ανάht Με τα 8. theus was mercil has priv ινε τη of Hosios Μεit ης Athens, Nation c archive ofdthe Πε ουλου (Επίδαυρος Τέχνης, the hell , of fire Διεύθ ., 161graphi the οΓtion of λέτη ιο να power design α , ο νθύμιζε χν ωτό από το Καθολ llea The art ενώ οιάστασης από (αρ ντ e . tongue ευρ ιων Πρ photo essly νόμ of a ψηφιδ Τέ ς ική . ble ών al ν υπε ηκ λό ο, fire. oye ολιτισμού the it Νεώ tum ν Archa punish Luk οστή, Now, 1983). προ είσ ύσε duc on θε enj the cos eologi ofcal Γεν Mount ed λαμ κωpro of as (11th ίορο Ηclay ν και Καύκασ Στις for offering people Η Πεντηκ ατ potMuseu οδ ner ηςγια to Paradise. Πε into soliεξαγνισ οστής,τερ HE or – but τωλά ). έρεια παρ meaning ΘέFrom tery has Κεραυ ο του Caucasus, he himself σή μο ΠΑιΔεύτιA set and ητιά-αλ m (Inv. Circa entrance τάική LL το υσε παδηδρ επισ c.), Vio αμε the fire of the 425 B.C. d, ). No.κο16194 Λεπτομτου. αιολογικό όΜο 1983 tions, the win youthful vig ο Κύ ύθύν ρηστη. (4th c. A.D.) describe the τηρώμ AS glows φω been ντη durabl ofστον blocked the και Pottery τής, Παρα στ Fro απ ημ Α εκ ος ς. προ also tia. like εύχ ομί Διε sword gods. ος ή, but g a m ιό . ρι a ης scarlet υρ bra αί by Ε.Π.) ες νόμ lem ς ήμ Nailed e έν par φω the ment Αρχ λλ kiln in “Onc νο ας Δ.Μ.Ε. δείσου flame,που κή of Jerusa ιο τμ t of ψηφιδω andςusa punish ωμ photog ικό ς Δεσμώτ ρτύρ while “Once, a flamin διοthe ΥποΥ Cyril ώπου καρφ er of fire πνευ ofεκτι Thraps (Επίδαand cele d hope inspired ανάψει of divine bleμαma ντA ργαOcean producος 94). e, ano ο μαΕθν words raphic by him να . Τώραto standρώμ ή, ανθ νώνοντ tionΙερ τό απ ides approach a fla, mi human . Αθή στνα, ανθρ toμπspeech These ει ofοσAeschy life ρώπων. το βωμ υλουgames .bol ile ηθέα τόdur s the pow (Inv. No. 161 of fire: an agent στους ulness ολύμ lus’ ized archive grac η -αλin his tormen τικtter. τη διττή hellenic σταθερ theτων ανθ for Irak nature grace back”. ό το , μι cenΚα Πρ , λά ce ποing . ομ ων (4Prome ταθούνViotia theus όψη ds Na oachd to harnes σε ύλη of the turies. ό που χα και υπε t. ό της θεότητα αν στο πλαίσιο e sym e ck nglion α πύBound byλάTheatr ου tak κα, Αθήνα ερtε forcef sw, Crete, ng outζωή dual seum ts ferven η Φω ing pla flam ύλes pointi αρασ c.), της φω imparπρ and pr uire ο ίδιοςLukas νθύμιζε ρινη the go rtapreq το πηλόost,τρό costum εορτών οσέφ ρίζει set o Techn λικό ς. Η φλό Pentec baCen 1978. θο ”.terThfor ord blo φευσε τη spiritu αι. μ.Χ gical Mu r. The 8. eοςdesign al light that συμπ (11th is, τον αofκιHosios e ofuou Διονύσ es υ Αιhσχracμια directe εύπλασ Pentec olo ς. γλ effo alta ή 197 by τιά και αγώ tery όγ τη s πύ ck , να the το es συν fir Dionys d γα ική hae ώσ τον by nid ation, κοπ torc Λεπ os ty’s Monas ειδ ς e της Karolo ed ς: e φλ ρι συμβόλ is .) Stu of th Fotopo νει purific Μον t, po ιασ σα of the υρή τομέρεια ού the dei s Koun, νων, ο αιώνες Κεραμε icon Επ le th ard , ωδίαςAt ι κοστ ional Arc HELLAS ιζε την e Ocea είου Κρή Cathol ής Όσ νη δύναμη θείος τιμ περιΑθή intin words dy entra ρφ γράφνα, Εθνulos (Epida τερης urus, 1983)τικό νικητής μεταμορφώ αμεικής για of Cy Moeder peop ed of the . Koun c from the κα lighting rem ελπίδα ς τραγ ile th ens, Nat 425 g ou . αγώνα για να ό Ηρακλ n Pot ικό Αρχ παράστ ιου Λο nc to ει st, mosai ingind losB.C pu είχε The Pe στ Σα.