ICR_Milan_2016-zip

147

3.3 A new museum for an old cultural landscape: the Museo Regional Altepepialcalli case Paulina Rojas Sánchez, Mexico Introducing the Museum’s context According to CONACULTA’s1 records, Mexico City has 157 museums, 12% of the total number in Mexico. However, 71% of the museums are concentrated in three of Mexico City’s sixteen boroughs. Among these museums, twelve are regional and ten are comunitarios (belonging to the community). Their purpose is to exhibit the history and identity of more remote cultural centres in order to increase visitors. Administration and management of these regional museums is dependent on the local government while the comunitarios work through and are dependent upon the initiative of the people within each locality. In this paper, we discuss the Museo Regional Altepepialcalli, a regional museum located in the Mexico City borough Milpa Alta. But first, it is important to know a little more about the landscape that surrounds it. Milpa Alta is the second largest of Mexico City’s boroughs with an area of 228 square kilometres, and the least populated in both relative and absolute terms. Also, it represents an important environmental reserve. Part of the San Antonio Tecómit´s territory belongs to a lacustrine region which UNESCO declared as an Intangible Cultural Heritage. Unlike other more industrialized and cosmopolitan districts, this region has a more rural character. Agriculture is the main economic activity with forests and crops throughout the territory. Farming and harvesting nopal (a cactus plant producing the edible prickly pear) provide the principal community income. However, being a rural district brings many challenges. Local people say that they spend at least two hours reaching Mexico City’s downtown using private transportation. For them, distance and the lack of efficient public transportation are the main reasons they do not visit museums, theatres and sporting or music events. Milpa Alta has no cinemas; the nearest one is an hour away. All these factors make the residents think that science and culture are something out of reach, available only to the wealthy. Laying strong foundations for a very local museum The borough has only two museums, which represent one percent of Mexico City’s museums. This fact reinforces the idea that alternative ways to gain knowledge are only available for those who can pay. One of these museums is Museo Cuartel Zapatista (Zapata´s Military Museum), which exhibits key events, historic documents, testimonies and events relating to Emiliano Zapata (leader in the Mexican Revolution) and his revolutionary movement 1910-1920. However, 148

in 2016 the institution remains closed. On the other hand, the second museum, Museo Regional Altepepialcalli, offers different exhibits of local artists and provides Nahuatl lessons and artistic activities of the indigenous Nahuatl people). According to an interview with the current museum Coordinator, Rosa Yareli Ortega, although the museum has been in business for more than two decades, management instability and constant administration changes inhibit continuity of the philosophies and missions that a museum must pursue. We must add that Altepepialcalli Museum’s incomes are practically inexistent. Without counting payroll expenses, the annual budget to operate and maintain the facilities is around €476. When Ortega assumed directorship of the institution, she found herself in a place that used to offer many services and activities, but those services did not fit within standard museological and museographical practices. The previous administration exhibited the work of young local artists but most of the time, the space was dedicated to dancing or painting lessons. Although these activities provided recreational and artistic options for the community, they did not foster the preservation, study, exhibition or diffusion of cultural heritage, generally accepted as essential elements of institutions that label themselves as museums. In February 2016, the current work team was established. Since then, they have settled upon a strong challenge: to redirect the museum into an institution with a clear museological mission and vision. While the museum still offers artistic activities and lessons, these services support the institution’s educational goals. Now, the museum functions as a space dedicated to exhibiting and sharing the borough’s material and intangible heritage. Taking action The first step to reach the new vision was to identify collections themes and topics. After several discussions and studies of the local needs, the team determined two study subjects: local archeology and current customs and habits. Local archeology reconnects the prehispanic history with the community, reinforcing the ancestral roots and making actual connections to link current customs and habits to the past. From February to July 2016, Altepepialcalli Museum developed and launched five new exhibitions. All of them followed the topics defined and established by the museum working team. Those exhibitions are • Marcadores y Monumentos Solares de Origen Prehispánico. (Prehispanic Solar Markers and Monuments). • Estudios Interdisciplinarios de un Mamut y su Contexto. (Interdisciplinary Studies of a Mammoth and its Context). 149

• Exposición de Juguetes Autóctonos. (Native Toys Exhibition). • Primera Muestra de Talleres del Faro Milpa Alta. (First Milpa Alta´s Lighthouse Activities Festival). • Vestigios de la vida y la ruta del oro verde. (Living Traces and the Green Gold Route). The Prehispanic Solar Markers and Monuments exposition used different vestiges found in the zone, to introduce the indigenous Nahuatl civilization’s worldview about astronomical phenomena, especially spring equinox and the two solar zenith passages of the year. Most of the local people have no opportunity to visit the National Anthropology and History Museum which exhibits the most important Mexican prehispanic collection. Therefore, the exhibition’s success was not surprising. According to Ortega, Solar Markers was the most successful exhibition in the museum’s history. Normally around 50 people attend the Altepepialcalli Museum monthly, but from April 15th to May 15th, 2016, the Solar Markers exhibition received 1,500 visitors, the highest number ever registered. The three following expositions were not as successful as the first one but they maintained significant audiences ranging from 545 to 900 visitors. Unlike Solar Markers, these projects were developed by local civic associations to show and share the work of local artists. On June 10th, 2016, one of the most ambitious projects saw the light: Living Traces and the Green Gold Route. This exhibition required extensive teamwork. The effort involved not just the museum staff but several Milpa Alta community members who created an economic development programme for the borough. The programme consists of a regional plan named ALIANZA SUR and the main goal is to look for sponsors for communal land holders, and tourism service promoters who have been working to strengthen the place as a Mexico City tourist destination. Their goal is to facilitate educational, eco-touristic and gastronomic centres to create employment and a better quality of life. The presence of the programme at the Altepepialcalli Museum makes a direct connection between the community’s population and its cultural landscape. The exhibition was hosted until July 10th 2016 and the museum Coordinator expected around 1000 visitors. A promising start Mexico City has numerous outdoor cultural offerings. In places like downtown there are historical buildings every 100 meters and museums practically on each corner but something needs to be done for those places where the people cannot access these services, for political or administrative reasons. While it is true that the Altepepialcalli Museum’s working team strives to promote the regional cultural landscape, which most of the times is ignored, there are many things to do yet. 150

Local authorities’ commitment and participation are crucial for cultural heritage promotion and preservation. Nevertheless, it is the community itself that should be recognized as an important element that belongs to and combines nature, ancestral societies, a dynamic present, and an uncertain future. Accessible and simple actions like promoting these places through social media and demanding stable administrative statutes that support museological institutions’ goals and philosophies, will help to create and develop a regional museum network that serves their communities within their own regions. Our goal is to build a local identity. An identity that helps to confront Mexico City’s cosmopolitan way of life but embraces itself as a different and rural element, that looks back to those old and remote paths that still have many things to teach us. 1 http://sic.conaculta.gob.mx/lista.php?table=museo&estado_id=9, 11.6. 2016. 151

3.4 A Milan museum accessible for all Claudia Carraro, Anna Pericoli and Isabella Tiziana Steffan, Italy Introduction Access to the built environment is a topic that architects must face in order to satisfy legislation requirements. Milan won the Access City Award 2016 for its effort to make the city more accessible to everybody on the occasion of Expo 2015, but particularly for its path towards complete participatory accessibility. This commitment in a museum context can be clearly seen at “Le Gallerie d’Italia” where a rational and planned research, involving the city, the museum and its users, exemplifies an approach designed to meet the needs of different visitors. The Gallerie d’Italia – Piazza Scala has undergone a change which resulted in an experiential and conceptual evolution of the museum itself, interpreting the natural landscape, addressing inclusion, demonstrating the desire to welcome and involve everyone, regardless of physical ability, skills or origin and guided by the same impulse to work together which was applied throughout the entire city. This has expanded beyond the Museum’s horizon of traditional culture, becoming a place of social life, encounter and growth for everybody. Being a place of experience for all can encourage a wider exploitation of human interactions despite cultural differences. Architectural and historical heritage and new cultural opportunities Various buildings make up the architectural complex housing the Gallerie d’Italia - Piazza Scala: Palazzo Anguissola, Palazzo Brentani and Palazzo Beltrami, the historic Banca Commerciale in Piazza della Scala. They are symbols of the history of Milan designed by leading Italian architects in the late eighteenth and early nineteenth centuries. Within their halls there are exhibition spaces with figurative works and sculptures by renowned artists. Among them we can mention: Antonio Canova, Francesco Hayez, Giovanni Migliara, Umberto Boccioni, Lucio Fontana who stride through the ages with their works and are universally recognized cultural cornerstones, emblematic figures in the history of art. Gallerie d'Italia - Piazza Scala are part of a plural culture: - Territorial, because they comprises buildings belonging to the local history with strong elements featuring Milan identity. 152

- Universal, because inside its rooms there is a sequence of images and artworks which are part of the cultural heritage of all humankind. - Human, because the Museum is a source of experiences, projects, trails dedicated to and adjusted for human beings. Le Gallerie d’Italia Piazza Scala are a private museum established inside a Cultural Project of Intesa SanPaolo, a major commercial investor. The noteworthy feature is that spaces and cultural programmes are accessible to all people with cognitive, sensory and motor disabilities. Specific materials are available free of charge, for visually-impaired, blind and wheelchair guests. In 2012 the galleries, thanks to an inclusive renovation designed by Studio De Lucchi, were extended reaching a total area of 8.300 square meters. The new space, housed in the former historical palace of the Banca Commerciale Italiana, officially opened with an exhibition called “Cantiere del ‘900” aimed at enhancing the 20th Century collections of Intesa SanPaolo. Since 2011 the issue of accessibility has become meaningful for the Museum. The restoration project is therefore an example of balancing consideration for the historical heritage and the users’ needs. The objective of the restoration was to maintain and widen easy physical access to spaces, creating safe routes for every type of user. Measures to ensure the use of the complex have been implemented while respecting the artistic heritage, the historical spaces, the structures and their legibility. Elevators and ramps create easy connections and allow the use of all spaces: the three buildings and the garden. To help the user and supplementary to the previously mentioned mechanical and architectural elements, there is the specifically trained staff ready to welcome all kinds of audience and promote a pleasant visit. In addition to mobility, visual appearance and lighting have been accurately studied. Through careful lighting the legibility of spaces, works and texts has been tested and designed. New information boards have been arranged to improve understanding of written directions inside the museum halls: strong chromatic contrasts between background and graphic form and easy to read fonts have been used. Moreover, the information service has been further enhanced through specific media such as audio and video guides in different languages. 153

