Diversity in the museum and the city
Divercity
  • news
    • starts!
    • the good practices we have!
    • group discussion about public art
    • workshop for migrants in Budapest
    • moments of the workshop in Paris
    • workshop moments in Madrid
    • moments of the workshop in Austria
    • memories about public art from Helsinki
    • participatory museum workshop in the Museum of Ethnography
    • young Roma win over the Museum Nacional de Arte Antiga!' in Lisbon
    • urban workshop in Vienna!
    • Divercity thematic dossier in Arteterapia
    • final conference advertisement
    • closing workshops and conferences around Madrid
  • partners
    • Artemisszió Foundation
    • EARTDI-UCM
    • Elan Interculturel
    • Helsinki Art Museum
    • Museum of Ethnograpy, Budapest
    • Rede
    • Stand 129
  • resources
    • good practices
    • fundation bricks
    • Final results of the workshops in the museum!
    • Training materials on cultural ethnicity and migration itineraries
    • Gender itineraries in Madrid and Lisbon!
    • Itineraries on intergenerational diversity
    • The framework of how to work with diversity in museums
    • City as a learning space - curriculum for educators
  • deutsch
    • Sammlung bewährter Praktiken
    • Methodische Grundlagen
    • Wie fühlst du dich in dieser Stadt?
    • Einführung in kulturelle Diversität und Museen
    • SCHULUNGSMATERIAL ZU KULTURELLER ETHNIZITÄT UND ZU STADTRUNDGÄNGEN ZUM THEMA MIGRATION
    • Schulungsmaterial zu Stadtrundgängen zum Thema Gender Diversität
    • Stadtrundgänge zu intergenerationeller Diversität
    • Arbeiten mit Diversität im Museum
    • Wie kann man in der Stadt über Diversität lernen?
  • español
    • UCM-EARTDI
    • buenas prácticas
    • bases
    • tu museu interno
    • Materiales de formación en etnicidad cultural e itinerarios de migración
    • talleres en museos
    • itinerários de género en Madrid y Lisboa
    • Itinerarios en diversidad intergeneracional
    • Trabajar con la diversidad en los museos
    • ¿Cómo aprender sobre la diversidad en la ciudad?
    • El evento de clausura
  • français
    • Elan Interculturel
    • bonnes pratiques
    • Bases Méthodologiques
    • L’équipe prête à démarrer
    • Itinéraires de diversité entre générations
    • Travail sur la diversité au musée
    • Comment se familiariser avec la diversité en ville?
  • magyar
    • magyar partner szervezetek
    • hírek, megjelenések
    • jó gyakorlatok
    • első részvételi múzeumi csoport: a fiatalok
    • második részvételi múzeumi csoport: kulturális sokszínűség
    • szakmai nap - múzeumpedagógia, generációk közti párbeszéd és interkulturalitás
    • Tréninganyagok a Gender útvonalakhoz
    • Hogyan dolgozzunk a sokszínűség témájával a múzeumban?
    • Hogyan tanuljunk a sokszínűségről a város segítségével?
  • português
    • Rede
    • Boas Práticas
    • Foundation bricks
    • Jovens Ciganas conquistam o Museu Nacional de Arte Antiga!
    • Itinerários de Diversidade Intergeracional
    • Trabalhar com Diversidade em Museus
    • Como absorver a diversidade na cidade?
    • Materias de formação, relativas ao tema Iniciação a Diversidade Cultural e Museus
    • Materiais de Formação sobre Etnia, Cultura e Itinerários Migrantes
  • suomi
    • HAM
    • Hyvät käytänteet
    • Metodologiset perusteet
    • JOHDANNOKSI KULTTUURISEEN MONINAISUUTEEN JA MUSEOIDEN
    • videoita museo aukko
    • uutiset ja artikkelit
    • Moninaisuus museoissa
    • Tietoa urbaanista moninaisuudesta Opetussuunnitelmia luoville ja kollektiivisille kaupunkitilaa hyödyntäville käytännöille

The month of february was fully devoted to the search of good practice examples that consider diversity in art mediation. 

What we did.

Our first so-called intellectual output was meant to be a collection of “best practice” examples on art and inclusion in museums and public space art activities.
Stand 129 was leading the activity and was therefore responsible for the first draft of working materials. Therefore, they developed a template and a set of indicators so that all of us would have a guideline for the research. 
During the (àlink) kick-off meeting in Paris, we had a chance to discuss and enhance them according to the input of all the partner organizations. The personal discussion in the group was very important to all of us, as we had the chance to talk about some key issues for the practices. This means, we discussed about the importance of having an “innovative” form of art mediation as good practice examples. We also talked about what notions that would imply. We agreed upon a broad definition of this term: For us, an innovative practice does not mean that it has to deal with new forms of art mediation, such as new media, but it includes the reinvention of traditional methods and its adaption to contemporary needs. We also discussed about the terms of participation and ownership and agreed that not every kind of participation necessarily means that the participants feel ownership over the outcome. It is this kind of involvement though that we are looking for.

Following that, every partner was invited to look for good practice examples according to what we had agreed upon in our meeting. Some of the partners included their own experiences and practices of their institutions as a good practice example to share their knowledge with all the other partners. This has the advantage of having real insights into the projects and not just seeing them from an outsider´s perspective. 

Why we did it.

The aim of this study was to gain an overview on existing practices and examples of museum and art pedagogy that deal with diversity both inside and outside of museums. It was important to us to see this collection of good practices as a spring of inspiration for the tasks that lie ahead of us. We consider it important to call these collected practices “good” rather than “best practices” because we find that it´s not our tasks to judge or rank those activities in such a way. We rather appreciate initiatives that deal with such topics. We see this compilation as a collection that also reflects the variety of ways in which institutions work with  the concept of diversity in art mediation. We therefore invite everyone to read it as such. We are sure that there are plenty of other examples that would fit in our collection. It´s not our aim to provide a full encyclopedia in this area. That is why we see this compilation of good practices as a beginning to our work and a fruitful discussion on the topic of art and inclusion inside and outside of institutions.

What came out of it.

The collection of good practices gives an overview of existing educational programs that address diversity in the museum or through art. This means that we were looking for programs of adult education that engage audiences that are typically excluded from museums and other cultural institutions due to financial conditions and geography, as well as due to an impression that “Art” and “Culture” is not for them. Also, the collection includes programs that address the issues of cultural diversity through thematic pedagogical programs. 

Part of the practices take place inside museums, others might be outreach programs that go beyond the walls of the institution and take place in the public spaces of the city. Many of these practices represent very innovative, creative solutions for engaging new audiences in museums and art institutions, as well as addressing and valorizing cultural diversity. It is an aim of this collection of good practice examples to give those initiatives the visibility they deserve, as many of them are not well known to the general public. At the same time we want to provide attractive examples for institutions that have not yet adopted such programs.

The collection covers practices of big institutions such as national museums and their attempts to include a broad public in their programs and to open their spaces to people that are not their main target group or are usually not embracing their offer out of different reasons. Furthermore, it includes practices of cultural institutions that work in the public space and use techniques of art and education to mobilize people in deprived areas and give impulses for seeing those areas from a different angle than their usual one. 
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Due to the broad range of focuses, the selection of good practices covers a great variety of techniques. We embrace this plurality as it shows that there are many possibilities of how to address subjects of diversity in museums and art mediation. We want this collection of good practices to inspire not only ourselves but institutions that work with this subject or plan on implementing such strategies as well. Therefore we invite you to browse through our compilation and get inspired! 

The summary of the Collection of Good Practices
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