ν πο ψανPenteco λέτης Νεώ ril ός αλ Η φωτιά Atωρ , wh που ης τη σκηνικά of tter της κερ τιθα tail). Ath torc also αιολογικό ασης από αττι Karo offer flame .Pa Cir υκά (1 ο λόγο (de nteco rification, t the dual of Jerus etery στο ΘραThe Κέντρου Με h rac λάesκα ble ma byca Η τέχνη κό ερυθρό σευτεί η δύν γεννά η νεανι ράστασ υν, d for st, mo Καμίνι Μουσείο του rlet vasement. tak alem radise. No ι ing pla 1ος αι of. ligh ected natu spiritu e and usa turies. ία πα ρολου Κο αμη της scaure -fig nisheic red το abl ). dir μορ a αρχείο ε αφ , sa pu (αρ re Η (4 ting dur e 83 φο tor ce ικό .) γρ w, ic cen είχd, φωτιάς al lig th φωτιά . ευρ. 161 of lik during αγγ στη Βο the dei from his chnis rus, 19 a lessly gloAtt Φωτο οθεσία Κά . ητήςsoli ανική an life for gam φωτογραφ ty’s alta μεταμο 94). Γύρ είο. the Ca ht that fire: an ag c. A.D.) de tongue au ιωτία tro Te f ws him in merci ο νικinto ηtνε 8. hum also ην . Από το ble ,clay r. The flam es and cele of Att ω στο 425 im σκtery rem . ind ρφών tholi ent of scrib Pot ά of ς. , Crete, 197 himsel stand by d by Thea oulos (Epid s was mallea ων beeγε a par e ha τέχtion ic red ed of the con of parts fe e the fir e symbol Ηbra ει τον π.Χ. νη s, the etheu asus, he un Modern di to sformsκαι αγώνhasπο υ n νν τιά lion ure vas , Irak mean s br-fig arduou ized hop τη ough the M rvent fo vine pu win Prom ς κερα εύπλ uc ς φω tery ών δα eus Bo ysis Fotop Study of Fire tran ano Ca τη ner pot ρτ πί e aps the s eth of (de ασ ni in t nt enj effo εο ελ e μη onaster rce Thr inspiredμεική sh g tail). Ath oyeτο the ou ιο art την kiln in rt Απ Dion Prom δύνα the Center for αίσThe uire λόpriv ιζε on M by ς για αιώd πη y of Hofulness to ment but of the ens, Nat req ό d to harΚα ylus’ design by σε ύλ e τεί ηhivίο. e of στο πλ συμβόλPottery φω nesμίνι στοyouthfu ional Arc το also Aesch νεςorσυ– ileg ασευ arc sios Lu speech ησ me π.Χ. the pow τιθ of Θραψ l vig αγγε hae τογρ sικό νονταν Η φλόγα raphic but . ναtog ντρ Circa 425Fi tion of and costu kas (1 425 ρφο ανόfire re tra ologicalαφMu όφitευ . pho lege αρχε er of α για oduc the Ηρ ivi 1t ρόμο Γύρω στο B.C pr set ών . m ns seu pr h A . ίο ακ υθ ότητας Fro αγ c.), Vi m (Inτοv.υ λείου σ the it ό ερ 4). τικό The ar forms ma Κέντρ No. otia. Κρ – but joyed 161 οπιασ από αττικ ευρ. 1619 t of po lleable ου94) er en ul vigor Μελ. έτη ρ. cla From tte ασης winn hf ράστ ουσείο (α yout of fire. 194). the ph Pottery ry has be y into so , the Μ r d by tions lid, en kil otogra 16 γικό lebra inspire s the powe v. No. phic n in Thra a part of durab and ce d hope es archive psan huma m (In rn mes ze eu ha o, ga n Ira of th ng mboli ired to gical Mus e Cent klion, Cr me sy requ e er fo he fla s effort l Archaeolo r the ou S tiona ardu C. ns, Na 425 B. . Athe Circa