Sharing historical and cultural values for a more inclusive future Specific academic offers addressed to different types of disability have been increased. Workshops and didactic paths have been organized to meet different needs and difficulties. Projects for people with visual and cognitive disabilities are currently available. They are all designed to help users seek out art using these as means to communicate and grow. There are also forms of cooperation with hospitals and associations for multicultural integration to increase effectiveness and pleasure for all. All learning workshops have been designed to be accessible to all users. More precisely we can mention “Per altri occhi” (Through others’ eyes) for visually impaired people, designed by Anna Pericoli, where visitors can explore paintings reproduced on relief boards: this helps them to experience an emotional perception of the work of art. Helped by the guides, both the blind and the visually impaired can enjoy the work of art and perceive its beauty through creation of a tactile book, simplifying some works of the collection, built in cooperation with Museo Omero from Ancona, well-known for its touchable displays of classical European art work. In addition to this, we can recall the awareness path called “Vietato non toccare” (Yes, you can touch!) aimed at a blindfolded exploration of the museum. Users who want to visit Gallerie d'Italia - Piazza Scala can also use the service “Accessibilmente”. By writing to the e-mail address accessibilmente@ gallerieditalia.com, individuals and associations can directly contact museum’s teaching staff to arrange meetings, to personalize the visit in order to guarantee the pleasantness of the experience. Thanks to all these elements, and to reach the added value of inclusiveness, the Museum has created a mechanism leading both to a relational continuity between the museum and its users and to an environment favorable to social integration. Accessibility Project details The project to increase the usability of Gallerie d’Italia takes into account different aspects: - Physical: attention to the overcoming of difference in level, obstacles, length of path and width of spaces - Perceptual and cognitive: attention to how information is conveyed and to the users who need it. The willingness to create a space ready to welcome a plurality of people is made possible through different, integrated interventions offering a variety of cultural experiences not necessarily sectorial, a trained staff to accommodate all types of audience, and routes that run within organized spaces. 154

The project had several objectives: - To maintain and expand good physical access to spaces The creation of a museum with handrails along the corridors, seats inside rooms and especially systems (mechanical solutions and steps) for managing height differences, together reveal the great respect and freedom that the museum wants to offer to its users, letting them choose the path to take according to their personal needs, to experience their visit in the most pleasant way. - To improve the readability of written directions inside the museum halls (clear contrast between background, graphic and font) The information boards along the 19th century path are equipped with backlights. The textual content is made readable by a marked contrast between the white text and the black background. Reference frameworks of the pictures bear white lettering on a black background and the font of the characters is different: the author’s name in capital letters and the title in italics. - To maintain and enrich the visitor experience with the help of specific media Fulfilling the desire to make culture enjoyable and accessible, the museum offers a wide range of workshops and paths where the exhibits are integrated with multimedia aids such as I-Pad, film clips and historical, literary and artistic videos in different languages. - To deepen and broaden the specific didactic offers for the different types of disability Projects for people with visual and cognitive disabilities are currently active. Civita Cultura in cooperation with Centro di Riabilitazione di Pavia, IRCCS Fondazione Salvatore Maugeri and the Museo Omero di Ancona sponsored by Unione Italiana Ciechi (Lombardy section) has laid out tactile exploration paths where visitors with the help of professional guides get to know the works through simplified versions of the same (on relief boards) and can explore by touch some sculptures from the collection. The museum visit consists of different moments: it begins by examining a map and a leaflet introducing the Museum’s tactile path followed by a description of the place with historical and architectural information about the galleries and exhibition spaces. It ends with the tactile exploration of the individual works. Each visitor is supplied with relief boards reproducing some works. On these boards the relief of the graphic is not meant to recall directly the volume of the objects represented, but it aims at making the points, lines and surfaces that form the drawing, accessible to touch, thus representing even complex three-dimensional objects through two-dimensional figures. The objective of this path is the pure emotional perception. The approach then moves from the historical and critical analysis of art scholars to the sphere of sensation that the visually impaired will grasp from the work through sensory channels unrelated to colour intensity and 155

emphasis, and the power of light. The visit is designed for adults and children and can be delivered in English. The Museum has also developed other targeted programmes. The workshop named “Due passi nei musei di Milano” (Exploring Milan’s museums) is for patients living with Alzheimer’s disease and its goal is to allow socialization through the enjoyment of the work of art. These patients will therefore have a practical museum path whose main objective is to enable the full social and relational experience through the use of the works of art. The project is the result of the synergy between Fondazione Manuli Onlus and Intesa SanPaolo. A relationship with local schools has also been established to strengthen the connection with the community, encouraging structured development through a constant and mutually beneficial exchange of experiences. To sum up, by pursuing the goal of usability, the museum Gallerie d'Italia Piazza Scala has renewed itself with the introduction of routes, spaces and services designed for people with physical and mental impairments. Any person here can feel free to move, thanks to a mixture of systems for overcoming of the height differences, the use of free wheelchairs, the accurate placement of aids to guarantee the users’ safety and the presence of trained staff. The didactic itineraries are all designed to discover art and use it as a method of communication to expand the expressive and creative capacity of visitors with cognitive and sensory disability. Conclusions Thanks to the new architectural interventions and the activation of the various services, the visitor can enjoy full physical and sensory autonomy. Everyone is welcome in a system where the human being is at the core, and which, while respecting the social, cultural and architectural context, tries to create a bond capable of transforming the museum complex from a mere place of art into a social site. This goal has been achieved, as statistical data and records of visitors prove. Passing the word on through various associations and thanks to a massive information campaign, there has been a 40% increase in the participation to the activities in 2014-2015. The positive feedback, the interest and the recorded increase in the visits demonstrate the capabilities of the museum and the success of the synergic work previously done, thus leaving resources for the design of several projects that are currently under way. Last but not least, the capacity to attract, involve and engage emotions for different visitors has had the positive result of including the Gallerie d’Italia Pizza Scala in the “Accessible heritage community” promoted by the Design School of Nantes Atlantique and by the French Ministry of Culture and Communication. 156

The museum’s capacity to break the static traditional boundaries of museology and its generally passive didactic approaches has favoured its growth and at the same time allowed it to take up a social role for its users and for the city. The museum has become an active partner and an instrument of growth for the town and an intermediary between people and their world. It is a doorway which assumes a sacred character because it is both a strong representation of a culture, maybe different from one’s own, but also it is a pathway towards a shared life and knowledge that is made active and maintained in a dynamic, thanks to the projects and educational and cultural paths that animate it. 157

3.5 Evolving tradition: social participation for the symbolic revival of the Regional Museum of Anthropology Palacio Canton Giovana E. Jaspersen García, Mexico Introduction The Palacio Cantón, the building that nowadays houses the Regional Museum of Anthropology in Merida, is along with the Cathedral, among the most iconic and important of the region of Yucatan. The construction, designed and built with European references of its era, is a reflection not only of the specific taste of Yucatecan high society around the 19th and 20th centuries, but also of the sociopolitical context of Yucatan. The palace is the result of the economic growth from the railway industry as well as from sisal production in the region. The histories of the Yucatecan Museum and the Palacio Cantón merged in 1959 when the collections of the Yucatecan Museum were moved to the basement of the Palacio Cantón to form the new Yucatecan Museum of Anthropology and History. For years the Museum, as part of the museum network of the National Institute of Anthropology and History, was a national and international reference point. This was because of its innovation in terms of educational communication, museography and the quality of exhibitions, as well as its holdings of the most important Pre-Hispanic Maya collection, which in part was displayed for decades in its well-known permanent exhibition. Identifying the challenges As with many “traditional” museums in the world, the Palacio Cantón had its crisis of relevance and communication at the beginning of the 21st century. Furthermore, in 2012 the well-known permanent collection was relocated for the opening of a new museum in the city. This change created a lot of uncertainty and misinformation about the future of the exhibition space and its mission. The situation did not improve with its reopening hosting temporary exhibitions that did not receive the expected response from visitors. The aforementioned events were reflected in the first comprehensive evaluation conducted at the end of 2013, which revealed the following: • low visitation (around 2,500 visitors a month); • lack of community awareness towards the museum; 158

