"There are universal ways human beings experience the world. All people have motivations and build relationships. We all have abilities and limits to those abilities. Everyone experiences exclusion as they interact with our designs. On the other hand, a solution that works well for someone who’s blind might also benefit any person driving a car. Inclusive design works across a spectrum of related abilities, connecting different people in similar circumstances."
::: Inclusive. A Microsoft Design Toolkit: DOWNLOAD
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Thursday, 15 February 2018
- Urban Heritage: Staging Culture
Wolfgang Kaschuba (Berliner Institut für empirische Integrations- und Migrationsforschung Humboldt University of Berlin)
- Revisiting European heritage discourses, a matter of identity construction? Roel During (Wageningen University)
(Semi-)public settings: diversity in the city streets and on stage
Intangible heritage practices blending in superdiversity are taking the stage and act in public street performances. In this section a number of possibilities are presented. The carnival model and the artistic model are different types of performances, related to the role liminality and communitas play, in the performance continuum between ritual and performance. Blending the practices and representations: embracing and showcasing the superdiversity.
- Telling sounds: staging the musical heritage of Europe, through continuity and change Amanda Brandellero (Erasmus University Rotterdam)
- Presentation of the Cologne based innovative grass-roots project Humba and its various satellite activities
Birgit Ellinghaus (alba KULTUR, Cologne) in collaboration with Jan Krauthäuser (HUMBA e.V., Cologne)
- The Murga Movement in Flanders: A blend of intangible heritages starting in superdiverse Antwerp
Margherita Serafini (independent researcher)
- Shaian – ambassadors for musical diversity and cultural exchange
Dagmar Kern, Michael Halberstadt & Michael Lakatos (Kaiserslautern)
- Doek and Knooppunt
Lies Van Assche (freelance costume designer, Antwerp)
- The “invention of tradition” in the Alps: the Cappuccina’s Carnival Luca Ciurleo (freelance anthropologist)
- Heritage, identity and the body in Afro-Dutch self-styling Marleen de Witte (University of Amsterdam) - -
- Food to go: emotions in culinary performativity Natsuko Akagawa (University of Queensland)
Urban Tisane / World café Interactive group discussions with the aim of recommendations from the conference participants
Friday, 16 February 2018
- Patterns of 'super-diversity': urban diversity and intersections of multiple differences Jenny Phillimore (Director of the Institute for Research into Superdiversity and Professor of Migration and Superdiversity, University of Birmingham)
- The Place-Making of Communities in Urban Spaces Monika Salzbrunn (University of Lausanne)
Policy in the polis
In this section, the policy on the level of a (European) city is discussed, that takes into account both the internal and external connections and explores how these processed can be managed, enhanced and improved. Are policy makers on the city level able to move beyond national or ethnic references?
- Social and cultural approach for intangible cultural heritage in Barcelona Lluís Garcia Petit (Institute for Intangible Cultural Heritage, Barcelona)
- The Case of Sofia and its Intangible Cultural Heritage Miglena Ivanova (Institute of Ethnology and Folklore Studies with Ethnographic Museum, Bulgarian Academy of Sciences, Sofia)
- Urban gardening as Intangible Cultural Heritage in urbanised society Stefan Koslowski (Bundesamt für Kultur, Bern)
- Between staged and hidden cultural heritage – how to integrate intangible heritage into urban habitus Helmut Groschwitz (Bavarian Academy of Sciences and Humanitites, Munich)
- Urban Cultures, superdiversity and Intangible Cultural Heritage. Three case studies in dialogue Valentina Lapiccirella Zingari (University of Siena), Alessandra Broccolini (University La Sapienza of Rome), Alessandra Micoli (University of Siena) (ICH NGO SIMBDEA)
- The “Mannheimer Erbe der Weltkulturen” project Jan-Philipp Possmann (zeitraumexit e.V., Mannheim)
- Intangible Cultural Heritage for the Modern Capital: The Village Meets the Urban, Skopje, Macedonia Filip Petkovski (PhD student, World Arts and Cultures/Dance at The University of California Los Angeles)
- Urban improvement and intangible heritage: the cases of Rotterdam and Utrecht Albert van der Zeijden (Dutch Centre for Intangible Heritage, Utrecht University)
Urban Tisane / World café
interactive group discussions with the aim of recommendations from the conference participants
Marc Jacobs (FARO) and Jorijn Neyrinck (tapis plein)
Via/More: Utrecht University
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Photograph via Utrecht University (copyright by the owner)
Founded in 2008, The Inclusive Museum Research Network is brought together by a shared concern for the future role of the museum and how it can become more inclusive.
No longer the universal individual citizen of our recent modern aspirations, visitors of today are recognizably diverse.
The dimensions of this diversity are material (class, locale, family circumstances), corporeal (age, race, sex and sexuality, and physical and mental characteristics) and symbolic (culture, language, gender, family, affinity and persona). These are the gross demographics, the things that insist on our attention. But if we take the time to look more closely at today’s public, it is qualified by intersections and layers of identity which immediately turn the gross demographics into sometimes dangerous oversimplifications. The paradox of today’s public is that, in an era of globalization, cultures are diverging: dispositions, sensibilities, values stances, interests, orientations, affinities and networks.
So how can one speak to audiences? How does participation work? How can we create meanings which are germane? ‘Inclusivity’ names a paradoxically two sided answer. One side is to recognize particularity. What and who should be represented in the museum? What is it to be comprehensive? What is canonical or definitive? To answer these questions today, we need to move beyond the divisions of high as opposed to popular culture, the techno-scientific as opposed to the everyday, the national-modern as opposed to the ethnographic-traditional. No longer can we solve the problem of difference, of ‘us’ and ‘them’, by dividing people and their objects into separate categories and separating them in spaces unto themselves. We need to anticipate the particularities of visitors.
The other side of this answer requires us not just to catalogue of differences, to check them off from a list of potential points of dissonance. Perhaps we also need to create a new and paradoxical form of universality, the universality of inclusivity. How do we create a museum where the text is open, where every visitor is allowed the space to create their own meanings, where no visitor is left out? The answer in part is in to devise new …
Literally via/More: The Inclusive Museum
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image via Brilliant Idea Studio
"Das inzwischen zum Highlight der Ballsaison avancierte Event hat es geschafft, sich das Schimpfwort „Tunte“ anzueignen und es zu entschärfen. „Wir alle erfüllen gewisse Vorstellungen. Manche entsprechen der Wahrheit, andere wieder nicht. Am diesjährigen Tuntenball wollen wir mit Let’s Play mit allen Klischees spielen und zeigen, dass es nichts Schlimmes ist, eine Tunte, ein Macho oder eine Drama Queen zu sein. Sei du selbst und jedes Klischee wird zu deinem sympathischsten Charakterzug“, beschreibt Joe Niedermayer, Organisator des Grazer Tuntenballs."
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Bild via Tuntenball