local communities, cooperate with them and invite contemporary artistic events to their space (art exhibitions, music concerts, video performances). The campaign led the museum staff to take initiatives on contemporary issues, to invite and meet the public outdoors, in the nature, in town parks and squares, to welcome discussion and creativity. The campaign gave a chance to the public to confront the museum not only as a host of knowledge and art but also as a hub of social activity that knows how to defend and protect cultural resources within its walls and in the future outside of them. The results of all the goals of the campaign will be evaluated in the future, provided that the campaign “Environment and Culture” still continues. As we are all well aware, it takes time, effort and persistence to change our stance against those things that haunt our life.

Bibliography Ministry of Culture and Tourism (2009). The Tree of Life in Four Seasons, Athens (Greek and English publication). Alexandra Seleli (2008). “Environment and Culture”, ICOM Newsletter – Hellenic Committee, volume 5. Tonia Koutsouraki, Alexandra Seleli (2009). “Cultural Programs”, ICOM Newsletter – Hellenic Committee, volume 6. Niki Nikonanou, Alexandra Bounia, Despina Andriopoulou, Stella Chrysoulaki, Tonia Koutsouraki, Alexandra Seleli (2009), “Evaluation of the Ministry of Culture’s National Campaign “Envrironment and Culture 2008 – The Tree of Life in Four Seasons”, Τetradia Museologias [Museology Notebook], volume 6. Tonia Koutsouraki (2010). “Environment and Culture – Myriads Water Voices”, ICOM Newsletter – Hellenic Committee, volume 7. Stella Chrysoulaki, Alexandra Seleli (2010). “New Publications: The Tree of Life in Four Seasons”, ICOM Newsletter – Hellenic Committee, volume 7. Stella Chyssoulaki (2011), “Intervención”, in Compartiendo el Patrimonio Cultural Europeo, Madrid.

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Obituary Nico Halbertsma (1949 - 2012) and the wonder of curiosity

Arja van Veldhuizen ICOM/CECA

On December 11th Nico Halbertsma suddenly passed away. He was senior lecturer at the Reinwardt Academy, the school for museum and heritage studies, in Amsterdam for 28 years. His main subject was education and visitor studies. Over the years he was a great source of inspiration to many generations of students. In his teaching Nico never felt limited to the walls of the Academy. He wanted students to learn about ‘real life’ in museums and other heritage institutions. Field trips were part of his way of teaching and Nico organised them in his typically nonconformist way. As a result, many of those who participated share fond memories about these (international) trips, where a ‘participative approach’ for the students was applied both to the formal programme, as well as to the evening dinners. When Nico visited a museum with his students for the umpteenth time, he was still as curious as when he came for the first time. With his typically intrinsic curiosity he fuelled his students’ as well. Nico was particularly inspired by developments in learning and audience approaches in the United Kingdom, his mother’s country of origin. In the early nineties, when Nico was a member of the Museum Educators Group for the Dutch Museums Association, he introduced his Dutch colleagues to innovative methods and curriculum based learning in museums in the UK. A few years later a similar incentive was given during the study trip to United States. Over many years Nico was an active member of GEM, the Group for Education in Museums in the UK, including as a Board member and trustee; and also for the Madeleine Mainstone Trust which promoted Anglo-Dutch museum education links. Nico also was an external examiner at the Institute of Education of University of London, where his friend John Reeve works.