• cancellation of programmes for school visits due to the uncertainty resulting from the relocation of the permanent collection to another facility; • confused image among youth, teenagers and children who, besides not knowing the function of the space imagined the museum as a traditional facility for storing ancient objects; • lack of socially inclusive programmes in response to the cultural diversity of the region; • poor communication about the museum’s mission and staff; • lack of effective communication due to a unidirectional institutional voice; • association of the space with the pre-hispanic materials despite being a museum of anthropology; and • neglect of the preservation, restoration and diffusion of the 19,000 objects that were not on display. This diagnostic assessment clarified the need to restructure the space towards new forms of communication to better relate to society, in its exhibitions, as well as in the socialization of cultural heritage and the acceptance of responsibility for the preservation of this heritage. From the outset social participation was understood not as an end, but as a constant throughout the project, seeking to be more open, sociable, inclusive, intercultural and dynamic, in order to reflect the needs of our times, striving for sustainability. A change in direction The following segment describes in the most syncretic way possible, some of the fundamental strategies along this road, as well as some of the results. As a starting point it was necessary to have a closer museum, meaning more direct communication, but also more comprehensible, so that society would once again notice the building and appreciate the reasons for its architecture. In this way, we attempted to provoke the regular pedestrians around the area, as well as our social media followers, to respond as if seeing the building for the first time: we wanted them to be astonished as they walk down the avenue. We were looking to change the usual conception of the building within the cultural landscape and its aesthetic qualities so that through highlighting the visible details we can tell its material and social history. The creation of graphic and visual identity was fundamental in this project of communicating about the architecture and the built spaces, which, with the aid of printed and interactive materials, aimed not only to reach the traditional channels but also to bridge the digital gap. Along with information regarding the characteristics of the facility, we developed guided visits 159

through the spaces that are usually closed to the audience, hidden landscapes with written history about the building. These guided visits vary depending upon the type of audience. Once we had succeeded in bringing the audience closer, our next step was to humanize the museum, meaning to place people in their work tasks, and be a more social and communicative museum. Our work is engaged in the substantial tasks and mandate of the INAH at a national level: to preserve, investigate, spread and promote the cultural heritage. The second challenge we faced, therefore, involved explaining our meaning and purpose to different audiences. Among many issues, the outstanding one was to create awareness within civil society regarding the duration, resources and work involved in the preservation- restoration of a building like this one, as well as in assembling temporary exhibits and the treatment given to the collections included. Thus, the Museum began to take a direction towards becoming a more open museum, in which people would build different experiences beyond their visit to the exhibitions. The strategies have been as diverse as the audience itself. The goal is for society to form an active part of the Museum, its preservation and diffusion; we have implemented programmes of reforestation in the green areas, looking for the people to leave a “seed” in the Museum grounds and, with this, part of themselves. One of the most successful projects was camping in the green areas; 70 children, after a day of activities in the Museum, camped outside the building. This activity led to the presentation of new concepts, initiatives, and reinterpretation, opening ideas to new visions. For example, we invited a congregation of street artists from the south of the city, a ‘hard-to- reach’ audience, to visit the Museum. Over three days they had a series of talks and tour around the iconic building, with their own channels of communication and expression, diversifying the views towards cultural heritage. As a result, they created unique visions and embodied these new ways of seeing in their own pieces of art. All the above has been accompanied by the development and implementation of a diverse cultural and academic agenda, which makes use of new spaces for the socialization and appropriation of the audience, looking to redraw the lines of verticality and encourage coexistence and dialogue. The objective has always been to reactivate the idea that the space belongs to the community and that heritage has a fundamental social function. Neighbourhood nexus In this same set of ideas, we are currently starting the task of recovering the sense of ‘neighbourhood’. The Museum is set in the traditional barrio or neighbourhood of Santa Ana, where the Palacio Cantón and the Church of Santa Ana are the major icons. Reviewing the social approach that the Museum has 160

taken in recent years, one of the issues was the institutional voice--it always has been this way: one directional, official and vertical. Except for some temporary exhibits, this voice resided in the institution. Currently through a weekly writing workshop, neighbours narrate the stories of their neighbourhood and the Museum within its cultural landscape and thus help us recover its history. The result of the memories of these 20 people will be presented on July 26th 2016 at the Museum to gather the community living in the neighbourhood together to create new connections and revive an old celebration in the traditional Santa Ana neighbourhood. It is they, the neighbours, who are the ones who carry the heritage and are also the key to preserving the history and function of the Museum. Engaging with Maya The assimilation and incorporation of different voices into a discourse that had always been considered institutional, has allowed us to go towards a more diverse museum. A fundamental part is the inclusion of the voices of the modern Maya. One of the most visible social issues in Yucatan, as in Mexico and a large section of other Latin American countries, is the lack of discussion of subjects like diversity, inclusion and inequality in the conditions for groups like indigenous peoples, mixed races, immigrants, etc. The first fundamental step was to give voice to the contemporary Maya communities, seeking to dispel the idea that the Pre-Hispanic Maya had disappeared, and address the issue from a perspective of the tenacity of this great culture living today. In terms of language and its sonority, symbolism and implied values, as the first great action of the existence of a people, the first step was to design and assemble the exhibition To’on, Mayas contemporáneos. This exhibition presents a view of the identity of the contemporary Maya that maintains its vigour through the use of the Maya language, the tsikbal (which means 'word' in Maya), the permanence of rituals and religious views, and traditions rooted in daily life despite inevitable changes that come with ‘modernization’. The museography is conceived as seven cabins or chambers of legends, independent modules in which the interior illustrates the legends with photographs of contemporary Maya villages, and representing the assets of identity: the individual, the family, the house, the village, the countryside, work and religion. The exhibition’s contemporary museology also for the first time, provided for a story independent from the building´s own dialogue, and helped erase the idea of the collection as a fundamental pillar. Creating horizontal dialogue between the Pre-Hispanic Maya and the contemporary Maya proved to be an imprecise road for approaching the subject of interculturality in a responsible way, through recognizing and valuing both as equally important. In this sense, the first experience was the total co-production of the exhibition Aluxes, Seres extraoirdinarios. The exhibition was based in 161

the recovery of the traditional legends around the aluxes, beings similar to leprechauns, which help the farmers on their lands. During a workshop at the indigenous children’s shelters, legends were told and an area set up for them to turn their interpretation of those legends into plastic art. Their creations formed an amalgam with the curatorship of the Pre-Hispanic objects from the Museum’s collection registered as ’aluxes‘ that had never been displayed. The exhibition was assembled in a way that a child could visit it without a guide, with texts and objects at their eye-level, but at the same time an average adult could experience it in the same way. Here, children are seen as a valuable resource, who while taking part in their heritage, undoubtedly, provided a different dimension of value to the oral and material heritage as dignifying agents of the symbolic Maya Universe. Another example of dialogue can be seen in Ixkeem, el arte de las tejedoras mayas. This exhibition, focused on the millenary cultural heritage of hand- weaving, that has remained constant throughout time, and featured techniques and symbols similar to the Pre-Hispanic motifs of Yucatecan textiles in the contemporary Maya region of Guatemala. We thus demonstrated that current limitations are political and that Maya symbolism bridges these limitations and borders despite changes, modern society, and language differences between Maya families of today and of the ancestors. Currently, after more than two years of restoration and reactivation, the decision not to return to a single permanent exhibition but to display only temporary exhibitions, has been key to reconnecting with audiences. We cannot deny the relevance of exposure to world-class exhibitions like Mayas, el Lenguaje de la belleza that, after its return from the National Museum of China and prior to its display at the Martin Gropius-Bau of Berlin, was shown at the Palacio Cantón for over a semester. The exhibition showcased emblematic objects of Maya decorative arts, framing a new relationship between the levels of information and curatorship, and was also accessible to different kinds of audiences. Positive outcomes As shown, many of the strategies have been focused on the recovery and construction of the community’s understanding of the Museum, defining ‘community’ in its extended and diverse sense. The steps have proceeded from the particular to the general, strongly demonstrating that this project finally is supported by and for the people and, despite the changes in the Museum’s future, its meaning will be determined by what society decides and expects in a space that belongs to them. The Regional Museum of Anthropology, Palacio Canton, as with many of its kind, seeks to become a space of confluence and dialogue. The cultural landscape around it should be drawn every day from the dynamism of the different groups, 162

supporting the diverse social actors that are, without hesitation, the most relevant element for this space and its future. Today the Museum has been reinserted in the agenda of the inhabitants of Merida and its tourism, raising monthly attendance by 300% compared to early 2014. However, the most convincing achievement is knowing that the Museum has returned to the symbolic universe of the people and will be able to reach future generations, growing as an evolving and dynamic space that modifies itself in relation to its visitors and the context where it belongs. 163

3.6 A regional history museum and the garden city: exhibition as catalyst for action – Suita City Museum, Osaka, Japan Kenji Saotome, Japan Introduction The Suita City Museum’s 2016 spring special exhibition entitled, Senriyama \"Garden City\" – Utopia in the Taisho Era, was open to the public from 23 April to 5 June 2016. The exhibition revealed the environmental history of Senriyama Suburb and presented the findings to current residents. What does “Garden City” mean in Japan? Garden Cities were planned to have a train station as a centre, and shops and entertainment facilities allocated in a structured manner on a concentric pattern with open spaces, public parks and gardens, trees and radial boulevards extending from the central roundabout in front of the station. They were surrounded by farming villages with much farmland and farmhouses on sizable housing plots. The Garden Cities in general, formed self-contained communities with short commute times surrounded by greenbelt, avoiding disorganised expansion which causes suburban sprawl. (Suita City Museum, 2009). This paper touches upon the Garden City concept as initiated by a British social reformer, Ebenezer Howard (1850-1928) and its social and the cultural context in the history of Senriyama in Japan. Secondly, it reviews how the Garden City concept spread to other parts of the world including Senriyama with republication of Howard’s book influencing city planners internationally, albeit with some misunderstanding and distortion. Thirdly, it examines the Suita City Museum’s efforts to engage the community in order to catalyse their action for community development leading to environmental and social changes. Lastly, achievements, remaining issues, and prospective views are discussed. 164

Leaflet of the special exhibition (2016). Senriyama – a \"garden city\" – bringing new ideas to japan A district within suita city, senriyama was developed as a suburb by a local developer from 1920 to 1928. Senriyama is one of many suburban residential areas developed for the middle class around osaka and other areas in japan from around 1910 to 1940. Until the late 1930’s, nearly 400 suburban residential areas were developed around osaka (katagi, 2000). This trend was influenced by several factors such as cholera and other epidemics, environmental pollution caused by smoke and river contamination, and a housing shortage due to mass migration into cities. While the national railway network, laws and regulations pertaining to urban planning and housing, and housing improvement movements were steadily developing, japanese developers and railway companies were influenced by the garden city concept which originated in the united kingdom and was introduced to japan by officials of the bureau of regional affairs of japan’s home ministry, promoting development of suburban residential areas. Senriyama, located within present day suita city, the suburb of osaka, was conveniently sited as a residential area rich in nature, from which the residents would take the train daily to and their workplace in osaka. Thus, senriyama offered an outstanding environment for a “japanese styled garden city,” i.E. Garden suburb, to be realised. 165

Ebenezer Howard’s Garden City Concept The Three Magnets (1898). In 1898, Ebenezer Howard self-published To-morrow: A Peaceful Path to Real Reform in which he sought the world’s opinion of his ideas. This book proposed the concept of the Marriage of Town and Country, a third way of living combining the social and economic benefits of town (such as social opportunity, places of amusement and high wages) with the countryside’s good environment (such as the beauty of nature, fresh air and low rents) as a solution to social issues. He illustrated the idea with the Three Magnets diagram, and also advocated close proximity between the home and workplace. The book gained public attention and 4 years later it was revised and republished as the Garden Cities of To-morrow. The republished book, together with La Ville Radieuse by Le Corbusier are recognised as classics which made a significant mark on modern urban planning (Howard,1968). Immediately after publication, Howard founded a non-profit, First Garden City, Ltd., to bring his ideas into reality. He constructed two Garden Cities north of London--Letchworth Garden City and Welwyn Garden City. Subsequently Garden City-like cities and Garden Suburbs (suburban residential areas in the countryside) were constructed beyond the United Kingdom. Eventually the Garden City principles greatly influenced construction of the New Towns supported by the British government. In the meantime, however, one of the essential meanings of the Garden City concept was lost in subsequent editions of Howard’s book (Saiko, 2015). 166

The Letchworth Garden City project, where Howard was instrumental in seeing his key principle materialise together with Raymond Unwin and Barry Parker, triggered the creation of modern city planning, aimed at the social design in which the community collectively owned the land. The profits gained from land leasing which increased as the city grew, were returned to the community to activate their activities and thus to grow. The social design was translated into practical space design which included the masterplan, residential plots, land-use zoning, housing land development plan, housing design, semi-detached house, “culs-de-sac” or blind alleys, roundabouts, shopping mall, industrial zone, stratified road-planning, regional planning, and planned decentralisation (of population and industry). What is particularly remarkable as a Garden City is that the environment of nature and human activities was designed so that each house had its own garden, that common tennis courts and allotment gardens were arranged between the houses, and that not only green in the playgrounds and small and large parks and gardens, but also farmland surrounding a Garden City as greenbelt would be permanently sustained (Saiki, 2015). Given that Howard was neither an urban planner nor an architect but a social reformer, his perception of the social issues and the approach to them, when offering a paradigm of a future city, was different from those of the city planners and architects. He was concerned with the social and environmental problems that he saw with his own eyes and pondered over what a people-centred city should be like. His quest for this new city led to his theory and concept of the Garden City and the resulting Garden City movement. Yet To-Morrow has never been republished in its original form – partly because it contained elaborate and expensive colour diagrams, essential to understanding Howard’s central ideas, but lost in subsequent editions. Partly in consequence, his message has been misunderstood and distorted. Notably, most commentators think he advocated building isolated garden cities in the remote countryside, while the reverse was true: his proposal, contained in the lost diagram of Social Cities, was for construction of huge planned polycentric urban agglomerations. And another central notion – that the community should appropriate the land rent that went (and still goes) to distant landlords – has likewise been misunderstood, because another diagram – The Vanishing Point of Landlord’s Rent – also disappeared into limbo (Howard, 2003). These crucial factors led city planners throughout the world to misunderstand and distort Howard’s message. 167

Social Cities (1898). The Vanishing Point of Landlord’s Rent (1898). 168

A bold experiment? How were Howard’s ideas accepted and developed in Japan? In this modernising time in Osaka, textile and other light industries flourished. Osaka was called the “Manchester of the East” after the city in the United Kingdom which played a leading role in the Industrial Revolution. “With the urban district expanding, major roads and railways being developed, the urban area, the Great Osaka was prosperous than ever before. In the meantime, air pollution, population growth, housing shortage and other urban problems that London suffered in the wake of Industrial Revolution welled up” (Ikeda City Museum of History & Folklore, 2014). Wada (2013) discussed the background of development of Senriyama Suburb: • Around 1918, the year of the end of World War I, due to the policy of increasing national prosperity and military strength along with the post-war economic boom, concentration of population in urban cities caused housing shortage which was recognised as a social problem all over the country. In November 1918 a policy report on improvement of small-scale houses was issued by the government, which was followed by promulgation of the laws, such as City Planning Act and Urban Building Act in April, 1919, and Poor Quality Residential Areas Improvement Act in March, 1927. Furthermore, measures against housing shortage were taken from around 1919 which included low interest rates set for housing funds, construction of public rent tenements and common lodging houses, and promulgation of Housing Cooperative Act in April 1921 to promote supply of rent houses for workers. • As far as [the] architectural world was concerned, a series of organisations were established aiming at relieving housing shortage, improving houses, better practice of life and realisation of the Garden City concept put forward by Howard. The organisations were the Jutaku-kairyo-kai (the body for house improvement) led by Shinsuke Hashiguchi in 1916, the Architectural Association of Japan led by Yasushi Kataoka in 1917, Toshi-kenkyu-kai (Urban Institute) led by Shinpei Goto and Hiroshi Ikeda in 1917 (Wada, 2013). After the policies and measures were implemented, the suburban residential areas were developed in Japan mainly by the private sector. The Senriyama Suburb was developed by Osaka Housing Management Co., Ltd. in conjunction with the opening of Northern Osaka Railway. The company was co-founded by Hayashi, Osaka governor; Ikegami, Mayor of Osaka; and major figures in Osaka business society. Juntaro Yamaoka, the president of Osaka Chamber of Commerce and Industry (also the president of Kansai University located in Senriyama) served as the president of the company. Northern Osaka Railway commissioned the Urban Institute under Shinpei Goto, the Home Minister, to plan the Senriyama Suburb. The office of the Institute was located in the ministry and mandated to realising Garden City concept advocated by Howard. 169

Accordingly, the design was modelled after Letchworth. In 1920, development of the area was started by Osaka Housing Management Co., Ltd. and ready-built houses with land ownership and rental houses were offered under the concept of “the ideal Garden City.” The residential area was advertised in phrases such as “Utopian life in the suburb” and “an unparalleled excellent place for dwelling in Osaka with mild climate and scenic beauty.” Since the design of Letchworth was adapted as a model, the original Senriyama Suburb was surrounded by pine trees, bamboo forests and peach fields. Along the road connecting the modern Western-style Senriyama Station and the roundabout were retail shops, and six radial streets extended from the roundabout. The idea of the Garden City brought in by the officials in the Home Ministry had some elements in common with Letchworth: a newly developed town, in the outskirts of an urban centre, in which one road starting from the railway station extended to a roundabout with the radial streets extending from the roundabout. As for the principles, however, Letchworth and Senriyama were different in many points. Senriyama Suburb neither adopted the concept of Social Cities nor the Vanishing Point of Landlord’s Rent, and was not a self-contained town with close proximity between the home and workplace, rather it was the suburb in which the residents lived in the rich green environment within a culturally Westernised landscape, commuting between home and the workplace in the metropolis. An early review of Senriyama Suburb, in which development had started and residents lived states “I am not too stupid to confuse this new village with the Garden City. However, “Cultural Village,” the term in fashion sounds too cheap. The most appropriate term is “Garden Suburb,” however, I still feel it sounds awkward. The “New Village in Senriyama” might fit better” (Koh, 1923). The author further argues, “I feel rather strange that just a 25-minute travel from the urban city of Osaka brings you to such a cultural new village in the countryside. In half a year Shin-Keihan Railway will open the line which extends to Tenroku Station. When I think of the countryside and the active city together, the idea that you can travel between these two by taking the even shorter time of 15 minutes by train, makes me feel even stranger. In the final analysis, this company had an eye on the right thing” (Koh, 1923). Wada (2013) cited the memorandum of incorporation of Osaka Housing Management Co., Ltd. to argue that the company’s primary objective was “building houses to rent” and its dividend of profit to the shareholders did not exceed six percent per year. The memorandum strongly represented the public nature of the company’s business, in common with Howard’s Garden City concept (Wada, 2013). 170