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In January a special edition of the so called ‘Heritage Arena’ was organised at the Reinwardt Academy in memory of Nico. For this occasion one of ‘Nico’s collection carts’ was presented. These carts are stuffed with peculiar and everyday objects. Very likely Nico was the only one to truly understand the system behind them – if there was any. Each of the objects was collected carefully for its teaching value. He used them to educate his students in skills like careful observation, thinking skills and learning from objects. Of course, the carts also include an intriguing collection of ‘mystery objects’. These carts are in a way a metaphor for the person Nico was: an invitation to look with an open mind and to foster curiosity during your whole life. When Nico retired in 2011 he was not sure how to describe his new professional status on his LinkedIn account. ‘Pensioner’ did not quite feel appropriate. He finally chose ‘spiritual heritage pilgrim’: for he intended to spend a lot of time traveling and letting himself be surprised and inspired by everything and everyone he was going to meet on his trips. Unfortunately his pilgrimage was far too short. Therefore it is only appropriate for us to continue his tour of wonder on his behalf!

Nécrologie Nico Halbertsma (1949 - 2012) et la magie de la curiosité Arja van Veldhuizen [Traduction: Nicole Gesché-Koning] Nico Halbertsma nous a soudainement quittés le 11 décembre 2012. Il était conférencier émérite de l’Académie Reinwardt à Amsterdam spécialisée dans l’enseignement des etudes muséales et du patrimoine, où il avait enseigné pendant vingt-huit ans. Ses principaux domaines d’intérêt étaient l’éducation et les etudes de visiteurs. Il était au fil des ans devenu une importante source d’inspiration pour plusieurs générations d’étudiants. Dans ses cours, Nico ne resta jamais cloisonné dans les murs de l’académie. Il voulait que ses étudiants apprennent dans les musées et autres institutions du patrimoine ce qu’était la ‘vraie vie’. Les voyages d’études sur le terrain faisaient partie de ses enseignements. Photo 1: portrait de Nico Halbertsma

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Photo 2: Ruben Smit, collègue de Nico, expliquant lors de la séance de débats sur le patrimoine (Heritage Arena) en janvier 2013 le chariot des collections de Nico

Nico les organisait à sa manière, devenue typique de sa méthode, et plutôt non conformiste. Il en résultait qu’aujourd’hui encore de nombreux étudiants ont gardé des souvenirs inoubliables de ces voyages (internationaux) qui leur demandaient une ‘approche participative’ tant pour l’élaboration du programme formel que pour les soirées et repas. Lorsque pour la Xème fois, Nico visitait avec ses étudiants un musée, il était toujours aussi curieux de tout que lors de sa première visite. Sa curiosité intrinsèque si typique était communicative et nourrit ses étudiants.

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Nico était particulièrement intéressé par les développements relatifs à l’apprentissage et aux diverses approches des publics au RoyaumeUni, le pays d’origine de sa mère. Au début des années ’90 alors qu’il était membre du Groupe des éducateurs de musées hollandais, Nico fit connaître à ses collègues les méthodes novatrices d’apprentissage développées dans les musées britanniques. Quelques années plus tard, il fit de même avec les méthodes américaines lors d’un voyage d’étude aux Etats-Unis. Nico fut pendant de nombreuses années un membre actif de GEM (Group for Education in Museums) le groupe d’éducateurs muséaux britanniques, en tant que membre du bureau et même administrateur. Il en fut de même avec le Fonds Madeleine Mainstone dont le but était de promouvoir les relations entre les éducateurs anglais et hollandais. Nico était également un examinateur externe auprès de l’Institute of Education de l’Université de Londres où travaille son ami John Reeve. Au mois de janvier, une séance spéciale de l’activité baptisée ‘Heritage Arena’ (débats sur le patrimoine) fut organisée à l’Académie Reinwardt à la mémoire de Nico. Ce fut l’occasion de présenter à l’assemblée un des chariots des collections de Nico. Ces chariots étaient remplis d’objets particuliers côtoyant des objets de tous les jours. En fait, seul Nico comprenait vraiment le système qui régissait tous ces objets – pour autant qu’il y en ait eu un. Chaque objet avait été rassemblé avec soin pour sa valeur d’enseignement. Il les utilisait pour apprendre à ses étudiants différentes competences telles que: observer attentivement, penser et tirer des leçons de tous ces objets. Les chariots contenaient également un certain nombre d’objets ‘mystérieux’. Ces chariots sont en quelque sorte la métaphore de Nico en tant que personne: une invitation à regarder avec un esprit ouvert et à aiguiser sa curiosité tout au long de la vie. Lorsque Nico accéda à la retraite en 2011, il ne savait pas comment indiquer ce nouveau statut sur son site LinkedIn. Il trouvait ‘pensionné’ inadequat. Il finit par opter pour ‘pélerin d’héritage spirituel’ car il comptait encore voyager énormément afin de se laisser sans cesse impressionner et inspirer par tout ce qu’il avait encore à découvrir comme par tous ceux qu’il allait encore rencontrer. Malheureusement son pélerinage fut de bien trop courte durée. Aussi, ne nous reste-t-il qu’à continuer ce tour des merveilles en son nom!