Although some points are still open to debate, the facts are that the initial Senriyama was a Garden Suburb, a suburban residential area modelled after Letchworth Garden City. Unfortunately, subsequent development of the residential area accelerated suburban sprawl. Furthermore, the farmlands and the green area were exploited in later years for further development of dwelling areas resulting in the disappearance of the rural landscape. Suita City Museum’s trial to engage community to catalyse their action for environmental and social change With the aforementioned background in mind, the author organized a special exhibition entitled, Senriyama \"Garden City\" – Utopia in the Taisho Era. The author thought the museum might be able to engage the community in community development which could lead to positive environmental and social changes in Senriyama Suburb. Suita City Museum was established in 1992 and is managed by the local authority of Suita. Until 2004, when the Suita City Museum Council compiled the Revitalisation of Suita City Museum (Report) the Museum tended to be silent in many ways; silent galleries (modest audiences), reserved curators who could sit down and research local history in a silent environment, no complaint nor order from the city assembly and city headquarters. Since the idea of collaboration amongst citizens, school education, and local community was introduced by the Council in 2004, the museum has been acting as a cultural hub for the people of the region. Some projects have been successful, some less so. Unsuccessful collaborations have always been collaborations with local communities without a guiding philosophy. The special exhibition on Senriyama Suburb was successful because the exhibition could reveal unfamiliar local items and present new findings to the audiences. This process catalysed some actions by the local people to better understand the area where they are living and make the environment and the society better by utilising the new knowledge of local history gained from, and new connections made through, Suita Museum’s special exhibition. In the meantime, this exhibition worked hand in hand with citizens, using word- of-mouth publicity, distributing leaflets to all the households in Senriyama Suburb with the support of the leader of the local residents’ association, and finding old plans and perspective drawings of Senriyama Suburb. [These practices are based on publications by the Japanese Association of Museums (2000) and Graham Black (Black, 2005).] According to the Suita City Museum Council’s Museum’s Future Vision for the 21st Century– Suita City Museum Mid- to Long-Term Plan – (2010), “discussion was initiated in the museum world concerning the way museums should operate 171

in contemporary society. By publishing Museum of ‘Dialogue and Collaboration’ – Dialogue for Understanding and Collaboration for Action (2000) as a report of the Study and Research Committee commissioned by the Ministry of Education, Science and Culture (currently Ministry of Education, Culture, Sports, Science and Technology), the Japanese Association of Museums raised a question about the way museums should operate” and “it clearly states that there will be no future for a museum unless it goes hand in hand with citizens (Suita City Museum Council, 2010).” There are very different demands from many different audiences, but some community members from Senriyama Suburb alongside with the Museum could “grow a vision of the potential partnership role for museums in association with local communities, reflecting their histories and perspectives” (Black, 2005). This idea is very simple and straight forward. In a complex and fast moving society, one single institution such as a museum cannot stand alone and try to do everything alone. Instead, museums should communicate internally and externally and try to collaborate with others, including citizens. Achievements of Senriyama \"Garden City\" – Utopia In The Taisho Era The special exhibition aimed to showcase the history of “Garden Cities” especially Letchworth (U.K.) and Senriyama (Osaka, Japan) and how the Garden City concept spread and was propagated in other parts of the world, especially to Senriyama Suburb. As already mentioned, the process of republishing later editions of Ebenezer Howard’s book and city planners from all over the world learning his new ideas, resulted, however, in some misunderstanding and distortion. In fact, history proves that anything can be propagated with misunderstanding and distortion. This exhibition also aimed to introduce newly found plans and perspective drawings of Senriyama Suburb from1920’s to 1930’s with the full support of individual residents and local groups. Support of citizens was also powerful in many other ways. As noted earlier, they supported the Museum by word-of-mouth publicity and by distributing leaflets to all the households in Senriyama Suburb with the full backing of the leader of the local residents’ association. In the end, this exhibition was about questioning history and communication, and questioning people’s understanding of what is more correct and what is not. Is Senriyama Suburb a Garden City? To be strictly accurate, it is not, but does this matter? For our regional museum, what is more important was that the Museum catalyses residents’ action for community development which can lead to environmental and social changes. 172

This exhibition also examined the importance of citizen’s support to implement a special exhibition which fosters citizen autonomy. Experiencing the special exhibition and interpretive elements We now consider how the exhibition was presented, interpreted and supported. As shown in the Layout of the Special Exhibition Room, adults with small children could also look at the exhibits silently as small children could concentrate on colouring and picture books at the Book & Colouring Corner in the room. A list of key objects on display feature in Appendix 1. Director’s Greeting (panel) Introduction (panel) 1. Background of Garden City 2. Letchworth Garden City 3. Garden Cities In and Out of Japan 4. Senriyama Suburb Layout of the special exhibition room. 173

The bird’s-eye view of Senriyama Suburb, “SENRIYAMA on MY MIND about 1955” was an important illustration drawn from a distant memory of the artist, to provoke people’s memory. This picture created lively communication amongst families, friends, visitors, and communicators employed by the museum. Communicators took a note of the stories and passed the information along to the other communicators to share with other visitors on different days. SENRIYAMA on MY MIND about 1955 (Copyright: Mr. Shintaro Tashiro) The bird’s-eye view of Senriyama Suburb, “SENRIYAMA on MY MIND about 1955” was drawn from a faint memory of the artist, to provoke people’s memory. This picture generated much communication amongst families, friends, visitors, and communicators employed by the museum. Communicators took a note of the stories and passed the information along to the other communicators to share with other visitors on different days. The Museum implemented many different education and event programmes during the special exhibition to support and extend the exhibition. Formal learning (Lectures by lecturers from outside) @2F lecture room • Garden Cities and Hanshin Suburban Residential Area • Modern housing policy and Senriyama Suburb • History of Senriyama Suburb • Senriyama “Garden City” and after the dream • Roots of Howard’s Garden City concept • Garden City in the U.K. – Letchworth and Senriyama – Formal learning (Lecture by the author) @2F lecture room • Genealogy of Garden City – from industrial revolution to Senriyama – Informal learning (Quiz rally) @ 3F special exhibition room • Developed by the author 174

• Volunteers helped to manage the programme • This programme encouraged the participants to look at exhibits and reflect, instead of letting them read the captions and copy the text on the worksheet. New finds ‒ plans and perspective drawings of Senriyama During and after the preparation of the exhibition, the curator found several plans and perspective drawings of Senriyama Suburb amongst the collections of the residents of Senriyama. Some of the plans and the drawings were previously unknown to researchers. The author tried to date the plans and drawings and put them in chronological order, which revealed the fact that in the early years of Senriyama Suburb, the developers tried to realise their ideals of developing Howard’s “Garden City” or at least a “Garden Suburb,” which means, in the Japanese context, they tried to preserve local trees and farmlands, and secure gardens and parks in and out of Senriyama Suburb, but as the development of Senriyama Suburb expanded, they began neglecting the preservation of green space. These are the kinds of historical facts and findings that audiences of the exhibition could also find out from plans and drawings lined up in chronological order. Today, more and more people, including residents of Senriyama Suburb, have become aware of environmental issues in Japan, resulting in increased consciousness regarding making an environmentally friendly community. 175

Plan of Senriyama Suburb, Osaka Housing Advert of Senriyama Management Co., Ltd. and Tanabe Suburbs (Between April 1926 - March 1928). (between 1923/24). Perspective Drawing of the Redevelopment Sketch of the Redevelopment Project of Senriyama 1st Fountain Area Project of Senriyama 1st (Between 1997-1998). Fountain Area (Between 1997-1998). Positive outcomes after the special exhibition The special exhibition seemed to increase awareness of the citizens. Two people who loaned the “Plan of Senriyama Suburb” and “Redevelopment Project of Senriyama 1st Fountain Area” to the Museum for displaying at the special exhibition donated them to the Museum after the exhibition ended, and a resident of Senriyama Suburb whom the author met through the exhibition planning, donated the “Advert of Senriyama and Tanabe Suburbs” that he found after the closing of the exhibition and has promised to bequeath two chairs and a table from older days after he dies. These cases indicate that the linkages made 176

through relationships between cooperative residents of Senriyama Suburb and the museum curator can endure with positive impacts for the community through future exhibitions and public programmes. Also, after the exhibition, five community groups were motivated to learn more about their local history and asked the author to lecture about history of Garden City and Senriyama Suburb. Another community group requested the author to coordinate a permanent display of panels on Senriyama history at the Senriyama Community Centre, and a different group requested the author to participate in a panel discussion on Senriyama Suburb and write an essay on Senriyama history and join the planning of the special exhibition for their community magazine. The National Museum of Ethnology, which is located in the city of Suita, invited the author to contribute an essay regarding the genealogy of Garden City for their academic journal. Furthermore, there were positive reactions from the wider Senriyama community. Some active members of the Senriyama community were encouraged by the exhibition to start studying deeply about the history and natural environment of Senriyama Suburb for a future environmental and social movement which could lead to the further developments in the community. Conclusion: remaining issues and prospective views The exhibition can be considered a relatively successful case initiated by a willing curator and towel-received by active individuals and community groups including many from the Senriyama community. Although there were many requests to the author after the special exhibition, most of the people are still dependant on a curator, i.e., most of them only listen to the lectures or read articles and papers. Moreover, although some people are active and willing to connect and/ or collaborate with the Museum, the majority of the citizens are not interested in the Museum at all and even do not know of the museums in the city. Therefore, it is important to develop a method to include as many potential audiences to access the Museum and the Museum’s resources as possible so that in the future involving many individuals and community groups together with the Museum can have a bigger impact on the community. Senriyama Suburb is no longer even a Garden Suburb but rather it is an example of urban development that Japan has chosen in the past. Not all the past decisions should be judged “incorrect.” Senriyama Suburb has already become a part of Japan’s history and culture and no one can make a simple judgement. This is one of the messages that the exhibition could have delivered. Even so, if the Senriyama community desires to create a better environment and society in the future, the Museum is always ready to support by providing resources such as knowledge and objects. 177

So, in order for the Senriyama community to change Senriyama Suburb in their desired way, many community members’ involvement is essential. It is important for the Museum to become a part of the community, a user-friendly learning hub for citizens, and to continuously support Senriyama community. Appendix 1 List of Key Objects 1. Background of Garden City • The Opening of the Great Exhibition by Her Most Gracious Majesty, on May the 1st, 1851, The Illustrated Exhibitor., London: John Cassell. • A Balloon View of London 1851, London: Banks & Co. • The “Silent Highway” ‒ Man, Punch Magazine, Vol. 35 p. 137. • Descriptive Map of London Poverty, Charles Booth. 2. Letchworth Garden City • To-morrow: A Peaceful Path to Real Reform, London: Swan Sonnenschein & Co., Ltd. • Ebenezer Howard, Garden Cities of To-morrow, London: Swan Sonnenschein & Co., Ltd. • Letchworth Garden City Masterplan (Replica) • Health of the Country - Comforts of the Town (Poster) (Replica) • Garden City, Hakubunkan 3. Garden Cities In and Out of Japan • Osaka Umeda, Minoh Railway (Poster) • Plan of Ikeda New Suburb (Ikeda-Muromachi) (Osaka Pref.) • Guide to Sakurai New Suburb, Minoh Railway “Pleasant Country Life” (Postcard) • Minoh Arima Railway “Pleasant Country Life” (Postcard) • 4th Guide to Sakurai Suburb (1:1,200), Minoh Arima Railway (Replica) (Osaka Pref.) • Cool and Refreshing: Two Major Suburbs on Summer Sale: “Sakurai & Sakuragaoka” (Pamphlet) (Osaka Pref.) • Plan of Tanabe Suburb, Osaka Housing Management Co., Ltd. (Osaka Pref.) • The Actual Landscape of the Taisho House Remodelling Exposition (Osaka Pref.) • Admission Ticket for the Housing, the Taisho House Remodelling Exposition (Front) • Admission Ticket for the Housing, the Taisho House Remodelling Exposition (Back) • Model of the Site of the Taisho House Remodelling Exposition 178

• Complete Map for Okamachi Housing Management Co., Ltd. Established in Feb. 1912 (In Guide to Perfect Investment) (Osaka Pref.) • The Regulations of Okawakai Residents' Association • Application Form for the Supporter's Association of Kokumei Elementary School • Booklet of Floor Plans: Okamachi Residences, Okamachi Housing Management Co., Ltd. • Masterplan of Yerevan City (Replica) 4. Senriyama Suburb • Application for the Licence to Construct a Narrow-Gauge Railway (Document of Ministry of Railways) • Prospectus (Document of Ministry of Railways) • A Comment from Osaka Pref. to Central Government regarding Application for the Licence to Construct a Narrow-Gauge Railway (Document of Ministry of Railways) • Application for the Licence to Construct Cemetery and Funeral Hall (Document of Ministry of Railways) • Railroading Licence to Northern Osaka Railway (Document of Ministry of Railways) • Business Report of Keihan Real Estate • Route Map of Keihan Railway (Pamphlet) • Bird's-Eye View of Suita City • Senriyama Flower Garden, Amusement Park for Kids, Keihan Railway (Pamphlet) • Bird's-Eye View of Suita City #3 (Postcard) • Number One around Osaka: Senriyama Great Chrysanthemum Garden (Poster) • Along Shin-Keihan Railway: Autumn of Flower Garden in Senriyama, Souvenir of Senriyama (Postcard) • Along Shin-Keihan Railway: Senriyama Cultural Village, Souvenir of Senriyama (Postcard) • Senriyama Suburb (In Illustrated Report of the Great Osaka, 1928) • Business Report of Osaka Housing Management Co., Ltd. (#2-8) • The Regulations of Senriyama Club • Advertisement by Osaka Housing Management Co., Ltd. (In The Kansai University Bulletin 13:28, 1923) • Plan of Senriyama Suburb (1:1,500), Osaka Housing Management Co., Ltd. (1st Management Area Over 145,000m2) • Plan of Senriyama Suburb (1:1,500), Osaka Housing Management Co., Ltd. (Management Area Over 460,000m2) • Layout Drawing of Senriyama Suburb (In Architecture and Society 6(9):33-40 • Plan of Senriyama Suburb, Osaka Housing Management Co., Ltd. • Plan of Senriyama Suburb (Blueprint) 179

• Plan of Senriyama Suburb, Osaka Housing Management Co., Ltd. • Senriyama Suburb, Keihan Railway (Pamphlet) • Table of Rent for Senriyama Residences, Osaka Housing Management Co., Ltd. • Graduation for the Class of 1935 (Photo Album), Senri Daini Elementary School • Memories (Photo Album for the Class of 1957), Senriyama Grace Kindergarten • Graduation for the Class of 1963 (Photo Album), Senri Daini Elementary School • Rubbing: Monument for the Development of Senriyama (Scroll) • Redevelopment Project of Senriyama 1st Fountain Area (Sketches & Perspectives) • SENRIYAMA on MY MIND about 1955 (Copy) References Black, Graham: The Engaging Museum – Developing Museums for Visitor Involvement. Abingdon: Routledge, 2005. Howard, Ebenezer: To-morrow: A Peaceful Path to Real Reform. London: Swan Sonnenschein& Co., Ltd., 1898. Howard, Ebenezer: Garden Cities of To-morrow. London: Swan Sonnenschein & Co., Ltd.,1902. Howard, Ebenezer: Garden Cities of To-morrow. [orig. ed. 1902], Tokyo: Kashima Publishing, 1968. [Japanese-translated by Cho, Mototsura]. Howard, Ebenezer: (commentary by Peter Hall, Dennis Hardy, and Colin Ward), To-morrow: A Peaceful Path to Real Reform [orig. ed. 1898], Abingdon: Routledge, 2003. Memories of Modernism – Architectures which traces Modern Hokusetsu. Osaka: Ikeda City Museum of History & Folklore, 2014. Museum of ‘Dialogue and Collaboration’ – Dialogue for Understanding and Collaboration for Action. Tokyo: Japanese Association of Museums, 2000. Katagi, Atsushi et al.: Suburban Residential Areas in Modern Japan. Tokyo: Kashima Publishing, 2000. Koh, Son: From a New Village in Senriyama. Architecture and Society, 6(9), pp. 33-40, Osaka: Architectural Association of Japan, 1923. 180

Saiki, Takahito: Letchworth Garden City in the U.K.. Hyogo: Kobe Design University, 2015. A Reader in Suita History. Osaka: Suita City Museum, 2009. Revitalisation of Suita City Museum (Report). Osaka: Suita City Museum : Suita City Museum Council, 2004. Museum’s Future Vision for the 21st Century – Suita City Museum Mid- to Long- Term Plan. Osaka: Suita City Museum : Suita City Museum Council, 2010. Wada, Yasuyoshi: Senriyama Suburb. Architecture and Society, 94(1097), pp. 43- 46, Osaka: Architectural Association of Japan, 2013. Part of this paper was written based on Saotome, Kenji, Senriyama “Garden City”: Utopia in the Taisho Era, Osaka: Suita City Museum, 2016 181

4 182

CONTINUE THE GOOD WORK WHILE LOOKING TO THE FUTURE Pleas for understanding and preservation 183

4.1 Aperture of need: perspectives on cultural landscape issues in Pakistan Saima Jabbar and Wafa Akthar, Pakistan Introduction “We preserve the past, define the present and educate for the future” A cultural landscape perspective explicitly recognizes the history of a place, and its cultural traditions, in addition to its ecological value. Moreover cultural development and preservation provide not only a boost to inherited property value but serve our identity in modern arena. “A landscape perspective also recognizes the continuity between the past and with people living and working on the land today.”(Mitchell and Buggey, 2001:45) The first part of the paper addresses the question how can museums interpret their cultural and physical landscape? How to understand the concept of culture? The second part of the paper looks at what we have and how can museums document and interpret intangible heritage cultural boundaries or intangible horizons separating cultural landscapes? In these times of worldwide upheaval and change, is sustainability of culture a challenge? In the third part of paper we examine where we are going, through the lens of physical and intangible landscape. Cultural landscape in the museum context In 1925, Carl Sauer introduced the term “cultural landscape” in an essay entitled The Morphology of Landscape (Sauer 1925). He stated, ‘the cultural landscape is shaped from a natural landscape. Since then, emerging cultural geographies have sought to explore the multiplicity of meaning in the cultural landscape.' Consequently, the essence of a cultural landscape is composed of not only tangible properties, but also the essential intangible elements, representing the living culture of human communities. It represents a cumulative deposit of experience, belief, values, hierarchies, notions of time, concepts of universe, and possessions acquired by a course of generation. Moreover, the Culture is related to concept of identity but it has a broad context as landscape. While physical landscape like archaeology has the potential to contribute a great deal to demonstrate culture, but we as museum professionals must be prepared to encompass a broad view of landscape - a “holistic view” to identify what we have. So, to 'Identify and define’ distinctive cultural landscape and its horizon, we need to envision holistic approach in conserving cultural landscape of indigenous communities and endorsing creative expressions to ensure a sustainable future for everyone. 184

Understanding what we have Our general perception, as researchers, is that the international community has not adequately taken the “holistic” view of cultural landscape of a developing country like Pakistan. They have not yet interpreted intangible heritage cultural boundaries or intangible horizons separating cultural landscapes, or recognized the threats. A cultural landscape has intangible (non-physical) and tangible (physical) characteristics: Tangible / Built-Physical Landscape: Historical building, monuments, Industrial sites Tangible /Physical Cultural Heritage: Monuments, archaeological sites, movable, heritage collections, historic urban areas, vernacular heritage and cultural landscapes Intangible / Non-Physical Cultural Heritage Signs and symbols passed on by oral transmission, artistic and literary forms of expression, languages, rituals, value system, ways of life, myths, beliefs and traditional knowledge. Keeping this in view, there are five types of Pakistani cultural landscapes. (1) Regional-landscapes (2) Urban-scapes (3) Sufi landscapes (4) Echoscope (5) Historical landmarks However, the term ‘culture’ comprises the totality of elements representing the very heart of its distinctive idiosyncrasy. Diversity of cultures represents the living expression of the idiosyncratic traits of the different communities. For instance, Pakistani society has inherited diverse cultures from Punjabi to Kashmiri, Sindhi, Muhajir, Makrani, Baloch, Pashtun, and ancient Dardic, Wakhi, and Burusho. Our culture is also greatly influenced by many surrounding cultures such as Turkic, Afghan, and Indians, and later invasions by different ethnic groups. Pakistan’s cultural landscapes can be traced back to Indus Valley Civilization (2800-1800 B.C.), known for its ordered cities, advanced sanitation, excellent roads, and uniquely structured society. Subsequent invaders created civilizations such as Mehargarh, Mohenjadaro, Harrapa, Taxilla. Consequently, a holistic layering of cultures survived and are preserved precisely as a result of their human values: 185