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Auteurs/Authors/Autores

Nicole GESCHÉ-KONING Académie royale des beaux-arts de Bruxelles / Ecole supérieure des arts (ARBA/ESA)  144 rue du Midi  B-1000 Bruxelles/Belgique E-mail: [email protected] E-mail: [email protected] Université libre de Bruxelles (ULB) Faculté de Philosophie et lettres / Département Histoire Arts Archéologie 50 avenue Roosevelt - CP 175 B-1050 Bruxelles/Belgique Tel: +3226503922  E-mail: [email protected] Deborah STOKES Curator for Education/K-12 National Museum of African Art NMAfA MRC 708 P.O. Box 37012 Washington, DC 20013-7012 E-mail: [email protected] Blandine Opeoluwa AGBAKA Coordinatrice de l’ONG BENIN PATRIMOINE Gestionnaire du Patrimoine Culturel et Archiviste. Elle a travaill comme: Assistante de programmes au pôle Territoires et Patrimoines de l’Ecole du Patrimoine Africain – EPA; Assistante de formation pour les cours techniques du programme «Patrimoine culturel et développement local» coordonné par l’Ecole du Patrimoine Africain et l’Association Internationale des Maires Francophones organisée à Ouidah; Assistante de formation pour le cours programme «préparation des propositions d’inscription sur la Liste du patrimoine mondial» coordonné par le Dr Alexis ADANDE (UAC) et Dr François Djah MALAN organisé à Pointe-Noire au Congo et à Porto-Novo au Bénin; Chargée de cours: Conservation, Préservation et mise en valeur du patrimoine au second cycle (Sciences et techniques de l’information) à Ecole Nationale d’Administration et de magistrature (ENAM)  à l’Université d’Abomey-Calavi, Bénin;chargée de mission stagiaire à l’Ecole du Patrimoine Africain pour l’implantation du Musée d’Adjarra (OUEME); Musée de la Civilisation du Québec (CANADA), stage professionnel  en conservation du patrimoine culturel; Ministère du Travail et de la Fonction Publique, archiviste; Direction des Archives Nationales, stage professionnel en traitement des archives. Tél: (229) 95 56 28 08  E-mail: [email protected] BP: 59 Abomey-Calavi Bénin