• Respect for knowledge and promotion of human tolerance • Progressive values and openness to experimentation • New means of exchange, innovation and creativity Cultural landscapes under threat Cultural diversity, being a ‘source of exchange, innovation and creativity, is vital to humanity and is indivisibly linked to the safeguarding of cultural heritage landscape. Living in the 21st century, we need to know where we are and, more particularly, what are the threats from culture diversity related to the sustainability of cultural landscape for next generations. There are multiple serious threats to endangered intangible and tangible cultural landscapes. Threat I: Inadequate research resources for periodical data collection and publication Generally, Pakistan’s system of research and publication culture is not as well established as other in developed countries like USA, UK, France, Japan etc. As a result, much irreplaceable data and knowledge are lost day by day. For example, look at the research, collection and publications related to special traditional textile crafts like Khess, Ajrak, Lungi etc. You will find that there is inadequate material in collections, books and publications available in the museums of Pakistan related to intangible cultural heritage, particularly indigenous Pakistani crafts: textile, wood, furniture, folk art, music, literature, fine arts etc. Even so, what we have in the form of books in most cases lacks quality and authenticity with some dubious data. Therefore, preservation and protection of irreplaceable resources is urgently needed. There needs to be an urgent focus on quality and authenticity of research data, as well as publication. Threat II: Historical landmarks at risk Lack of conservation activity and encroachment by urban development presents real risks. There is no conservation or restoration of the historical landmarks. Sadly, more than 100 sites around Lahore are deteriorating and are in urgent need of restoration and conservation. For example, the historical landmark of Jain Mandir, which stood in all its glory till 1992 and has now been demolished. Other losses of the physical culture of Mughal era include the Back Gate of Akbari Sirai and Jahangir Tomb in Lahore and the Shrine of Bibi Jawindi, in Uch Sharif with its Persian influenced architecture, dating to the 15th century. The development of the urban landscaper in Lahore jeopardizes historic monuments. The construction of new Orange railway line is an obstacle in the view of local monuments and when this Orange Line is laid, several monuments will be gone forever. I am afraid that if this practice of building bridges and lanes just next to global heritage sites continues, we will soon lose everything we have, 186

such as Chauburji, gateway to the erstwhile Garden of Zeb-un-nisa, and other buildings of the Mughal era in Lahore. Threat III: Cosmopolitan Influences Cosmopolitan communications and ideas spread through transnational media have transformative or sometimes radical impacts on deep-rooted societal differences. Many entrenched indigenous values, social attitudes, and core belief embedded within regional cultures are threatened by cosmopolitan influences. Threat IV: Globalisation The processes of globalisation are viewed by many as threats to the world's cultural diversity. Ideas and images are transmitted from society to society through terrestrial, cable and satellite TV to billboards, audiovisual art and culture to YouTube, blogs to social networking creating an overwhelming flood of information. This ‘electronic invasion’ has many consequences: • Polarization between national and regional cultures • Growth of cosmopolitanism • Predominance of Western/American cultural trends • Shifting cultural diversity and values • Clash of cultures and civilization • Structural, technological and economic changes through mass communication Threat V: Cultural terrorism Terrorism threatens diversity and culture. Destroying the imprint of history, culture and tradition can be termed ‘cultural terrorism’, as, for example, the attacks on cinemas in Peshawar, Pakistan. Culture terrorism also destroys the cultural tourism economy: 855 hotels in the Swat Valley are now closed and there is only very limited religious tourism for Sikhs, Hindus and Buddhists.. So, the ‘aperture of need’ requires finding solutions and answers to questions such as: what are the long-term consequences of being brought up in cultural landscape with such a violent environment? Threat VI: Worldwide terrorist attacks against educational institutions “I saw blood everywhere!” Or “The girl who was shot for going to school” These are the prominent headlines of newspapers around the world, such as the unforgettable story of Malala Yousafzai, winner of the 2014 Nobel Peace Prize Similarly, “Black day “or “9/11 of Pakistan”: the16 December, 2014 terrorist attack at the Army Public School (APS), Peshawar, Pakistan. 134 students died in this terrorist attack. Even in Africa, by 2012, militants had destroyed 758 schools. 187

There have been rising levels of deliberate attacks on schools and colleges, including by Boko Haram extremists in Nigeria. Looking to the future We really have to see where we are going. How can museum professionals interpret the future of their cultural and physical landscapes? It is an important question for all of us today and one that can assume magnitude. At the very least, safeguarding intangible and tangible cultural landscape is the vital step for our hostile culture. In fact, it is a global challenge, although the serious need to safeguard intangible and tangible cultural landscape in a developing country like Pakistan indicates the urgency to take action. Conversely, and counterintuitively, intangible heritage should be made incarnate in tangible ways – i.e. in visible or material form- from oral form into substance. The process of preservation involves collecting, research, education, documentation and revitalization, the archiving of cultural property and the protection and support of its holders. 'Identifying and defining' distinctive cultural landscape, is a shared responsibility between museums and their source communities that contributes to the promotion of creativity and diversity, where it is would be essential to involve peaceful development, engagement of communities, groups of institutions and the roles of Non-Governmental Organisations. Although, the intended outcome is that intangible culture attains its true significance, when it sheds light on the underlying values of peace, creativity, harmony, consistency and sustainability. • Peace: Commit to a belief in conserving cultural diversity that will bring a peaceful future for our coming generations • Creativity and Harmony: Try to achieve culture of harmony among communities and masses to create natural and cultural landscapes. • Consistency and Sustainability: Believe in consistency of efforts for a sustainable future of world. Another safeguard would be to make strategy and policy within an institutional framework to “raise awareness”. • Ensure recognition of intangible cultural heritage. • Support practices and transmission. • Inform the public about endangered culture heritage. 188

• Endorse a sense of identity and continuity. • Encourage a sense of pride in one’s culture. • Support sustainability and livelihoods. So we would like to end with a few suggestions: • Museum studies that incorporate the inclusion of indigenous craft and regional cultural heritage studies • Short-term and long-term community-based projects, for instance, promoting artworks made by our very own special needs children at places like Rising Sun and SOS villages, and women’s development projects like the ones in Pakistan’s northern areas by Polly and me. • Community service/ training workshops for people who identify as ‘transgender’, aiming to impart practical, sustainable knowledge and skills, to support them and create opportunities to play equal roles in society. • Publication and collection of data related to tangible and intangible cultural landscape. • Collaboration with international museums to introduce and promote the intangible cultural landscape on a global forum. • Projects to build better networks between public, private and voluntary craft development initiatives to strengthen intangible dimensions of culture landscapes. • Develop a holistic approach to management to preserve heritage. • Help to develop a regional/ national focus on visual art, and craft for museum galleries. One possible approach has been suggested by student Wafa Akthar. Her idea to support museums and attract local public of Pakistan, is to design a technology- based fashion collection inspired by the artifacts of the Indus Valley civilization for Lahore Museum, Pakistan. Wafa Akthar’s vision is to compete with the world through indigenous skills and aesthetics that can be acknowledged internationally as part of the contemporary museum. Objects in collections are used to promote culture and the economy and to support the Museum by stimulating a sense of appreciation of art, design, and the presence of the Indus Valley civilization to the youth of Pakistan. This can also attempt to overcome the distress in the physical landscape of the country today, caused by many social factors. 189

Concluding remarks Identifying and defining cultural landscape from a holistic perspective is a better way to understand its horizon. Because the clouds of various threats like terrorism are reshaping the future of the physical as well as the intangible cultural landscape, because they are intertwined, so sustainability is the biggest challenge today! Cultural diversity and sustainability both depend upon the values of the soul like peacefulness, tolerance, persistence and harmony between various communities. Museum professionals should take vital steps to remember these values and safeguard endangered cultural landscapes and also to promote cultural research in countries like Pakistan, for present and future generations. References MITCHELL, N. and S. BUGGEY 2001 'Category V protected landscapes in relation to World Heritage cultural landscapes: taking advantages of diverse approaches', in Conservation Study Institute Landscape conservation: an international working session on the stewardship of protected areas, Conservation and Stewardship Publication No. 1, IUCN - The World Conservation Union and QLF/Atlantic Centre for the Environment, Woodstock, Vermont, USA. SAUER, C. 1925 'The morphology of landscape', University of California Publications in Geography 2(2):9-25. 190

191

4.2 Archaeology and the museum: what strategy for the promotion and the protection of archaeological sites ofancient iron metallurgy in Côte d’Ivoire? Timpoko Hélène Kiénon-Kaboré, Côte d'Ivoire Introduction – crucibles of archaeological heritage Archaeological heritage forms a complex with the natural environment in which it is integrated. This is as important as the material that it comprises. Indeed, the environment is composed of the elements of nature and of all that is evidence of man, such as cultural heritage. The archaeological heritage is an important component of this cultural heritage. It is characterized in most cases by the diversity and specificity of the remains. The archaeological heritage may be movable artefacts or immovable sites. In Côte d’Ivoire, archaeological research has enabled the discovery of a variety of sites and remains. Movable artefacts are usually made available to the Museum of Civilizations of Côte d'Ivoire for their protection and conservation or deposited in the laboratories of research centers. Much of the archaeological heritage is made up of immovable sites whose enhancement and protection pose real problems. The technical heritage of the ancient iron metallurgy is characteristic of sites. Indeed, sites consist of a variety of remains that are left in situ after the research. These are iron mine shafts, refuse heaps (mainly slag and nozzles), and iron ore smelting furnaces whose diversity reflects forms of the various technical traditions. How can these sites and assets be promoted and protected in a country where archaeology is often ignored and misunderstood by much of the population? What strategies can be used for the enhancement and protection of this heritage in situ? Diversity and specificity of the archaeological heritage of the ancient iron metallurgy and the need for an in situ approach Planned research on the old iron metallurgy has been undertaken for almost six years and has revealed both the richness and diversity of this dated technology heritage, and the current state of research on the period between 1000 and 1900 AD. Much of the Ivorian territory, as revealed after a targeted survey of Côte d'Ivoire as a whole, contains remains of this heritage, tracing the operating chain of this heavy marker of the civilizations of some societies within Côte d'Ivoire. Excavations in some locations, such as in the area of Korhogo (Poungbè) and Odienne (Siola and Doumbala Department) in northern Côte d’Ivoire, have left in situ much of this heritage comprising iron mines, iron ore smelting furnaces and large piles of waste. Archaeological traces of the entire operating chain have often been found in one place, providing an archaeological complex that can promote a complete understanding of the historical, cultural and technical heritage. 192

This rich heritage left in situ deserves to be understood, protected and made known to the public. The museum policies of the Côte d’Ivoire take no account of such technical heritage sites that consist of elements of several stages of the production chain, ranging from the search for ore to the slag refuse from the smelting of iron ore. The notion of a museum of an archaeological site set in the OCOM in 1978 and reiterated in 1987 by Guy C. Poinssot Barruol makes sense in the context of archaeological sites showing metallurgical techniques of iron whose understanding is inherent in a presentation of the diversity and particularity of the remains. The iron mines Iron ore extraction is an important step in the production chain of ancient iron metallurgy. Extensive remains of this operation are usually visible and, together with other artefacts, constitute a complete chain in a process that starts with the search and extraction of ore. In the northern part of Côte d'Ivoire, circular wells, square or simple open pits, or other excavation covered by slabs of the surface rock have been discovered (Vincent Serneels, 2013; Kiénon-Kaboré, 2012). These remains are witness to the extraction techniques of mining sites that show patterns of traditional farms, digging techniques, movement in mines, mining methods, extraction choices etc. These sites are usually close to the heaps of waste left after smelting and to the smelting furnaces themselves. Refuse heaps Refuse heaps consist of amounts of smelted slag, nozzles, fragments of nozzles and furnace walls. The organization of the iron ore smelting area identifies them and usually indicates a part of the traditional techniques. The importance of the organization of space available for clusters of slag shows that they cannot be assessed as being at the place of their operation in the full operational chain within their natural and cultural environment. The diversity of shapes of clusters is the result of the different techniques and traditions implemented. We discover clusters arranged in a ring, in a line, in a half-moon, or just a circular group etc. The organization of these clusters is determined by the arrangement of the furnaces in the space for smelting. The smelting furnace for iron ore The iron ore smelting furnaces, which are the emblematic remains in the archaeological heritage of the ancient iron metallurgy, were discovered in large numbers at sites in northern Côte d’Ivoire in good states of preservation. They are of various shapes and arrangements in the reduction areas, clearly showing the complexity and multiplicity of technical traditions that deserve to be known and valued. These include stoves that reduce the level of forms, building materials, and bellows, organizing spaces in which they fit themselves, constituting true 193

crucibles of the technical knowledge of ancient Ivorian traditional societies. Furnaces can have a slightly tapered shape, or be tapered, pear-shaped, horseshoe-shaped etc. The techniques used for the construction of the furnace body are also ingenious. The uses of clay, straw and old recovered furnace elements that reduce waste in the construction of new furnaces are genuine traditional methods of preserving nature. In ancient iron metallurgy ventilation nozzles, the furnace walls, iron slag derived from previous smelting operations are all reused in the construction of new furnaces for smelting. If they are valued and protected, the knowledge of these ancient techniques combined with moral and educational values can be real sources of resilience for our societies when facing immense cultural and societal crises. The recovery and the protection strategies of metallurgical sites of old iron metallurgy in Côte d'Ivoire In Côte d’Ivoire, the evaluation of the archaeological heritage has so far been undertaken by the Museum of Civilizations of Côte d’Ivoire (MCCI). It is mostly concerned with movable artefacts whose most recent exhibition of archaeological remains dates back twenty years. In 1993 the Ministry of Culture collaborated with the Ivorian archaeologists on a public exhibition The history of Côte d’Ivoire in the light of archaeology. Apart from this exhibition, the Ivorian archaeological artefacts and sites have not been re-evaluated despite more than a century of research. The Ministry in charge of tourism, which is also mandated to take charge of these remains, has no clear action plan for the archaeological heritage. We realize that archaeological sites have been abandoned without any policy of conservation or protection. However, efforts are being made. Indeed, since January 2016, the Ministry of Culture and Francophonie has set up an action plan for the management of archaeological heritage. It takes into account the protection and the enhancement of this fragile heritage so that the actions of local communities and state decisions may combine to yield significant results. Protected (Listed) forests, traditional customs and practices: assets for the protection and the enhancement of the archaeological heritage of ancient iron metallurgy in Côte d’Ivoire The issue of conservation and protection of the archaeological heritage is not a new topic. Yet even now the problem remains unresolved for most countries in sub-Saharan Africa. Technical solutions are essential but responsibility, requirements and community practices concerning the physical environment of archaeological sites are key elements in the promotion and the protection of this specific heritage (ICCROM, 2009). The majority of the ancient iron metallurgy sites in Côte d’Ivoire were discovered in protected forests and/or sacred areas (so designated by the actions of the administrative authority or by the fact of local people’s traditions and practices). The policies for protected forests and sacred areas allowed for the protection of smelting sites in some northern communities 194

as Poungbè (Zone Korhogo, northeastern Ivory Coast), Siola (Odienne area, Northwest Côte d'Ivoire) etc. In the sacred forests that contain some sites for the production of iron metallurgy – its practice can be both social and spiritual - evaluation of these archaeological sites is possible and requires the organization and consent of communities who can become actors aware of the importance of their heritage. Surveys of these populations suggest a possible recovery of certain sites in their social and cultural environments, in accordance with the demands of the traditional guardians, both economic and spiritual, of these places. This shows that what is sacred and protected in some environments can be related to the technical archaeological heritage of the iron metallurgy and be one of the archaeological sites’ protective factors. These sites allow an approach to history and cultures that can also be an environmental preservation factor into which they fit, insofar as they constitute a set with their environment. The iron working sites become an asset for the preservation of the environment and vice versa. Thus, collaboration between environmental actors, museum experts and cultural heritage and archaeologists in Côte d'Ivoire encourages an interdisciplinary approach. The role of the State: an important tool for the enhancement and the protection of metallurgical heritage sites of Côte d’Ivoire In January 2016, the Ministry of Culture and Francophonie appointed its first technical advisor in charge of archaeology. Under the leadership of the Minister of Culture and Francophonie, Mr. Maurice Kouakou Bandama, a sub-department of archaeology has been created and the archaeological heritage has received a decisive position in the department. Several activities related to the protection and enhancement of the archaeological heritage, including Côte d'Ivoire’s northern smelting sites, are ongoing. In terms of an evaluation and protection strategy for iron metallurgy sites, the role of the State is critical on several levels. Regarding the law on cultural heritage, there is a flaw in the texts and also in its application. Law 87-806 number of 28 July, 1987, on the protection of cultural heritage, discusses archaeological heritage in Chapter III, Articles 37 to 45. However, none of them is applied in the field. Archaeological heritage sites in general and iron metallurgy in particular are all the more fragile since there are no regional structures devoted to archaeological heritage. The responsible regional directorates of culture which should reflect this heritage are not trained in the management of archaeological heritage and mostly have too modest an intellectual background to be able to address this specific heritage. Hence, there is a need for the State to train museum and heritage professionals in the management of archaeological heritage sites in general, particularly those ancient iron metallurgy sites whose evaluation and in situ protection should reflect the specificity of various artefacts. The strengthening of legal texts and their actual implementation would enable a regional service culture based at the museum to have a legal framework for 195

the protection and recovery of archaeological sites. The State should also fund metallurgical site evaluation advances and establish a community development policy related to the archaeological heritage that could be a key factor in the fight against poverty. Public involvement could actually help not only the protection and the enhancement of archaeological sites but also provide ways for the community to support themselves and their economic well-being through their cultural heritage. Conclusion The enhancement and protection of heritage sites of ancient iron metallurgy fit into the overall consideration of physical archaeological sites in Côte d’Ivoire as cultural landscapes. However, because of the context of the specific iron metallurgy sites, they offer a variety of sites and artefacts. Therefore an interdisciplinary approach involving museum services, heritage specialists, environmental specialists and archaeologists trained in technical heritage is required. The approach to metallurgical sites through a comprehensive presentation on the site allows us to understand the chain of production and appreciate the site on historical, technical, cultural and social dimensions. The State's commitment to the institutional and financial plan is a vital basis for the protection and the enhancement of the sites. The role and involvement of local communities also enables the success of the process in the context of archaeological museums. Acknowledgements Associate Professor Kiénon-Kaboré undertook this work through the Archaeology Unit, ISAD, University Félix Houphouët-Boigny, Côte d’Ivoire as Technical Adviser in charge of archaeological heritage at the Ministry of Culture and Francophonie of Côte d'Ivoire, and wishes to acknowledge support for this research ancient iron metallurgy from: • The Switzerland-Liechtenstein Foundation for Abroad Archaeological Research (FSLA / SLSA) • The Strategic Supports Program for Scientific Research (PASRES) In collaboration with • The Department of Geoscience of Fribourg University in Switzerland, the Neuchâtel Institute of Prehistory, the archaeology laboratory of Ouagadougou (Burkina Faso) 196