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Wafaa EL SADDIK Wafaa El Saddik (Ph.D. Vienna University) became Director General of the Egyptian Museum, Cairo, in 2004 (till end of 2010), the first female to hold this position. Upon graduation with a BA in Egyptology and Archaeology from Cairo University, she joined the Egyptian Antiquities Organization as an inspector assigned to foreign archaeological expeditions working in Egypt. Soon Dr. Saddik had her own excavation. Over the years she pursued her interest in field archaeology at Giza and Luxor. Beginning in 1978 she continued her academic studies in Vienna, earning a doctorate in 1983 with a dissertation on the Giza necropolis during Dynasty XXVI. Dr. El Saddik is an engaged board member of numerous scholarly and archaeological committees and organizations, both national and international, with responsibilities ranging from the complete modernization of the Egyptian Museum, to coordinating all exhibitions of Egyptian antiquities abroad. Her commitment to involving her young compatriots in Egypt’s heritage ranges from founding and serving as president of the Children’s Alliance for Traditions and Social Engagement (C.A.T.S.) to teaching at both Cairo and Helwan Universities. She is the author of numerous scholarly publications in German, English, and Arabic; most recently, she authored the first history of ancient Egypt in the Arabic language. Her authoritative pedagogical publications, Kindermuseen for Ägypten (German and Arabic) and Museum Education and the National Identity (Arabic) are the foundation for long term projects for children’s museums and educational departments throughout Egypt. Dr. El Saddik has received many Awards and Honors ( professional and humanitarian) for example: Medal for humanitarian service, presented by his Holiness Pop Benedict XVI; Golden Dove of Peace, presented by the German ambassador in Egypt; Dedication Award for Cultural exchange between China and Egypt; most recently, she has received the Bundesverdienst Kreuz of the Republic of Austria. E-mail: [email protected] Vasilike ARGYROPOULOS, T.E.I. Athens, Department of Conservation of Antiquities and Works of Art, Ag. Spyridona, 122 10 Athens, Greece, [email protected] Eleni ALOUPI, THETIS authentics LTD, Athens, Greece Kyriaki POLIKRETI, Hellenic Ministry of Culture & Sports, Greece Rea APOSTOLIDES, ANEMON PRODUCTIONS, Greece Raymund GOTTSHALK, Children’s Alliance for Tradition and Social Engagement, Germany Mona ABD EL NAZEER, Egyptian Museum of Cairo, Egypt Marina VRYONIDOU-YIANGOU, Pierides-Laiki Bank Museum, Cyprus Peter ASHDJIAN, Pierides-Laiki Bank Museum, Cyprus Maria-Christina YANNOULATOU, Benaki Museum, Dept. of Educational Programmes, Greece Sophia BITSA, Benaki Museum, Dept. of Educational Programmes, Greece Stefan SIMON, Rathgen Research Laboratory, Germany Wolfgang DAVIS, Visitor’s service, National Museums Berlin, Germany Vasiliki KASSIANIDOU, University of Cyprus, Archaeological Research Unit, Dept. of History and Archaeology, Cyprus

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Stella CHRYSSOULAKI Dr. Stella Chrysoulaki studied archeology at the School of Philosophy of the University of Athens and literature at the University of Grenoble in France. She completed her doctorate in 1981 at the University of Sorbonne - Paris IV. She studied museology at the School of the Louvre Museum. She worked as a researcher at the Institute of Fine Arts in New York from 1989 to 1991. Her field of expertise is the archeology of Minoan Crete where, from 1985 to present, she is the director of “Minoan Roads”, a research program conducted by the Directorate for Prehistoric and Classical Antiquities. She has been working since 1984 at the Hellenic Ministry of Culture and has supervised the organization of many archaeological exhibitions in Greece and abroad. She currently serves as Director of the 26th Antiquities Ephorate for Piraeus and the islands. Arja VAN VELDHUIZEN Arja van Veldhuizen studied human geography at Utrecht University. She worked from 1986-2005 in Amsterdam as an educational assistant for the Amsterdam Historical Museum (until 1999 also the Tropenmuseum). In addition, she was from 1986-1993 professor exhibitions / museums at Catholic University of Nijmegen. From 2005-2008 she led the team Education & Presentation at CODA Apeldoorn (museum, library and archive). Since 2008 she is team leader Education and Landscape Heritage Museums in Utrecht. She is also a guest lecturer at the Heritage & Education Reinwardt Academy in Amsterdam and is a board member of the international museum education association ICOM / CECA. E-mail: [email protected]

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ICOM-CECA Board

Emma Nardi CECA President Professor in Educational Sciences Università degli Studi Roma Tre Dipartimento di Progettazione Educativa e Didattica Via della Madonna dei Monti, 40 I - 00184 Roma, Italia T +39 06 5733 9666 F +39 06 5733 9642 E-mail: [email protected] Josée Duhaime CECA Secretary Director of education and cultural activities Montreal Science Center 333, rue de la Commune Ouest Montréal, Québec, Canada, H2Y 2E2 T +1 514 283 1185 F +1 514 496 0607 E-mail: [email protected] Daniel Castro Benitez Ordinary Member: CECA Regional Coordinator for South America and the Caribbean Director Casa Museo Quinta de Bolívar and Museo de la Independencia Calle 20 No 2-91 Este Bogotá Colombia T +571 336 6419 T +571 336 6410 E-mail: [email protected] Stella Chryssoulaki Ordinary Member: CECA Publications Director of the 26th Ephorate of Prehistoric and Classical Antiquities Alkiviadou 233 Piraeus 185 36 T 0030 210 418 0972 F 0030 210 418 0921 E-mail: [email protected]

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Jenni Fuchs Ordinary Member: Website Co-ordinator Museum Consultant Berlin Germany E-mail: [email protected] Pino Monaco Ordinary Member: CECA Regional Coordinator for North America Director of Program Evaluation and Audience Research Smithsonian Center for Education and Museum Studies MRC 508 PO Box 20013-7012 Washington, DC 20013-7012 T +1 202 633 5329 F +1 202 633 5489 E-mail: [email protected] Marie-Clarté O’Neill Ordinary Member: CECA Regional Coordinator for Europe Professor at Institut national du patrimoine Professor of museology and museum education at Ecole du Louvre 19 rue de Marignan 75008 Paris France T + 33 1 42 25 37 22 E-mail: [email protected] Umebe N. Onyejekwe Ordinary Member: CECA Regional Coordinator for Africa Museum Consultant 10 Adeniyi Adefioye street Ikate, Surulere Lagos Nigeria M +234 0803 780 8218 M +234 0805 825 0756 E-mail: [email protected] Silvia Ciriello Coopted Member delegated for the publication of CECA Europe Newsletter and World Newsletter Researcher Università degli Studi Roma Tre, Centro di Didattica Museale Via della Madonna dei Monti 40 I - 00184 Roma Italy T +39 06 5733 9666 F +39 06 5733 9662 E-mail: [email protected]

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Colette Dufresne-Tassé Coopted Member delegated for research Codirectrice, Maîtrise en muséologie Université de Montréal, Maîtrise en muséologie C.P. 6128, succursale Centre-Ville Montréal QC H3C 3J7 Canada T +1 514 343 8078 F +1 514 343 2314 E-mail: [email protected] Nicole Gesché-Koning Coopted Member delegated for the relationship among international committee Académie Royale des Beaux-Arts & Université Libre de Bruxelles 105 Avenue Latérale B- 1180 Bruxelles Belgique T +32 2 650 3922 F +32 2 375 8727 E-mail: [email protected] Sonia Guarita do Amaral Coopted Member delegated for the relationship among continents and for the organisation of CECA Conference 2013 Independent Museum Educator Al.Campinas 1393 - #12 01404 -002 São Paulo Brazil T +55 11 30854420 M +55 11 8261 8268 F +55 11 30854420 E-mail: [email protected] Francine Lelièvre Coopted Member delegated at Treasurer Directrice générale Pointe-à-Callière Musée d’archéologie et d’histoire de Montréal 350, Place Royale, Montréal H2Y 3Y5 Canada T +1 514 872 9150 F +1 514 872 9151 E-mail: [email protected]

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Ayumu Ota Coopted Member delegated as Regional Coordinator for Asia Pacific and Australia Education Coordinator National Museum of Japanese History 117 Jonai-cho Sakura-city, Chiba 285-8502 Japan T +81 43 486 0123 F +81 43 486 4209 E-mail: [email protected] Arja van Veldhuizen Coopted Member delegated for the professional development Head of Education Landschap Erfgoed Utrecht Postbus 121 3730 AC De Bilt Nederland T +31 30 220 55 34 F +31 30 220 55 44 E-mail: [email protected]

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